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Inspecting your rotos

From: mocha 2.6 Essential Training

Video: Inspecting your rotos

Before turning in your roto work, you are required to inspect it first. You need to find the problems not the supervisor. There are several ways to inspect your rotos each designed to reveal a different issue. Here I'll demonstrate several techniques that you can use with your work. I am using the Inspecting Mocha file from the Project Media Folder. First up is the spline only. So let's say that we want to see the spline up the head I'll pan that down and zoom that in.

Inspecting your rotos

Before turning in your roto work, you are required to inspect it first. You need to find the problems not the supervisor. There are several ways to inspect your rotos each designed to reveal a different issue. Here I'll demonstrate several techniques that you can use with your work. I am using the Inspecting Mocha file from the Project Media Folder. First up is the spline only. So let's say that we want to see the spline up the head I'll pan that down and zoom that in.

So by viewing the spline only you can look for jittery edges. So let's see how that looks. Now with the head moving around like that, it's really hard to see any details. So what we need to do is stabilize this picture around that head. So I am going to stop that and go back to Frame 1. Since this shot has not been tracked, we have no stabilizing data. So let's track it, I am going to turn off the head and I am going to turn on a roto that I have already drawn for you.

What I did here was I keyframed this roto just like we saw on the previous movie. So I keyframed it here there, there, there and there. By keyframing it, it will stay on top of a regular moving target. All right so let's track that forward, and even though if the spline looks jumpy it's actually collecting good track data. So let's jump back to the beginning. I am going to turn on Stabilize now, because I've got the head track selected, the screen stabilize will look at the tracking data to stabilize the plate.

So let's play that and sure enough, the head is stabilized. Okay great, we'll stop that go back to the beginning. We'll hide the head track and turn on the head roto. Let's get in a little closer and see how much better this is with the head stabilized. Oh there we go now we can see a lots of issues okay, we got some kind of bobbing thing going on at the hair, the head is changing shape and we got some pops in our facial curvatures here. We'll stop that, and go back to frame one.

So by stabilizing the plate inspection becomes much easier to do. Next, we have to take at the look at the Matte Overlay. So we'll turn off the head. I am going to come down here and select the right leg for you, and we will turn on the Matte Overlay and then I'll scroll the viewer up so you can see the leg. Okay. I am going to turn the spline off, so that we're just looking at the Matte Overlay. The virtue of this view is it helps you to see when the matte is inside its short watch what happens as I single step through this.

We can see that the matte is actually cut inside the shoe and it's actually inside the calf up here. So the matte overlay view is good for showing you where your matte is inside or short. Now let's take a look at the premultiplied view. We will turn the Paint bucket off and this will show us yet a different aspect of our Rotoscope. So let's cruise through here. Oh there we are, you see this black edge that shows me where my roto is wide. I'll step through that, keep looking there, right here my roto is again way too wide.

So the Premultiplied view will show you that the matte is outside of the character while the Overlay shows you if it's inside. Last, let's take at the White Matte. I will turn this off. Let's go back here, turn on our head, re-home the viewer and turn the RGB off so we get a White Matte. Let me also zoom in on this. Again, we're stabilizing the plate with our head track and now we can watch the White Matte over the length of the shot.

Here, we are looking for the chattering edges and you can really see -- look at the head deformations here and this hair popping in and out that we saw earlier with the spline view is even more apparent. We will stop that. So there are four inspection techniques, the Spline Only, which will help you see jittery edges, the Matte Overlay to see if the spline is inside, the pre-multiplied version to see if the matte is outside, and the White Matte version which helps you to see chattering edges. By inspecting your rotos from the several different vantage points like this, you can be sure to find all of the problems before the roto supervisor does.

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This video is part of

Image for mocha 2.6 Essential Training
mocha 2.6 Essential Training

49 video lessons · 7736 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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