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mocha 2.6 Essential Training
Illustration by John Hersey

Walking through the Layer Properties panel


From:

mocha 2.6 Essential Training

with Steve Wright

Video: Walking through the Layer Properties panel

I have restarted mocha, so let's load the lantern boy project from the File, Recent Files and select lantern boy. So, we can take a look at the Layer Properties. First, I need to draw a spline, so I will just click over here and close with the right mouse button. As I move the playhead, you can see that this spline is active for the entire length of the clip. Out point for each spline. I'll move the playhead up here to, let's say, Frame 5, come up here to the Layer Properties where you see In, and then we will click on that icon there and now the In Point is 5.
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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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mocha 2.6 Essential Training
5h 1m Beginner Sep 30, 2011

Viewers: in countries Watching now:

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.

Topics include:
  • Understanding mocha preferences
  • Drawing and editing splines
  • Creating grids for tracking awkward surfaces
  • Keyframing techniques for advanced rotoscoping
  • Making stereo 3D conversions
  • Stabilizing techniques for advanced tracking
Subjects:
3D + Animation Video Visual Effects
Software:
mocha
Author:
Steve Wright

Walking through the Layer Properties panel

I have restarted mocha, so let's load the lantern boy project from the File, Recent Files and select lantern boy. So, we can take a look at the Layer Properties. First, I need to draw a spline, so I will just click over here and close with the right mouse button. As I move the playhead, you can see that this spline is active for the entire length of the clip. Out point for each spline. I'll move the playhead up here to, let's say, Frame 5, come up here to the Layer Properties where you see In, and then we will click on that icon there and now the In Point is 5.

Notice that the timeline is turned gray here. I will move the playhead up here to let's say Frame 10. Here is the Out Point. I will click this icon and now the Out Point is set for Frame 10, and we have gray on that side of the timeline and as I move the playhead, notice that it appears and disappears with the In and Out Points. To reset the In and Out Points, simply click on this button here to reset the In Point and this one over here to reset the Out Point.

And now the entire timeline is colored red and the spline is active for the entire timeline again. To show you the Invert feature here, first I will have turn on the Matte Overlay. Up here where it says Mattes, just click that button and it fills it with red. Now if we click on the Invert button, it does pretty much what you would expect. This is particularly handy for drawing negative Mattes. For example, you draw a Matte around the window sill and then you hit Invert and then you get a matte for the entire wall, except for the window.

I will turn the Invert off, and now I am going to draw a second spline. Select my X-Spline Tool, click, click, click, click and close, adjust this over here. Now to help keep things clear, I am going to name this spline top, because that's the spline that is on the top of the layer list, and then this one here will of course be the bottom spline. So here's my bottom spline and here's my top spline. Now, if you look at the mattes popup, we have seen that the selected Mattes option is enabled.

So whichever Matte I have selected, that's the one that is lit up. But I can also choose All Mattes. So all of this splines that you have drawn, their Mattes will be displayed. The current one that's selected will be red and the unselected one will be green and clicking off to the side would deselect all of them, so everybody is green. So I can use these two splines to show you a blend mode over here. Notice how the two splines are summed together, right here where they overlap. They are added together. That's because, the top layer, his Blend Mode is Add.

If however, I set him to Subtract, now the top layer is subtracted from the bottom layer. This is particularly handy if you want to do something like a donut; you would draw one shape around the outside, a second shape around the hole. and set it for Subtract. So if I set the top layer for Invert, the Matte area goes outside here and subtracts everywhere from the bottom layer, except the overlap area. This would be equivalent to doing the intersection or the junction between the two Mattes.

We have three more functions over here, the Insert clip, the Matte clip, and the Link to track, but are views with tracking, so we will take a look at those a little later.

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