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Converting to stereo

From: mocha 2.6 Essential Training

Video: Converting to stereo

Converting movies to stereo 3D has become a huge new business in the last couple of years requiring literally thousands of roto artists. mocha has become a very important tool for this explosive new industry. Here we'll take a look at the kinds of things, the stereo conversion facility might want for their roto work. I've prepared some examples here for you to watch, so you can see the differences. You can play along with me using the stereo conversion.mocha file in the Project Media folder. First up, some facilities just want the matte, so your roto might look like this.

Converting to stereo

Converting movies to stereo 3D has become a huge new business in the last couple of years requiring literally thousands of roto artists. mocha has become a very important tool for this explosive new industry. Here we'll take a look at the kinds of things, the stereo conversion facility might want for their roto work. I've prepared some examples here for you to watch, so you can see the differences. You can play along with me using the stereo conversion.mocha file in the Project Media folder. First up, some facilities just want the matte, so your roto might look like this.

Of course, we've already learned that we wouldn't draw one single giant roto like this. For efficient and high-quality rotoscoping we would of course break this up into sections, but the point here is in this case they're interested in the matte itself. So let's take a look at that. So this is what they're really interested in and they frankly don't care how you cut up your shapes or divide the work up. The important thing of them is this finished black-and-white roto, they are going to render this and ingest this black-and-white mask into their process.

Okay, let's look at another case. Turn this back on and that and that and turn our spline back on. I'm going to hide that and turn on the next one. In this case, what they're interested in are the splines themselves. They don't care at all about the matte. What they need is the body broken up into specific body parts. one shape for the head, one shape for the arm, one shape for the lantern, and they're going to specify to you each of the body segments that they need isolated and you have to keep your shapes on exactly those body parts.

And they're not even going to render out the black-and-white matte, they're actually going to ingest your splines directly into their pipeline. An important distinction between regular isolation rotos and stereo conversion rotos is what we might call the inside-outside difference. Let me show you that. I'm going to turn on couple of splines here, we'll zoom in a real tight so I can show you this. In a normal isolation roto the spline is typically gone one or two pixels inside the edge of the target, but with the stereo roto the specification is typically one or two pixels outside the edge of the target.

So an isolation roto might look like this and the stereo conversion roto look like that. Of course, none of them want chattering edges or splines that drift off the target. Here, I was trying to give you an insight of the rotoscoping issues for stereo conversion. Roto specifications vary from facility to facility, so if you get a job in this industry make sure you are clear on the particular specifications at that facility.

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mocha 2.6 Essential Training

49 video lessons · 7738 viewers

Steve Wright
Author

 
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  1. 5m 23s
    1. Welcome
      1m 40s
    2. Getting to know the user interface
      3m 43s
  2. 1h 7m
    1. Drawing X-splines
      8m 2s
    2. Drawing B-splines
      5m 4s
    3. Editing splines
      3m 52s
    4. Keyframing splines
      6m 33s
    5. Discovering the timeline controls
      5m 52s
    6. Walking through the New Project window
      4m 23s
    7. Working with interlaced clips
      8m 19s
    8. Setting the color space
      4m 46s
    9. Defining mocha preferences
      3m 46s
    10. Walking through the Layer Control panel
      3m 22s
    11. Walking through the Layer Properties panel
      3m 29s
    12. Viewing mattes
      3m 41s
    13. Walking through the Edge Properties panel
      6m 24s
  3. 1h 8m
    1. A planar tracking demo
      6m 36s
    2. Setting motion options
      13m 12s
    3. Adjusting the tracking spline
      8m 51s
    4. Tracking awkward surfaces
      6m 3s
    5. Understanding the planar grid
      6m 50s
    6. Dealing with lens distortion
      7m 43s
    7. An AdjustTrack demo
      5m 49s
    8. Keyframing the AdjustTrack
      7m 48s
    9. Offsetting reference points
      5m 49s
  4. 1h 8m
    1. Strategizing shape distribution
      11m 21s
    2. Working with large areas
      2m 44s
    3. Selecting a start frame
      10m 38s
    4. Replacing a shape
      2m 54s
    5. Keyframing: Bifurcation
      4m 38s
    6. Keyframing: Straight ahead
      5m 17s
    7. Keyframing: Extremes
      9m 22s
    8. Keyframing: Maximum digression
      6m 45s
    9. Converting to stereo
      2m 54s
    10. Inspecting your rotos
      4m 43s
    11. Rendering mattes
      4m 45s
    12. Exporting shapes
      2m 54s
  5. 1h 30m
    1. Moving the camera with parallax
      5m 30s
    2. Moving the camera without parallax
      3m 58s
    3. Using multiple splines in a layer
      7m 23s
    4. Subtracting shapes
      7m 6s
    5. Stabilizing the viewer
      5m 46s
    6. Keyframing during tracking
      7m 24s
    7. Unlinking the tracker
      5m 8s
    8. Tracking manually
      12m 35s
    9. Defining corner pinning
      5m 4s
    10. Going further into the Track tab
      6m 53s
    11. Utilizing the more advanced AdjustTrack features
      8m 40s
    12. Working with the Stabilize tab
      6m 11s
    13. Exporting track data
      8m 53s

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