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mocha 2.6 Essential Training
Illustration by John Hersey

Keyframing: Extremes


From:

mocha 2.6 Essential Training

with Steve Wright

Video: Keyframing: Extremes

Body motions are full of accelerations, decelerations and changes in direction. When the target reaches an extreme in its motion and changes direction that's a very good place to plant a keyframe. For this video I am using the coffee cup clip from the Lesson_03_Media and the Extreme's Mocha file is in the Project Media folder. The first thing we do is study the clip and plan accordingly. We are going to be rotoscoping that coffee cup, so we want to find the extremes of the motion.
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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: Extremes

Body motions are full of accelerations, decelerations and changes in direction. When the target reaches an extreme in its motion and changes direction that's a very good place to plant a keyframe. For this video I am using the coffee cup clip from the Lesson_03_Media and the Extreme's Mocha file is in the Project Media folder. The first thing we do is study the clip and plan accordingly. We are going to be rotoscoping that coffee cup, so we want to find the extremes of the motion.

And there is actually several different extremes in this clip. So let's go find them, I'll stop the playback, jump to frame 1. I will scrub the timeline looking for the first extreme. There, right about here where the coffee cup changes its horizontal motion and starts to go up, so there is one. There is two, it reaches the top of the motion, there is three and then there is four at the end okay.

So let's do some rotoscoping on extremes. We'll start by turning on the little coffee cup shape that I made, select that. I am going to turn off the Tangents to make it easy to see. Let's zoom in and find that first extreme, so I were cruising through the timeline, and we get little closer, select all my control points. Okay, so I am single stepping through that clip looking for the change in direction.

And it's coming down, down, down, then it starts to do kind of a roll over to the side, I am going to call this, the start of this vertical climb, okay in this point, it's actually still going horizontally from the beginning of the clip. All right, so that'll be my extreme, so I'll pick up my shape and I'm not going to be placing this very precisely, because that'll just take way too much time fiddling control points. We're just trying to get the technique of keyframing in extremes, okay that's my first keyframe, so I'll zoom out, pan down and come up to find the other extreme here let's zoom in, we are going to try to get very precise, find out where that motion changes direction.

It's going up, up, up, up and now its going over to that, okay this is my last up frame right here. All right zoom out, grab our spline, bring it up here, zoom in position it, little rotation here, fine tune the position.

I don't want to spend too much time fiddling control points, because the cup has changed shape. It's tilted away from us, but we will make a few small adjustments here and call that good. We zoom out again, pan down and we look for our next extreme somewhere in here, zoom in, in single step looking for the action coming down, down, down, down well there it starts to turn, so it's got vertical motion here and then starts to roll into a rotation there, so we'll call this our last frame, our extreme.

Zoom out, pan down, grab our spline, zoom in, pan up, rotate and little bit of alignment. Okay, go home to the viewer. I'll select all of the control points, so we see the keyframes on the timeline and now I can jump back keyframe, keyframe, keyframe.

So we've got four keyframes at the extremes of motion. I am going to set the out point here, and I'll play the clip and even though spline lines up with the clip on our keyframes, you can see it's way off in all the frames in between. So let's go in and detail just one section finding all those accelerations and locking it together. We will stop this. Let's use this section here so I am going to go this keyframe, set the end point here go to that keyframe and set the out point there.

Now I expand the timeline, so we can focus on just this one section. Remember our strategy is always to divide and conquer, so we are going to work this little section. As we'll see real world objects accelerate and decelerate. The problem is the interpolation between keyframes is always linear, a nice straight linear motion. Now let's see what that means. I'll scrub through the shot and come here to the little and by they way that seems to actually kind of line up there in the middle, so I am going to lock this down and give it a keyframe, but because of the coffee cup's velocity is constantly changing, and the interpolation of the spline is simple linear motion in one frame it's widely off.

All right no worries. Let's use some Bifurcation to lock this thing down, not too bad. I don't have an exact little frame. Remember, we would like to have a exactly divisible by two or our keyframes, but that often doesn't happen in the real world, so let's position this guy here, we'll zoom in a little bit and then we'll go halfway here, position that.

These two keyframes are on very nicely but the in-between is off, so again, we've reposition that. I'll bounce between these two keyframes with the up and down arrows so you can see it's on very nicely on the keyframes, but we go to middle frame its off, all right so, touch that up. Then we come down to this section here, Again, if I bounce between the keyframes with the up and down arrows everything is fine on the keyframe, but if I come forward one frame, I am off again, because the accelerations and decelerations of the real world.

That frame is off to so, we get that guy on there. All right, so we're setup here. Now go work at the other half of the clip. Over here I'll try to pick a mid-frame, pan down and as we can see we're way off all right so, we position this guy here. Now I am going to bounce between these two keyframes with the up and down arrow keys and those guys are fine, but if I go to the in-between frame I am off okay acceleration again, okay we'll just do this okay.

All right, my last segment here, I will bounce between those keyframes up and down arrow they are fine, they are fine okay. I'll come to a middle frame way off all right, reposition that, come to that frame in-between these two here and of course again, way off and then we'll come over to the remaining little section, okay these two frames are off.

This keyframe is fine. That keyframe is fine, I bounce between the keyframes. Life is good. get on to the in-between frame life is not good so I'll have to adjust. Next frame again it's off so I'll tighten that up okay. Go home to the viewer, we'll play the clip okay we turn the Mattes on, play the clip see how it looks all right.

Now let's go look at the white Matte. I'll turn off the Mattes go to the clip pop up, so I'll select the Matte for coffee cup layer and now see my black and white matte. Let's turn on some Motion Blur and now we'll play our clip. Planting keyframe on the motion extremes will give your rotos more realism in their motion.

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