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mocha 2.6 Essential Training
Illustration by John Hersey

Keyframing the AdjustTrack


From:

mocha 2.6 Essential Training

with Steve Wright

Video: Keyframing the AdjustTrack

Now let's do it together this time with the building tilt-up clip, so you get some hand-on experience and we'll add some more information about the adjust track feature. First we'll just draw ourselves a little tracking spine here and don't forget to set the Motion to Translation only, so we get this much drift as we can to work with and we'll track it forward. Mocha's Planar Tracker is so dazzlingly good that even by tying one hand behind its back like this we still get some remarkably stable tracking data, but this will give us a little drift to play with.
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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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mocha 2.6 Essential Training
5h 1m Beginner Sep 30, 2011

Viewers: in countries Watching now:

mocha has always been very popular as a tracking tool, but with the rising interest in stereo 3D conversion, its rotoscoping capabilities have become a favorite player in that pipeline and sales have soared. In this course, Steve Wright covers the basics of operating mocha, as well as advanced tracking and rotoscoping techniques. The course also covers the mocha/Nuke stereo 3D production pipeline in detail.

Topics include:
  • Understanding mocha preferences
  • Drawing and editing splines
  • Creating grids for tracking awkward surfaces
  • Keyframing techniques for advanced rotoscoping
  • Making stereo 3D conversions
  • Stabilizing techniques for advanced tracking
Subjects:
3D + Animation Video Visual Effects
Software:
mocha
Author:
Steve Wright

Keyframing the AdjustTrack

Now let's do it together this time with the building tilt-up clip, so you get some hand-on experience and we'll add some more information about the adjust track feature. First we'll just draw ourselves a little tracking spine here and don't forget to set the Motion to Translation only, so we get this much drift as we can to work with and we'll track it forward. Mocha's Planar Tracker is so dazzlingly good that even by tying one hand behind its back like this we still get some remarkably stable tracking data, but this will give us a little drift to play with.

Okay tracking is done. So let's first let's rename our spline, so we call this guy Tracker and we'll turn tracking cogs, so we don't accidentally track it again later. With the Tracking Spline selected, we can now turn on the Stabilize future. And when you play the clip it'll keep that tracking spline lock to the centre of the frame very nice. We'll stop let's zoom in to get a closer look, so we can set planar surface again make sure your playhead is on Frame 1.

Normally you can set the planer surface on any frame number you want, but this time since we want to do the adjust track, we want to set it to be spot on Frame 1 so that we can correct the drift over the length of the clip. All right, so we'll turn on the planar surface and once again, we'll line that up very carefully. So we have placed it on a target that's very easy to see that it's on or off, okay, down here at the lower right hand point and the lower left hand point, there.

Now when I play the clip you can see the drift we have in the corners. Okay so that's we're going to fix with our adjust track, we'll stop that and go to Frame 1 again. The reason we need to be on Frame 1 is this is the frame that we set the planar surface. Theoretically, this is the frame where the planar surface lines up most exactly over the whole like the clip. We want to be on that frame because when we click on the Adjust Track tab the current playhead position becomes the Master Frame.

All of the drift will be corrected relative to this frame. So we want be on the same frame that planar surface is most perfectly lined up on. Again, we see the axis for the Master Frame and if I move the playhead off the axis disappear, so if you are ever looking for the Master Frame just look for the big red axis. Okay, now we're ready to select our reference points and line them up. First of all, I like to show you a couple of different ways to select them as you saw before we can click on them like this, but there's another way down here these little angle brackets.

This is the lower right reference point, the lower left, the upper left and the upper right, you'll see shortly how this can be a much faster way to work. Okay to set a keyframe for our reference points we'll drag the playhead all the way to the end of the clip and you can see in the Current Frame window compared to the Master window, how much we're drifting over the length of the shot, so I'll go to the last frame, I'll select the reference point in the upper left-hand corner it doesn't matter which one.

Now I'm going to show you three different ways to line it up with the Master Frame, watch the Current Frame window as I move the point around, so I want to set this to match the Master Frame exactly okay. Okay I'll select the upper right-hand corner, this time, I'm going to use a different method to position it. Down here where the bracket buttons are for selecting the different points, we also have this auto button. Watch the Current Frame window right here when I click on the Auto button.

When you click the Auto button, it'll automatically shift the current frame to match the Master Frame using feature matching techniques. Okay I'll go down here and select the lower right hand corner and click Auto and then I'll select the lower left hand corner to show you the third method in addition to the dragging and dropping and the Auto button we also have a Nudge feature, you see here the left, up, right and down buttons okay. So I can click on the right and each time I click, I'm going to move it to tenth of the pixel, so I'm going to click Right, Right, Right, Right, Right, Right, Right, Right, Right you see it drifting and I'll select Down, Down, Down, Down, Down, Down to get a match.

So three different ways, drag it, the Auto button and the Nudge feature. Okay, I've select the upper left-hand corner reference point and you can see now the master frame and the current frame line up very nicely. The current frame of course is the end of the clip, but watch what happens as we scrub through the shot. There is some drift. So the ends lined up last frame, first frame, but in the middle, we have some more drift, so I'm going to scrub through this and find the optimal point right there and now I'll set another keyframe for this location.

To do that I'm just going to click the Auto button and bang it's snaps too. Then I'll select the upper right hand corner and see he's off a little bit click Auto and now the lower right, click Auto and now the lower left, click Auto. Okay, now I have three keyframes or rather then master in two keyframe over the length of the shot and you can see in the Current Frame window how beautifully locked on that is, I'll switch back to the Track tab and now when I want to play the clip my planar surface is locked on over the whole length of the shot with no drift at all.

We'll stop that and I will go to frame 1. Now we can draw in a Roto Spline and hook it to the tracker, so I am going to turn off the planar surface, I'll actually hide my tracker, I don't need it any more and I'm going to draw a nice tight roto here on this window very careful, so you can see any drift at all, okay I get this lined up nice and square. Okay, so I drew it on Frame 1 because frame 1 is perfectly locked with a planar surface and its drifts over the length of the clip, and now I'll rename this window roto.

Now all I have to do is link the Window Roto to the tracker. So with Window Roto selected, I come down to link to track pop-up and I'll select Tracker, but I did not check the link to adjust the track. As a result I've linked it to the raw tracking Window Roto is drifting off target okay. So what we need to do to make it use the adjusted track data, we've to be sure and click on the link to adjust a track.

Now watch much better. I set the playhead to the frame 1 and re-home the viewer. The moral of the story here is to be sure to link your rotos to the adjusted track of your tracking splines.

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