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The Planar Tracker only tracks one layer at a time, but you can have multiple splines in one layer for tracking targets that are fragmented. By the way, you can also have multiple splines on your roto layers as well. I am using the boom movie from Lesson_04_Media Camera Moves folder. Again, we always scrub through the shot first to determine what's going on. We also note the camel move and in this case since we are doing a boom there are major perspective change. So there will be parallax in the shot we are going to have to avoid and of course we will need to turn on perspective in the tracker.
So let me show you how those multiples spline thing works. I am going to select next spline draw one roto here. Then using this tool here with a little plus which adds a spline to the same later. Click that. draw a second spline over here. Now if I turn Mattes on. You see I have two mattes, but they are from the same layer. So this is one logical entity to the Planar Tracker. It's going to track in both of these red zones here.
Interesting thing about the second spline in the same layer, if I put one on top of the other, it cuts a hole. It becomes hold out map. This is how you might track a donut for example or you're tracking a monitor, but there's a picture playing on the screen so you do the second line to hold out for the moving picture and only track on the basal. So let's see how we will use this for the shot. I will delete that spline, come over to our shot, and zoom in.
I need to track the faces of this building, because I need several different rotos. one for each fa?ade. The problem is I have these shutters here and there are on a different plane than the face of the building. They're not coplanar. So they're going to introduce parallax, they're going to spoof the tracker. So I need a way to ignore those. I need to track around the shutters. Two approaches: I can draw one shape here and they get the Add a Spline to the Same Layer tool and draw a second shape over here.
The key thing to remember is that the tracker actually tracks in these red zones and will treat these two areas as one logical entity. one planar surface. There is another way that I could use the multiple spline technique. I will delete this layer. I will shift the playhead to frame 1. I will select an X spline and draw one big shape over the whole front of the building like so.
Next, I'll select the Add a Spline to the Same Layer tool and draw holdout mask around this set of shutters and again around these shutters here. Now the tracker will not look in this area. Again, because the shot has major perspective I am going to turn perspective on in the tracker. Now it will track forward. So the tracking data will not be contaminated by the parallax introduced by these two objects that are on a different planar surface.
Let's play this if this looks good. The track appears to be holding, but to confirm the accuracy of the track I need to use the planar surface and the planar grid. So I am going to turn off my Mattes, turn off the visibility of the splines, turn on the planar surface. We will line this up with our building faces here. Then we will turn on the planar grid and this allows me to match the perspective very accurately. So I will be able to line this up here and get the perspective down here good.
This edge looks good. Oh! This edge looks not good. So we will pull this one. The idea is that the planar grid allows me to check all over the entire surface to make sure that we've locked track, and again it doesn't matter which frame I am on when I line them, because it locks for the whole shot. So let's play that and go, yes, it looks like my tracker. It's holding very well. We'll stop that. Jump to frame 1, turn off the planar grid, and turn off the planar surface.
I will turn splines back on and now I am going to rename this as a tracker. So this is my tracker. I am going to lock it. So I don't actually change it. I turn off the tracking sprockets so I don't accidentally track it again later, and then we will hide the visibility. I'm ready now to create my roto-splines lines and hook them up this tracker. Let's push in a little bit. I need one spline for this face, a second one for that one, and then a whole bunch of shutter windows over here.
So first we will take an X spline, put it here for this one, and we will turn Mattes on just so we can see what we are doing. A second one, different spline here for this face. Now these are two different layers, which means they will rendered out separately. So I am going to rename this one, building 1. I will rename this one building 2.
And let's talk about rotos for these shutters over here. So I am now using the multiple splines on one layer for a roto. While these two shapes can be separate letters I want all of these shutters to be one shape. So I will use my X spline here on this window. Let's push in a bit to get a better view of this. All right and then again using the Add a Spline to the Same Layer tool, add one more time.
So let's pretend that's okay. Now these are all on one layer. So if I toggle the visibility they all disappear together. I will rename this, windows and deselect. Let's turn Mattes on for all the Mattes so we can see everybody. I've drawn my splines, they're not yet tracked, they're not hooked to the tracker. Again, the really cool thing about the Planar Tracker it doesn't matter what frame you're on you link your rotos to your tracker.
So you could move the playhead to whatever frame gives you the best view of your target for growing your shape. Then you can link them anytime. So let's start linking. I'll select bldg 1 down here Link to track pop-up, hook it to the tracker, watch it jump into place. Bldg 2, Link to the tracker and then the windows, Link to the tracker. Deselect, hold in the viewer, and play.
So when your tracking target is divided into several separate regions multiple splines on one layer will solve that tracking problem for you.
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