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mocha has always been very popular as a tracking tool, but with the rising interest in stereo 3D conversion, its rotoscoping capabilities have become a favorite player in that pipeline and sales have soared. In this course, Steve Wright covers the basics of operating mocha, as well as advanced tracking and rotoscoping techniques. The course also covers the mocha/Nuke stereo 3D production pipeline in detail.
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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