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mocha 2.6 Essential Training
Illustration by John Hersey

Moving the camera with parallax


From:

mocha 2.6 Essential Training

with Steve Wright

Video: Moving the camera with parallax

Before looking at advanced tracking techniques we first need to become aware of different types of camera moves because they have a big effect on how you track things. So the first thing you should do in starting to track a shot study the camera move. Here I've selected six different clips, each design reveal only one type of camera move so you can learn to recognize the visual clues that determine what kind of move it is. This first group of camera moves all introduce parallax into the shot because the camera's position changes in the scene.
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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

Moving the camera with parallax

Before looking at advanced tracking techniques we first need to become aware of different types of camera moves because they have a big effect on how you track things. So the first thing you should do in starting to track a shot study the camera move. Here I've selected six different clips, each design reveal only one type of camera move so you can learn to recognize the visual clues that determine what kind of move it is. This first group of camera moves all introduce parallax into the shot because the camera's position changes in the scene.

I've started by loading the Boom movie which you'll find in the Lesson_04_Meadia / Camera Moves folder. We play this and what we're seeing is the camera is on a Boom, moving up and down. It might also be on a crane but still called a Boom Shot. The key is that the camera's position in the scene is changing. In this case it's moving up and down, higher and lower. The change in the camera's position has introduced parallax between near and far objects.

For example, look at this flag. see how it's moving relative to the background. Over here this balcony is moving relative to that background, and over here this balcony is moving relative to the roof and up here. The smokestack is moving relative to the skylight. The second thing that this Camera Move introduces is perspective change, notice how the perspective of this row building is changing over the length of the shot and of course over here as well. The problem it's introduces is that this is one Co-Planar Surface that is the same.

This entire surface is on the same plane. Up to shutters which stick out there a different depth are not on the same plane, as a result their perspective change is a little bit different than the Windows overhear. If you try to track on this whole area the shutters would confuse the tracker. So the tracking would only be able to be done right here on this section of the Windows that was all on the same plane. We can see another co-planar example over here, these two window faces are on the same plane, but the balconies are not.

So their perspective change is different than the window phases. Okay, we'll stop this and let's take a look at the next clip. We'll click on New Project, Choose, browse to the Lesson_04_Media/Camera Moves and select the Dolly, click Open, click Ok. Here the camera is dollying into the shot, now the camera might be on a Dolly with rubber tires or maybe it's on a set of tracks.

Either way it's dollying into the shot, of course I'm ping-panging the shot here. And once again the camera's position in this scene is changing, and this is introducing parallax between our near and far objects. For example and this is a huge example, we can see the door relative to the buildings, the parallax is shifting them by huge amount, also these curtain with those buildings. The door to this wall, the curtains to this wall, so the camera has large moment in the scene.

It is introducing large movements in the objects relative to each other. Now there is also a perspective change if you look at the door on the right its perspective is changing but it's only changing on nearby objects. The camera's motion is very small relative to the building way in the background, so the perspective change on those is imperceptible, but there is a perspective change for example. On the top of the balcony with a boy is seated you can see that angle is changing slightly over the length of the shot.

So only nearby objects will get a perspective change, far objects will not with a Dolly shot. Okay, we'll stop this and let's load our next film, we'll click on New Projects, and you don't need to save this, choose from the Lesson_04_Media/Camera Moves/Tracking.mov, hit Open, and click OK. In a tracking shot like this the camera is actually moving sideways.

Again it might be on a Dolly but it is probably on a track. And once again the camera's position in this scene is changing so it's introduced parallax between near and far objects. We can see that for example back here, as the foreground trees move relative to the background buildings, and the screen tree relative to that far back building there. Okay, I re-home the Viewer. again it's introduced some perspective change in nearby objects.

For example, the brick pathway here where we can see nice rectilinear bricks, I think it's very easy to see the perspective change. So once again the perspective change will only be on foreground objects. We'll stop this and finish up by saying, the key observation here is that if the camera's position changes it introduces parallax making objects in the scene move relative to each other, and that reduces your options and makes tracking more difficult.

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