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Utilizing the more advanced AdjustTrack features

From: mocha 2.6 Essential Training

Video: Utilizing the more advanced AdjustTrack features

We saw in an earlier movie how to use the Adjust Track tools to correct for the small drift that can appear in the tracking data. In this movie we will take a closer look at some more features of Adjust Track. I am using the building tiltlup clip from the Lesson_02_Media folder. So we will start by drawing a shape then I will track it. As you recall there can be drift in the tracking data from the planar tracker. So the AdjustTrack tab has several tools to allow us to correct that, mainly the reference points.

Utilizing the more advanced AdjustTrack features

We saw in an earlier movie how to use the Adjust Track tools to correct for the small drift that can appear in the tracking data. In this movie we will take a closer look at some more features of Adjust Track. I am using the building tiltlup clip from the Lesson_02_Media folder. So we will start by drawing a shape then I will track it. As you recall there can be drift in the tracking data from the planar tracker. So the AdjustTrack tab has several tools to allow us to correct that, mainly the reference points.

Okay, we are all done tracking. One of the features of the AdjustTrack tab was whatever frame the playhead is on, if you click the Adjust Track tab that becomes a master frame for all four of your reference points. We need a planar surface here, so I am going to turn that on. And I don't need the spline, so I will turn that off. So when you jump to the AdjustTrack tab all four reference points will get a master frame. I will move this off here and let's zoom in a little bit and as I select through the different points, you can see they all have a keyframe in the same place.

So I am going to select this reference point, move the plahead onto the master frame and don't forget, you can recognize when you're on a master frame by the big red X. I will move the playhead off, X will all go away. Move the playhead back on the master frame X will all appear. Okay, I am going to adjust my master frame for this point right here. Let's say that's good and then move the playhead a little bit downstream. And now add a keyframe for this reference point by clicking on the Auto button.

Okay, I now have a keyframe right here for this point. What I wanted to show you is that when you set a keyframe for reference point, it is only for that one, none of the other reference points have a keyframe. This is different than the roto splines. If you move one control point on the spline, all of them get a keyframe. This is different. Now I will select my original reference point here. You saw me selecting the reference points by clicking on them, but of course we can also use these angle brackets down here and you can also use the Next button over here.

You have three different ways of selecting a reference point. The Set Master All button sets the master frame for all of the reference points. If I cruise down here and I click Set Master All, now all of them are master frames and what used to be the master frame down here, is now just another keyframe, like you can see the reference point change shape to keyframe right there and right here. We can zoom in a little bit to see that a little better.

Okay, so watch our little dot here. I am on a keyframe. I am off the keyframe. You see the difference. I am also going to stabilize the viewer, make it easier to see the action here. And we are on a keyframe the dot, and then we get on the master frame the big red X. So the Set Master All button creates a new master point for all of the reference points, but it does not clear any of the previous keyframes. However, let me zoom out a little bit, pane over a little bit, and I am going to move several of these guys out.

The Reset button however does remove all of the keyframes and resets all the reference points back to the corner of the planar surface. You can see now that with this point here selected, I have no more keyframes. So the Reset button will do three things. First, it will reset all the reference points back to the corner of the planar surface, two, it will make that a master frame and three, it deletes any keyframes that are on the timeline. All right! So every one of our reference points now has a master frame on the same frame of the timeline, but, let me move this guy here.

If I move the playhead down the timeline here, and I click Set Master, that has made this the master frame for only this reference point. The old master frame back here is now a keyframe. You can see them light up with the keyframe, but the other points all are master frames. So use the Set Master button, if you want to change the master frame for one selected reference point. All right! Now let's take a closer look at multiple reference points. So I am going to pan in here, zoom in and we have the viewer stabilized, so we can keep our eye on the action.

Well, this is my reference frame. So I will move over to the old control point and re-center the reference point. Now frequently the reference point that you have chosen will either become occluded or even go out of frame. So to cover that base, we have the ability to spawn additional reference points, and the way we do have is, we select New Ref and then we can put a new reference point in the end of the location. He gets his keyframe right here that says he is a master, so he got the big red X.

If I move off, we lose the X and we get the dotted line. That means he is inactive. If I move back up here, we get his master frame right there. All right! So I will come forward a little bit more and I am going to select New Ref again. So I spawned respond a third reference point and he gets a keyframe too. All right! Here is the drill. This reference point is active until it finds the keyframes for the next.

Now they are both active for the overlapping frame, but if I go one frame past, this is now in control and the previous one turns to a dotted line. So the dotted line is inactive and the solid line is active. If I go forward to the next master point, both reference points are solid for the one overlap frame, but if I move the playhead past, the old one becomes inactive and the new one takes over. So this is how you can tell which point you're working with and you can see how that's a handoff between the reference points.

Now this would be a good time to come down here and look at the View features. These buttons all pertain to the reference points. If we turn off Inactive Traces, the two inactive dotted lines disappear. If I turn off Unselected Traces, only the currently selected trace will be visible and the other two are hidden. All of this is to help clean up the workspace. We will put those back. And the last one is the Search Area which is the little rectangle around the current reference point position.

Well, turn that back on. The contents of the search box being what shows up here in the zoom windows to help you line up your reference points. Next is this Delete button down here. This Delete button will delete the currently selected reference point. So, the one on the right is selected, I click Delete and it's gone. I will select this one, click Delete, its gone. However, I only have one reference point left. If I attempt to delete that one, I get this little message. Get rid of that.

Next, let's take a look at the AutoNudge feature here. These set the size of the search box up here. There's 5 in X and Y for the Search Region Size. That's the pink outer box and that 5 is really how many pixels larger it is. So if I say set that X to 10, you will see the pink box got larger. So I have 10 pixels here and 5 up there. So this box defines the maximum distance that the search algorithm will look in trying to match up the reference points.

This bottom one down here is the size of the inner green box. Set that to 25. This defines the maximum area that it will match. So when might you want to adjust these? You might make this search region smaller if you had a regular pattern like a checkerboard and the reference point with constantly snapping over to a nearby similar looking landmark. You might make the region larger if there was a large drift in the tracking data, so when you hit the AutoNudge key it wasn't finding it.

And last is the Export Data. Again, we are going to take a look at Export Data in an upcoming video.

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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

 
Expand all | Collapse all
  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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