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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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