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Moving the camera without parallax

From: mocha 2.6 Essential Training

Video: Moving the camera without parallax

The second group of Camera Moves do not introduce Parallax because the camera's position does not change. However, some introduce a perspective change while others do not, let's take a look. I've started with the Tilt movie which is in the Lesson_04_ Media/Camera Moves. We play this and the key point here is there's no change in the camera's position. Therefore, this entire plate is all one plane. Now do you have to watch out for lens distortions around the edge, so you want to track right here in the middle in the sweet spot.

Moving the camera without parallax

The second group of Camera Moves do not introduce Parallax because the camera's position does not change. However, some introduce a perspective change while others do not, let's take a look. I've started with the Tilt movie which is in the Lesson_04_ Media/Camera Moves. We play this and the key point here is there's no change in the camera's position. Therefore, this entire plate is all one plane. Now do you have to watch out for lens distortions around the edge, so you want to track right here in the middle in the sweet spot.

There is absolutely no parallax, if you look between any of the building you see no shift in the position between objects, no matter how far apart they are. however there is a perspective change. As the camera changes from square on to the building to pointing up that building's perspective gets much, much more pronounced. This does not introduce a tracking problem but you have to be aware that there is going to be a perspective change, so we're going to want to turn on perspective in our tracking motion.

Okay, we'll stop this, let's go to a new project, we'll save, we'll choose, let's go to the Lesson_04_Media/ Camera Moves, and let's select the pan.mov, click Open, click OK. In a camera pan the camera is just sitting on a tripod rotating left and right. So there's no change in the camera position and all of the objects in the scene appear as one solid plane. However, the camera pan could be sitting on a tripod or could be handheld.

If it is handheld then not only is it rotating, but the cameramen is undoubtedly moving it so there could be small parallaxes introduced in the scene. So if it's a handheld pan, watch out for that. Again, watch out for lens distortion around the perimeter, and keep your tracking focused on the sweet spot here in the middle. There will be no perspective change on objects far away, but something that was very close to the camera you would see a perspective change. For example, imagine there was a fence very close to the camera pointing straight at it, and then the camera panned to the left and you looked down the fence.

In that situation, you'd see a major perspective change on the fence. All right, so let's stop this, and get our last example from the New Projects pop-up, and again don't save, we'll choose. Again from Lesson_04_Media > Camera Moves > Zoom > Open > OK. We'll play this, now this is a zoom shot, you can tell it's live because the trees in the background.

Again, there's no change in the camera position, so this entire plate would appear as one solid plane to the tracker. However, again watch out for the lens distortion around the Perimeter and stay with the sweet spot in the middle. And again because the camera is not moving, there is no parallax in the scene, check the relationship between this wooden bench and one of the background, or this sidewall relative to this bench here, or this sidewall relative to the window shutters, or the bush relative to this wall back here.

There is also no perspective change. It is exactly like you took a single photograph, and scaled it up. Of course many shots will combine these types of camera moves. For example, a Dolly shot with a pan or handheld might have them all. But by using careful observation you can quickly determine exactly what the move is and plan your tracking accordingly.

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mocha 2.6 Essential Training

49 video lessons · 7749 viewers

Steve Wright
Author

 
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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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