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Unlinking the tracker

From: mocha 2.6 Essential Training

Video: Unlinking the tracker

Ordinary point trackers have a very difficult time with either a long pan or a whip pan. With the long pan the tracking points are constantly moving out of frame, and with the whip pan everything is so motion blurred, that there is practically nothing to lock on to. Incredibly, a Planar Tracker copes with all these situations very easily. All we've to do is unlinking the tracking shape from its tracking data. I'm using the whip pan movie located in Lesson_04_Media folder.

Unlinking the tracker

Ordinary point trackers have a very difficult time with either a long pan or a whip pan. With the long pan the tracking points are constantly moving out of frame, and with the whip pan everything is so motion blurred, that there is practically nothing to lock on to. Incredibly, a Planar Tracker copes with all these situations very easily. All we've to do is unlinking the tracking shape from its tracking data. I'm using the whip pan movie located in Lesson_04_Media folder.

So let's see what we've got. Our mission is we want to track we want to track on this wooden target here. As I scrub through the shot, you can see it goes completely out of frame on both ends of the clip. Furthermore, it has a lot of motion blur and in addition to that there is a focus change. Here in the middle of the clip it's out of focus and over here it's much sharper. In addition to all that it has a terrible amount of noise. Let me push in and you can see all the noise in the footage. I'll rehome the Viewer.

Let's see how we would tackle this by unlinking the tracker. I'm going to scrub to the middle of the clip, putting my target right there in the middle. Then use the Forward Slash key to set the zoom 1:1. Now I go over my shape and again the tracker doesn't care if I go out of frame. I just need to keep it high enough to be above the heads and the hands and the cameras taking pictures, and I'm going to rename this Tracker. Now with the normal setup the tracking shape is connected to its own tracking data right here, Link to Track, so it's being linked to itself.

So the tracking data that it collects would be use to shift the tracking shape frame by frame. Let's see how that works. I'll track forward a little bit and stop. You can see that the tracking shape is being moved by the tracking data and by turning on Manual Track we can see the tracking point keyframes right here. So I'm going to delete the keyframes I've so far, and turn it back to Large Motion and now it's no longer connected to the tracking data. Now we'll need to do the tracking with an unlinked tracker.

So I go up to Link to Track and I say None. The tracking shape is no longer linked to the tracking data. All right, so let's watch what happens now. We'll track forward. It's still collecting tracking data but it's no longer picking up the shape and moving it frame by frame. If I select Manual Track I can see my keyframes right here for my tracking data. Back to Large Motion, click in the viewer and now pull the playhead back to here.

Select my shape so I can see which part I tracked and I'll pick it up from here and track backwards to the beginning of the shot. Tracking all done. I'll show you Manual Track one more time. Now we've keyframes for all the frames of the timeline. Turn that back to Large Motion and I'll click in the Viewer to refresh the timeline and click on the shape to reselect it. So I've got tracking data for the whole length of the clip but it's not moving the tracker shape at all.

All right, what do we do now? Okay, let's turn on the Planar surface and I'm just going to hide my spline and I'm going to adjust the Planar surface to line up with my target. You see the planar surface is always connected to the tracking data. It's only the shape that can be linked and unlinked from the tracking data, the planar surface cannot be unlinked. So the planar surface is always connected to the tracking data. So let's see what happens. Well look at that. We were able to track it all the way up to one edge and track it all the way back to the other side, out of frame, no problem.

We'll stop at here. Now let me try and explain how this is working. I'm going to turn my Spline back on, and my Planar surface off. So on a frame by frame basis Planar Tracker is picking up all of these pixels, then it shifts to the next frame and it compares the set of pixels between the two frames and decides how much and in what direction they move. But in this case, since we unlinked our shape it didn't move the shape. Now it takes all the pixels from this frame and compares it to the next frame and comes up with the amount of movement, and then the next frame, and the next frame, and the next frame for the whole length of the shot.

It's simply not repositioning the tracking shape with the tracking data frame by frame. We'll turn off Spline and turn on my Planar Surface again. Now we can watch it. While I conclude with unlinking the tracking shape from its own tracking data allows the Planar tracker to collect tracking data for very long pans and whip pans without the tracking shape going out of frame and needing to be repositioned.

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This video is part of

Image for mocha 2.6 Essential Training
mocha 2.6 Essential Training

49 video lessons · 7757 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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