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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 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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