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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.
For large areas, you want to think in terms of separate shapes for each edge or even a portion of an edge with a simple core shape to fill in the center. Let's take a look. First I will turn off all these arm shapes and I have already drawn some shapes here for us to look at. Now I have already deleted the arm shapes in your copy of the body.mocha file in the Project Media folder. Okay, first let's take a look at the clip because we always want to very carefully study our target before we do anything.
I will zoom in here. We are working on the torso here and we are going to assume that we have separate shapes for the legs, separate shape for the shoulders, and the arms and we want a matte for the torso area right here. So we've got a fluttering shirt, changing shapes frequently, so let's see how we're going to affect this one. I'll stop that and I have created a left torso shape, so I'll turn off the Matte. Here is the online, I'll play that.
So you can see all it does is it addresses this one edge right here, nothing else. The nice thing about doing one shape like this is, if we ever have to start over, all we do is throw out just this one shape, not any work we did for other parts of the body over here perhaps. Okay, we'll stop this and look at the torso right-side, here we go and again this shape just covers this local area right here, again I don't care about the arm or the shoulder area or down here in the pants, those would be done as a separate element.
So by keeping the shape restricted to just this one little section of the edge here, I have minimized my cost for other parts of the shape that I might have to throw away or animate later. And in some cases, we might have even broken down these edges into 2 or 3 separate shapes. Okay I'll stop this, let me turn on the Mattes and I will turn off Splines and I will turn on the core matte, there. The key to the core is that it overlaps the two edges, but leaves no cracks or holes itself.
So let's see how that looks as a white matte. We'll turn the paint off and the RGB off and I will play the white matte for you and again we want to double-check to believe no black cracks anywhere in the matte. Okay, let's stop that, I'll put it back to the first frame, home to viewer, bring back our clip, I'll reposition the Layer Controls here to bring the arm splines back in. The next thing we need to think about is selecting the start frame for each shape.
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