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Watching:

Working with large areas


From:

mocha 2.6 Essential Training

with Steve Wright

Video: Working with large areas

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.
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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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Watch the Online Video Course 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
Software:
mocha
Author:
Steve Wright

Working with large areas

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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