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mocha 2.6 Essential Training
Illustration by John Hersey

Keyframing splines


From:

mocha 2.6 Essential Training

with Steve Wright

Video: Keyframing splines

Later in Lesson 04 we'll learn various keyframing strategies for improving your Rotoscoping technique, but first we have to see how keyframes are actually created in mocha. You'll notice there's no green dots on the timeline that mark the keyframes, but if I select the control points with a Ctrl+A, suddenly we get our green dots. Also, notice the control point colors. If I move off a keyframe they lose the little white dot in the center. So when you see that white dot in the center of a control point, you know you're on a keyframe.
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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 splines

Later in Lesson 04 we'll learn various keyframing strategies for improving your Rotoscoping technique, but first we have to see how keyframes are actually created in mocha. You'll notice there's no green dots on the timeline that mark the keyframes, but if I select the control points with a Ctrl+A, suddenly we get our green dots. Also, notice the control point colors. If I move off a keyframe they lose the little white dot in the center. So when you see that white dot in the center of a control point, you know you're on a keyframe.

Now let's take a look at the Autokey button right here. By default it's on. So I can move to a new keyframe over here, select all the points, move them over, and I get a new keyframe. Of course, I can touch up the rotation a little bit, maybe select some points here and pull them down to get my new keyframe. Notice when there is no control point selected all the green dots disappear.

So you have to have at least one control point selected in order to see your keyframes on the timeline. Now there is another thing you'll want to know about. If we turn Auto-Keyframing off and then I move the playhead to a new frame, you'll notice that we can't edit the spline. With Auto-Keyframing turned off you have to set the keyframe yourself. So I can come down here and click on the Add a keyframe button and now I can pick up and move my spline and have a whole new keyframe.

So with keyframing turned off you have to set a keyframe before you can edit the spline. With Auto-Keyframing on you're good to go. Now if you have to do an undo and a redo you got two ways, of course. One, you can come up here and click on the Undo and here is your Redo, or using the hotkeys from the keyboard you can do Ctrl+Command+Z to Undo and Shift+Ctrl+Z or Shift+Command+Z to Redo. I'll switch back to my Selection Tool with the Ctrl+F or Command+F. Now let's take a look at the Uber-key down here.

I'm going to turn Auto-Keyframing on, because that's normally the way you work. Watch what happens when I turn on the Uber-key. Auto-Keyframing turned off. The Uber-key is designed to introduce a global offset in your spline like this. I'm going to move the playhead to any arbitrary location, but the key is I have the control point selected. Now watch the cursor. You see that funny looking cursor with the little arrows? That's telling you that the Uber -key is going to apply a global offset for the entire timeline on this particular shape, no matter where the playhead is when you do it.

So I'm going to just click-and-drag and move it up like this, and now if I move the playhead you can see that it's got a constant offset over the entire timeline. The purpose of the Uber-key is if you got a new version of the same clip, but it had been repositioned for some reason, you can use the Uber-key to do a global repositioning of all of your Splines so you don't have to redo every single keyframe. So I'm going to undo that with Ctrl+Z and turn the Auto-Keyframing back on, because that's your normal default setup.

Next, let's take a look at the keyframe controls. Keyframing has two different modes, Spline Keyframing, which is the default, and Point. With Spline Keyframing, if you touch one control point in a spline all of them will get a control point. In the Point Mode only the control points you adjust get a keyframe. So let's see how that works. You'll find the Keyframe Control right here in the View menu and then you have to turn on Keyframe Control and you get this new little menu here.

I'll turn off the Zoom window and re-home the viewer. So we can see that the Keyframe Control by default is keyframing by the whole Spline. Let's see what that means. I'm going to draw a little simple shape right here and if I select any point I will see it lights up on the timeline. I'll move the playhead to frame 2 and I'll just take this one control point and move it out. Now because we're in Spline Keyframe mode, every control point on the Spline got a keyframe.

So if I deselect, my green dots go away. I pick any other control point and demonstrate that that they have a keyframe on the timeline. I'll move the playhead to frame 3. I'll pick the three remaining points and then scooch them over to the one I've already moved. Now watch the behavior as I move the timeline back to frame 2 and frame 1. So you see the three control points were stuck in position, because they had a keyframe on frame 2.

Then they all jump over together on frame 3. That's in Spline Mode. Touch one control point, all of the control points get a keyframe. Let's try something else. I'll put the playhead back to frame 1, I'll switch the keyframing control to Points, draw a new Spline. Again, light up one control point, I see it on the timeline. I'll move the playhead to frame 2. Do exactly the same thing we did before. Move this control point out here and again he has a keyframe on the timeline, but if I select any of the other points, no keyframe on the timeline.

We'll go to frame 3. I'll pick the three remaining points, move them up there, and I'll deselect. Let me turn the viewer brightness down so that you can see those better. Now look at the difference in behavior of these two splines. So as I move these between their three keyframes you can see they have entirely different behaviors. The bottom one only has keyframes on frame 1 and 3 for the three outside points whereas the top one has keyframes on every frame for every point.

So that's the story about keyframing controls in mocha. Again, be sure to use the Uber-key carefully. It adds a constant offset to all your spline locations, so if you make a mistake, to fix it you'd have to turn on that Uber -key again and reposition your splines.

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