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Walking through the Edge Properties panel

From: mocha 2.6 Essential Training

Video: Walking through the Edge Properties panel

In an earlier video we saw how to pull out the feathered edge on individual control points. The Edge Properties panel over here, however, can set an overall edge feather for the entire matte, as well as unable motion blur. But first we'll need a Spline, so I'll grab a X Spline, draw a Spline here. Notice with the Spline selected the Edge Properties are all lit up. If we deselect, there is no selected Spline, they're ghosted out. So, we'll select the Spline again. To see how it works, we're going to need to see our Matte, so we'll turn the Mattes on, the Alpha channel off, and the Paint box off. We'll move down here and zoom in real tight.

Walking through the Edge Properties panel

In an earlier video we saw how to pull out the feathered edge on individual control points. The Edge Properties panel over here, however, can set an overall edge feather for the entire matte, as well as unable motion blur. But first we'll need a Spline, so I'll grab a X Spline, draw a Spline here. Notice with the Spline selected the Edge Properties are all lit up. If we deselect, there is no selected Spline, they're ghosted out. So, we'll select the Spline again. To see how it works, we're going to need to see our Matte, so we'll turn the Mattes on, the Alpha channel off, and the Paint box off. We'll move down here and zoom in real tight.

To see the Edge Width, I'll turn off the Spline display, and now we can see the hard edges. We'll start with Edge Width. Whatever value is in this window, you have two modes. You can either set it to that value, so I've set the Edge Width to 3, or you can add that value. So, I've added 3, added 3, added 3. If I change this to 5 and click Set, now I have set the width to 5. So I can add 5 to the Edge Width several times, so I can show you this neat feature.

If I put in a negative 2 tab, I click Add, it'll actually subtract 2, and I can walk down to the feathered edge a little at a time. If you want to eliminate the feathered edge, then just the Edge Width value to 0, then select Set and that will set the Edge Width to 0. Now I'm going to turn the Splines back on the show you this feature. If you have one or more Splines selected then your Edge Width will be applied just to those. This will set those to 5.

I'll select these two and I will Add 5 and Add 5. I'll deselect all control points, and set the Edge Width to 0, so I can show you about a single feathered point. I'll select the Edge tool and pull out one control point. Now with this one control point selected, if I set the Edge Width to 5 and then say Add, it will add 5 to just that one feathered point. And if I ever want to set a feathered control point back to 0, just make sure you've selected that point, set the Edge Width to 0, and click Set.

Now let's take a look at the Motion Blur. To do that I'll need a little motion. So I want to move my playhead to Frame 2, click to deselect all control points, then I'll use Q to move the Translate tool, and Shift my Spline over. I've got two frames in animation. If I turn on the Motion Blur, nothing happens. The reason is with the OpenGL render like this, you don't see motion blur. You can see feathered control points or edge width, but not motion blur.

To do that we're going to have to look in the clip pop-up list. So first, we have to put the viewer back to RGB, turn off the Mattes display. Then, we come over to the clip pop up and we select the Matte for Layer 1. That's the clip we want to see. Select that, and now we're seeing the fully rendered matte, including the motion blur. I'll turn Motion Blur off and on, and again, I'm going to turn the Spline display off, so we can see what we're doing better.

Some of the Motion Blur adjustments: the angle, 180, that's a standard film camera. 180 degrees shutter is typical and average. If you want to cut down on the amount of motion blur you lower the angle, so let's lower the angle let say 45 degrees and now the motion blur is recalculated much smaller. If you want to go bigger, you'd set that to maybe 300 degrees and now the motion blur is dramatically increased. The phase and quality parameters are not yet hooked up in Mocha 2.6. Now let's take a look at the Overlay Colors and see how we can use those, but let's go back to our Lantern Boy and re- home the viewer with the asterisk key.

I'll turn my one Spline back on and then I am going to need a new few more, so I'll draw couple of more Splines here, and here, another one here, and one more right there. When I deselect, all of these are purple. They get their color purple from the chip over here. I like a little more room for my layer list so I'm going to delete the layer properties out of here. Don't forget, we can bring them back right here, Layer Properties, there they are, but I like to see my entire layer list. I'm also going to darken the view down, so we can see our colors a little better, so I'm going to turn that down.

All right, so this purple Spline gets its color from this chip, which if I select it, has inherited it from here, the Unselected color. To change it, I just click on this chip, I'll select the Cyan color, click OK, and now when I deselect, this is colored Cyan, and this chip is Cyan. I'll do the same thing to Layer 2. Click on the unselected points, select Cyan, say OK. There. I've got two that are Cyan. These three here, I'd like to change them to a different group. So I can select from the screen, for example, click the Unselect Chip. I'll make them Orange. Click OK.

Select the next one, Unselected> Orange>OK, one more, Unselected>Orange>OK. Now I have two groups: a Cyan group and an Orange group. Now if you have a really large, complicated job, you might need a lot of different colors so you can actually dial up your own colors and make a palette like this. I'll select Layer 1, select the Unselected chip. We'll go over to the color picker here.

Now here I can dial up any color that I want, so I'll select a big deep blue, I'll click and drag that chip down here onto the pallet. Now, when I click OK, that's turned deep blue. I'll select this one, the Unselected chip, and I'll just click on that pallet chip that I made. Click OK. Assigning colors to groups of Splines like this can help you keep a large job much more organized.

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This video is part of

Image for mocha 2.6 Essential Training
mocha 2.6 Essential Training

49 video lessons · 7850 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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