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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.
We saw in the previous video how the stabilizing feature of the viewer up here will hold it steady in translation and zoom to make it easier for roto scoping inspection. An even more capable stabilizing tool can be found down here on the stabilizing tab, not only will it lock down all axis of motion, but you can also export the stabilizing data to your favorite program. I'm using the cellphone clip from the Lesson_02_Media folder. So let's draw a tracking spline. I am going to rename this as my tracker and I am going to track this with Perspective on, and we will track forward.
Okay, tracking all done. I will turn on the viewer's Stabilize feature. Let's zoom out a little bit, so we can see the action better and we will play that and you can see that its attempting to stabilize the picture and translate and zoom, but there's no Rotate or Perspective or anything else. We will stop that. While this is very helpful for roto scoping and inspection there is an even more capable ability down on the Stabilizing tab.
So let's go down here and click on Stabilize. The first area to look at here is the Motion area. This is where you choose what kind of motion will be stabilized. By default it only takes the translation in X and Y out. So we will play that and watch the edge of the frame. Let me zoom out a little bit here. So you can see it's only shifting the picture left, right, up and down. We will stop that. Normally you are going to want more stabilizing for your target with that. So we will just turn on Rotation.
Now you can see its actually rotating the frame in order to keep the target steady. Okay and we can continue with Zoom and Sheer and Perspective. If you want to lock them all down, then simply select All Motion. That will stop motion in all axes, Rotate, Scale, Zoom, Sheer, Perspective, everything. And we will play this, and now you can see the tracked area is very, very steady. We will stop that, let's zoom- in, see that again up close.
I want to play it with the All Motion selected, and you can see how steady. Now there's still a bit of a drift to it. Well, let's see where that comes from. Let's stop, down here in the smoothing area where it says number of frames 10. This means it's going to average 10 frames together. So this is how much smoothing you are going to get. You can turn this number down if you want a little less smoothing, turn it up if you want more. However, maximum smoothing here locks the target for the entire clip, rock steady.
Let's play that, and look at this area here now, which is completely locked off, steady as a rock, and we could now do a roto scoping much, much easier this way. We will stop that. We also have an Export feature here, of course, which we will be taking a look at in our Export video coming right up. The next feature we want to look at is the Frame List. I am going to rehome the viewer, so you can see the action. By default, when you stabilize the plate, it's being stabilized around frame 1.
Frame 1 is the reference. All of the other plates are moved to hold steady to frame 1, but we could change that. Suppose I wanted this frame to be the reference. I can come down to my Frame List and click Plus and the current frame number is entered into the Frame List and now this becomes the reference frame and all frames on either side of it are moved to match it. Another option is to set a frame range in the Frame List. So I can come down here and I will go frame 1,100 return.
That means I want frame 1 to be one reference. You see how the frame is lined up, as well as frame 100. There, it's also lined up. So what we get is a smooth interpolation between those two frames, you see. The last tab to know about is the Range tab. Here you can set the first and last frame if you only want to stabilize the frame range, for example, 25 to 50. Okay, we have got our plates stabilized. We are happy with that. So now let's draw a roto spline and see how we hook in our roto work.
I am going to select a draw spline tool. You will notice that it kicked out. The screen twitched and I am no longer on the Stabilize tab, I am now back on the Track tab. Okay, so I will draw my roto spline, touch it up here, touch it up there. Okay, I will rename this roto. Now, notice I go to the Stabilize tab and nothing happens. It's not stabilizing anything, because you have to have a shape selected that has tracking data.
This roto spline has no tracking data until I hook it up to my tracker. Now, we can turn on All Motion and Maximum Smoothing and we can now see that the stabilization is in full effect with the roto spline. I can now do keyframe animations on my roto spline, moving anywhere in the shot, and when I'm done go back to the Track tab and I will turn on the Mattes for you, and all of that stabilization data has been inverted and reapplied to my roto, and it now moves in perfect sync with my tracked target. We will stop that.
The Stabilize tab allows you to control the nature and degree of stabilization, so you can find the best setting to assist your roto scoping work.
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