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mocha 2.6 Essential Training
Illustration by John Hersey

Keyframing: Straight ahead


From:

mocha 2.6 Essential Training

with Steve Wright

Video: Keyframing: Straight ahead

Keyframing on twos or some other regular value is often referred to as Straight Ahead keyframing, although you certainly could keyframe backwards using the same scheme. I'm using the Lantern Boy from our Lesson_01 _Media in case you want to play along too. He is a good candidate for a Straight Ahead keyframing because his head moves fairly regularly and the shape changes are not really abrupt. You'll find the straight ahead. mocha file in the Project Media folder. So I'll jump at the first frame. I've already drawn a shape. We'll light it up and let's zoom in and take a look at how to do some keyframing on twos.
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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: Straight ahead

Keyframing on twos or some other regular value is often referred to as Straight Ahead keyframing, although you certainly could keyframe backwards using the same scheme. I'm using the Lantern Boy from our Lesson_01 _Media in case you want to play along too. He is a good candidate for a Straight Ahead keyframing because his head moves fairly regularly and the shape changes are not really abrupt. You'll find the straight ahead. mocha file in the Project Media folder. So I'll jump at the first frame. I've already drawn a shape. We'll light it up and let's zoom in and take a look at how to do some keyframing on twos.

I'll select all of my control points, so you can see the keyframe here on frame 1 and then I'll move the playhead two frames, one, two and then reposition my spline on top of the head and it looks like that's a good fit right there. Deselect, check to see that the spline fits like it did on the first frame, here we are, here we are, okay I need to pull it back a little bit, so I am going to come back just a scotch there, okay. All right! Next, enable all the keyframes, go forward two frames, translate it over.

Now the head is starting to turn, so I was starting to get a gap between my spline and the side of the face. Also, because the head is turning away from us, we're starting to loose the sharp contours and the surfaces like smoothing out, so let's fix that with this keyframe. We'll zoom in a little closer. I am going to turn off the Spline tangents and adjust my splines like this.

So this edge is starting to get a little simpler as the face turns away from us. I am going to turn my tangents back on and I am going to select them all, and because I've adjusted the position, but not the slopes, I am going to smooth it out with Smooth and watch him twitch, boom! There we go, okay. So now you'll see our edges are getting a little simpler here with this frame. Okay, we'll select that, select our control points, pull out a little bit.

Now, when something is moving fairly regularly, you don't have to keyframe on twos, you could for example keyframe on fours, so let's try that. One, two, three, four and reposition, and again we're going to have finish our control points, because he is turning his head a little more and we are losing even more detail of the face. Okay and we'll go another four.

one, two, three, four. The whole idea is you always move forward in a number of frames that's divisible by two. The reason is and I'll show you shortly this allows you to go halfway or between your keyframes and you'll still have the option for keyframe that's right in the center. Okay, so let's make our shape adjustments here. Okay, I brought him just a little too close, so let me move that a little bit and this needs to come out a little bit.

Okay, let's say we like that. Now let's go back in in-between those frames that we did it on fours. So I'll select the shape, light up the control points so I've a keyframe here, a keyframe there and a keyframe here these are on fours so I'll always have a keyframe that's exactly halfway between the other two and if I am animating on twos, I also have keyframes in-between here. So let's adjust this keyframe. So I am going to tweak that over a little bit. Okay, I need to pull it on a little bit down here. All right! Okay, we'll select it, light up the control points and now I'll come halfway between these two keyframes right here, adjust that.

I will zoom out a little bit and I'll set the out point where this frame is and expand the Timeline, so we can ping pong and watch the action. You want a keyframe on values that are divisible by 2. That way you'll always have a midpoint between any two keyframes. All right, let's take a look at the white matte, so we turn on our Mattes, All mattes, turn on paint box, set it for white and play our animation.

I'll stop that and you can see as the boy moves to the right, the face is turning away and we are losing detail and you can actually see that in the evolution of the shape. Straight Ahead keyframing is best used with targets that don't have abrupt accelerations or changes in direction like this one. It also works very well if the target's outline changes reasonably gradually.

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