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Offsetting reference points

From: mocha 2.6 Essential Training

Video: Offsetting reference points

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.

Offsetting reference points

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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This video is part of

Image for mocha 2.6 Essential Training
mocha 2.6 Essential Training

49 video lessons · 7719 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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