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Using multiple splines in a layer

From: mocha 2.6 Essential Training

Video: Using multiple splines in a layer

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.

Using multiple splines in a layer

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.

Show transcript

This video is part of

Image for mocha 2.6 Essential Training
mocha 2.6 Essential Training

49 video lessons · 7756 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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