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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.
Another efficient keyframing strategy is to add keyframes on the frames with a maximum digression or difference between your roto and the target. I'll show you what that means here. By the way, I'm using the Insert.mov clip from the Lesson_03_Media folder, and I'm using the Max Digression.mocha file from the Project Media folder. Let's say we want to roto this thumb, so we'll start out by finding the most complex frame. So I'll Play the clip. Get it cached.
Okay, now I'll scrub through looking for my most complicated frame and it looks to be about frame 26. All right, so let's zoom in on that, and I'll set my In point here. Next, I want to find the next extreme so I'll just scrub through here looking for where that thumb comes to a motion halt. Looks like about frame 37 as I'm seeing the step forward and backward. So it coming to an end and then going forward right there on 37.
Okay, so we'll set the out point there. Then we'll zoom the Timeline to fill the whole Timeline with this short section. So we'll play and this is the section we're going to work on. Again, mark out short sections, divide and conquer. Okay, to save time I've already drawn a start spline here. So we've a keyframe on frame 26 and then one more down here at this end on 27. So we're going to talk about the keyframing strategies between these two extremes using Maximum Digression.
By the way, I'm going to draw the spline kind of loose to save time from all the control point twiddle. Let me position this up here a little bit so we can see them out in the frame. All right, so we want to find the frame where we have the maximum digression or difference between my target and my spline. So let's cruise along here. There is a big difference right there, but let's see if that's the maximum. Okay, so looks like my spline digresses from my target at its maximum on frame 31.
All right, so we're going to reposition everything. So first of all just using a nice translate trying to minimize control points, we wanted the least possible control point twiddling. So I'll translate the whole thing up here. Now I'm going to rotate it and placing the center of rotation about where the joint is, right about here, so that my rotation matches the motion of the object as close as possible. Okay, I'll reposition the spline down here. I've got good line up on this edge.
Now this joint has been bent so we'll select this joint and again putting the point of rotation where the joint is, bring those points in line and then finish my little final repositioning there. I'll select all the control points so I can see the keyframes on my Timeline. All right, I've a keyframe here in the middle and one at the beginning of this little section. So we'll find our next point of Maximum Digression. Srub through the Timeline, I'm going to detail this first section here.
So let's see -- this looks like it has the most digression. So I need a little rotation of the whole thing once again, center rotation right where the knuckle is, bring that up. Hopefully, I don't have to twiddle any of the individual control points. And again, he has rotated the tip of the thumb. Select those points, pivot point at the knuckle, bring it in and let's say we like that. Okay, now we'll scrub through looking for a next point of greatest digression.
Let's say that's good enough, and that's good enough. Okay, so we're done with this first section. Now we'll take the latter section here. Again, scrub through looking for a greatest point of digression and looks like right here on frame 35, okay. Again translate down, again rotate at the pivot point of the whole thumb right here and we'll translate it back up. So we get most of our points lined up without any point twiddling.
Again, the tip of the thumb has been bent, so pivot point on the knuckle, bring that in line there. All right, select all the points. We can see our keyframes, so let's say we like that, and I'll detail this section here looking for the most extreme. Okay, maybe this is the most extreme. All right, again I'm not bifurcating, I'm not doing it on twos, I'm simply looking for the frame with the maximum digression between my shape and my target.
Okay, we'll re-pull this up and this tip again gets a little rotation. This guy always moving his thumb, of course that's what he does. Okay that looks good. Okay, oh, we got some issues here. So selecting all the control points, do our re-pull there, select these and do a rotate here, get this frame lined up. Okay, now step forward.
Okay, let's say we'd like to put one more keyframe here at least on the fingertip, because of the very rapid accelerations. All right, let's say we like that and in here -- okay we've a little digression right here so we'll place one little keyframe here. I'll select all control points, move them into place. Select just the tip pivot point on the knuckle, rotate it in, maybe pull in the in points a little bit and again, I'll select all the control points so we can light up all the keyframes on the Timeline.
I'll turn the Mattes to All Mattes so that we can see a green matte and Play our roto. Okay, we'll stop that and jump to frame 1. So maximum digression is very effective for situations where you have organic shapes that are changing irregularly which is most of the time when working with people.
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