Join Nick Harauz for an in-depth discussion in this video Using Sapphire masks for advanced image manipulation, part of Sapphire for Video Editors.
- [Instructor] In the last movie, we got a sense for how Mocha is integrated in the majority of Sapphire effects in Version 11. In this movie, we're going to take a little bit of a deeper dive into Mocha and some of the other possibilities you have with various effects inside of Sapphire. First of all, in my Chapter 6_4 sequence, which I found from my Chapter 6 bin, I've got a shot here of our deer movie, and if you select it, press Shift + five, what you'll notice is that this glow is attached to the deer. And there's a reason for this.
If you go in and click on the Edit Mocha button under Effect Controls, you'll notice that someone has taken the time to actually roto this deer. What's interesting about this is the way that it was done is that essentially, the deer was divided into a series of parts. And from that layer here, someone keyframed it quite a bit to make sure that it was tracked. And then you'll notice that other layers were keyframed independently, and other ones in particular were attached to other parts of the deer's body to simplify the roto.
You can do extremely complicated effects by tracking various segments or breaking down an object into almost a paper doll style, or you're basically cutting it into certain parts, or what Mocha likes to call planes. There's a complicated example of something that you can do inside of Mocha. Let me just close that down just to save it and see that glow effect isolated to the deer, all because someone took the time to break this into parts. So hopefully that example just gives you a sense for what you can do with Mocha.
Now, next, what we're going to do here on this next shot is have some lens flares tracked to this car that you see here. Now, in order for me to do this, because in Sapphire Version 11, Mocha is primarily a mask-based tracker. So it isolates an effect to a certain part that you outline. The position tracking is a feature only in some effects. Under the Effects tab, I'll actually do a search for s_lens, and I'm looking for the lens flare auto tracker. Once I drag this onto the clip, you'll see that the lens flare is actually trying to auto track bright pixels in your shot.
That's not what we want. We want it to be on these headlights. With this clip selected, I'm going to go in right away and edit Mocha. This is a fairly short shot. It's 83 frames. I'm going to go to the very beginning, grab my X spline tool here at the top, and I want to click and basically make an outline, or a rough outline, around the right light. Double-click to close the shape. I'll press Control + A on my PC or Command + A on a Mac to drag this in to smooth it out.
And knowing here that it's layer one, I'll just call this right light. Now, I'm just going to change the fill to a green color. With it selected and I turn on the paint bucket, I can see it a bit better. But I'm going to leave the default tracking as set here. Translation, scale, rotation, shear, maybe just add perspective. So, and then with that, I'm going to go click on this track for button. You can see there that it holds onto that side relatively easily. Now I'm just going to lock this layer. I'm going to actually turn off the tracking wheel and repeat this step with the left light.
So I'll click on the X spline tool. And I could attempt, by the way, to link this light to the right light, but because this is such a nice and easy and fluid track, I'm, it's no problem with me just doing this again. Control + A to select all those points. And of course I can click off and on to adjust this point. And with that layer two selected, I'm just going to call this left light. Knowing that I'm going to tracking perspective in terms of the motion, I'm going to leave the default settings and then just track this backward and sees that it's done a pretty awesome job.
So now that we have this information, we are good to go to essentially attach some lens flares here. So let me just close out of Mocha and make sure to save my results. And here on the clip, we're actually going to go into the Mocha settings under Effect Controls by clicking on the disclosure triangle. And right now I just want to show Mocha only. This is the mask data that came from Mocha. It's really hard edged. So let's go up to blur Mocha and just drag that value until you're happy with the way that it looks.
So that looks pretty good to me. Now we're pretty much done with this layer. We need this information to show to essentially give another clip this data, this position data, so the lens flare then tracks along with it. In order to do that, I'm going to Alt or Option + click this shot. On the above shot under the lens flare auto track, I'm going to reset this. Now, before I tweak this, I do want to take the clip on V1, right or Control + click it, and nest it.
I'm going to call this nest Car with Mask. This is just so that the lens flare auto track sees it. Now that this is set up, I'm going to go here onto this now reset effect, click on the disclosure triangle for it, and under the track options, I'm going to change that from none to video one. And all of a sudden you should see that a light hits the right side of the car. And if I scroll, you'll see it does it really nicely.
In order to adjust the second light, what we need to do is scroll down until we see this value called Max Hotspots. If we change that from one to two, you'll see that now two lights come in on the screen. Now, they're affected by the luminant values in your shot, but through a few clicks, we were able to get these amazing lens flares tracked onto the car. Now, just to show you, if we scroll up and go to load a preset, as in, there are 147 lens flare presets.
You might want to play around with some of the options that are available to you to maximize how this looks on this car. Just kind of looking at this, I kind of like this deep purple look. You can get a preview for how it's going to look on the right-hand side. I will load that into Premier Pro, and my settings have been reset in some ways. I do want to scroll down and change that maximum hotspots to two again just to have both of those lights on the car.
And within less than 10 minutes, and sometimes as a video editor, I like to minimize my tasks if I'm going to do them in certain cases for clients to 10 minutes. I was able to do this track in that 10 minutes and get a pretty cool end result because of it and more bang for your buck. And now you can also just continue to play with that lens flare to maximize the way it looks on this clip and with the help of Mocha inside of Sapphire.
- Getting started with Sapphire
- Essential parameters
- Working with presets
- Adding transitions
- Creating photo-realistic lens flares
- Adding backgrounds and textures
- Building custom effects
- Working with Mocha