We saw how adjust track uses Master Frames and reference points to correct tracking drift. Here, we'll see that the reference points can be off set from the planar service and why this is such a great feature. So let's make sure our playhead is on frame 1 and let's grab an X spline. Now let's say our mission is we want to put a poster on this wall, so we'll select this area and we'll track it. Now the problem is that this is a pretty featureless area. With the Widows, we have lots of nice corners that we could line up our Planar Surface, but that's not true here.
Okay, we are all done tracking, let's zoom in, shift over, turn on the Planar Surface and play. Oops! Actually, I want to turn on the Stabilizing. So I'll turn Stabilizing on and resume the playback. The problem is the image has no sharp clear corners that we can line the planar surface corners up to.
So let's say that this is where we would like to have our poster on the wall and that's exactly right for this frame, but of course we have tracking drift on either side of this. So since this is the frame that I have the Planar Surface exactly where I want, I'll leave the playhead there and select AdjustTrack, making this the Master Frame. Don't forget, whatever frame the playhead is on, when you select AdjustTrack, that becomes your Master Frame. So let's take a closer look at what this Master Frame thing is.
I'm going to grab this reference point and move it over here and you will notice that as long as I'm on the Master Frame which you can tell by the Xs that you get on all of the control points right. If I move off, you lose the X. The big red X is your clue that you're on a Master Frame and the point is I can move my reference point anywhere I want and the Planar Surface doesn't arch, because this is going to be my master reference frame for which all other frames will lock to. So I'm going to position this on a target of interest.
Watching up here in the Master Frame zoom window I'm going to position my reference point on at easy- to-spot target like this. The whole idea is that you can select other parts of the picture that are much easier to lock onto. Now watch as I move the cursor off of that, the Current Frame drifts from the Master Frame, so I'll go to the first frame here and click Auto. Now watch your Current Frame when I click Auto. It snaps to line up to the Master Frame.
So now these two points are cool and now I have a nice smooth section between my Master Frame and my reference point keyframe at frame 1. So let's go to the end of the shot, well, go all the way down here and once again the Current Frame has drifted off the Master Frame, so I'll come over here and click Auto and align them up. I now have the entire Timeline locked down to that reference point. So this corner of the Planar Surface is now nice and study. Well let's take a look at this one here.
You'll notice when I select this point, I've one keyframe on the timeline. That keyframe is the Master Frame. This point, I have three keyframes, this is our reference point, Master Frame and the reference point. So each reference point gets its own separate keyframes on the Timeline. So I have to start by making sure my playhead is on, my Master Frame. Otherwise, I'll move the Planar Surface when I move the reference point.
So I'll pick a nice easy target, easy to find, easy to see right here. Next, I'll take the playhead in the beginning of the shot, select Auto and line up the Current Frame to that I'll pull the playhead to the end of the clip and select Auto again, lining up the end to the Master Frame, okay. Well, let's continue on. We'll select this point here, jump to the Master Frame, pull the soft one easily identified reference, let say the windows right here that's very nice, look at that, then jump to the first frame, click Auto, jump to the last frame.
Click Auto and I'm done with that point. I'll select the last point. Make sure I'm on my Master Frame, pull him off to a nice use easily track reference point, jump to the first frame click Auto, jump to the last frame, click Auto. Now all four of my reference points are locked onto different parts of the picture that are very easy for me to see and easy for the tracker to lock onto and this gives each of the four corners to the planar surface a nice steady track.
By the way you may have noticed when I clicked and dragged on one of these reference points we got this dotted outline, this green outline. This is mocha helping you to know that you have got your reference points in good locations. Watch what happens if I move this into a bad location, see it turned red. That means my four reference points don't describe a good plane. So by watching the color, you can check that you have got a good selection of your targets. There is a third color, a yellow dotted line which means you're in a gray area that's not such a good point, you always want to try to get a green outline when you choose your points.
There is lot more to Master Frames and reference points, so we'll take that up in Lesson_04_Advance_Tracking.
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