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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.
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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