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Viewing mattes

From: mocha 2.6 Essential Training

Video: Viewing mattes

I've restarted mocha and reloaded the lantern boy project so we can take a closer look at the various ways to review and inspect your mattes. First, I need to draw a few splines, so I'll just draw couple of quick ones here, another one over here, and one more down here, so I can show you how to hide and show the splines themselves. A couple of very interesting and useful buttons up here; if we click this button, the splines all disappear. Now this popup shows you the mode by default All layers of splines will disappear.

Viewing mattes

I've restarted mocha and reloaded the lantern boy project so we can take a closer look at the various ways to review and inspect your mattes. First, I need to draw a few splines, so I'll just draw couple of quick ones here, another one over here, and one more down here, so I can show you how to hide and show the splines themselves. A couple of very interesting and useful buttons up here; if we click this button, the splines all disappear. Now this popup shows you the mode by default All layers of splines will disappear.

That means all splines. If we switch it to Selected layer, then only a selected spline will be appearing and we can select a different spline over here. Let's put it back to where the default is, All layers, and we'll take a look at this interesting button over here. This will hide and show the control point handles. Down here, the spline is selected. You see all four control point handles. If I turn that off, notice that the handles all disappeared.

Now this can be very useful. Sometimes you'd like to adjust your spline without all the handles in your way. Then when you're ready to do some serious work, you can turn them back on. Now the default is for all of the handle tangents to show up. You can switch it to Selected tangents and now only the tangent that you select, its control handle will appear. So we'll put that back to All tangents. As we saw earlier, we can turn on a matte overlay function by turning on the Mattes button and the currently selected spline will show up with the Matte.

If they're all deselected, of course, they all go out, unless we switch the Mattes to All mattes and then they all show up and the currently selected one will turn red. Click to deselect. Now the Matte Overlay fill color density is controlled right here with this Paint Bucket in this 0.5. We can adjust that up to make the Matte Overlay more dense or dial it down to make it more transparent. I'll put that back to default. The Paint Bucket offers another important function.

If you turn off the Paint Bucket, then you get a pre-multiplied version of your Matte. We'll see later how this can be very helpful for inspecting the quality of your matte and how close the edges come to your target. So with the Mattes turned on and the Paint Bucket turned off, we can come over here to the RGB button and now we can see all of our mattes. Of course which mattes we see will again be controlled by this popup. So here if I say Selected mattes then only the matte we have selected, will be shown, but back to All mattes.

Now I am going to zoom in to one of these guys to show you something and I am going to turn off the spline right here so that we can see the edge. The OpenGL render you see here will show you any feathered edges you may have, but not Motion Blur. Motion Blur can only be seen with a fully rendered matte. So to see the real rendered matte, we have to first turn the RGB back on, turn the Matte overlay off. This popup here shows you which clip to put in the viewer and this is where you'll see the fully rendered matte.

So we'll pop this up, we'll select Layer 3 and now you can see the anti-alias edges because this is a preview of the true rendered matte that would be written to disc. This is also where you would see a preview of your Edge Width and your Motion Blur which is over here in the Edge Properties which we'll be taking a look at next. So I am going to switch our lantern boy clip back on and rehome the viewer.

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mocha 2.6 Essential Training

49 video lessons · 7724 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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