Join Ben Brownlee for an in-depth discussion in this video Picking the correct Corner Pin export, part of mocha 3 Essential Training.
Once we finish with our tracking in Mocha it's then up to us to export out that data and then use it in another application. If you're working in Mocha Pro you do have some rendering abilities so you can do inserts directly within Mocha. If you're working with standalone Mocha AE or the bundled version of Mocha AE with Creative Cloud, then you don't have those options. What we do have, though, is we have the ability to export out that tracking data in a load of different ways. Let's converse, so we've got three layers.
We have our box front track that is all nicely tracked in, and we've got our surface set up properly on the edges of the corner, there. Now just hit the asterisk on the number pad, to bring up the viewer fit the fill. With the right layer selected, in the layer controls, we'll come back down and export out our tracking data. And again, depending on which version of Mocha you're using, you'll have different tracking options here. Everyone will have the After Effects options here. And you move up to the After Effects stand alone. You'll have some of the other things, the motion, the final cut, and if you go up to the pro then you have everything pretty much including you know going out to, avid going out to Autodesk products going out to nuke.
We're going to focus on the After Effects part here, and because we're looking to do an insert here, we're looking for the corner pin type of tracking data. Let's take a look. We have three different types of Corner Pin Tracking Data. We After Effects CS3, Corner pin, and as it says we would use if we were working with the worst of After Effects, that is CS3 or older. And the big difference that happened after CS3, is that Adobe changed up the pixel aspect ratio for non-square pixel footage.
So for PAL and NTSC stuff, the pixel aspect ratio was corrected, but that meant that all of the bits of software that were sort of relying on the old pixel aspect ratio had to change things up. And that's what Mocha did with this bottom one here, which is After Effects Corner Pin Supports Motion Blur. So this is the one we would use for CS4 and above, if we wanted Motion Blur directly on our footage. We do have another option, that is Corner Pin Data Only. And this is for when we're taking out Corner Pin Data for Red Giant Warp or to use with excellent Mocha import plug-in.
This just gives you a few more sort of options there. But as the name says, it is only the Corner Pin data. And unless you are taking it out to a Corner Pin plug- in that specifically supports Motion Blur, you won't be getting any of that stuff. So for this particular type of insert here, we want Motion Blur. So, I'm going to choose the, After Effects Corner Pin Supports Motion Blur. We don't want to check any of these boxes here. We don't want to invert or remove lens distortion. And to get that data into a readable format, we can do one of two things. We can either save it out to a text file. So we have that copied and saved.
We can email it around or just save it next to our footage in a nice sort of safe sort of place. Or we can copy it to the clipboard. So, if we are going to use it immediately, let's just copy it to the clipboard. And now we've popped into After Effects, let's come in and just select our footage on the timeline. Go up to Edit > Paste. Let's take a look at that. Well, things don't quite seem to be doing exactly what we're wanting them to do. We can see we've got our corner pin. If I click on my effects control, I've got my corner pin there.
In fact, if I come down to the clip on the timeline and hit u, I've got a whole load of key frames going on here. And yet it hasn't magically fixed my shot. There's a couple of things going on here. Let's go Edit > Undo. Of course, with this type of corner pin when we're doing an insert, we wouldn't apply it to the layer itself. What we would apply it to is the bit we're inserting. So let's come in and go to our replacement layer here. Bringing that in, come in, and now do the same thing. Hit Paste. Things still aren't looking quite right.
We've got our corner pin going on, but it's sort of offset and not in the right place. And let's undo one more time. Now the reason for that is our insert isn't the same resolution as our main footage here. And it has to be, for that corner pin data to work. And it doesn't matter if it's too big or too small, here's what we have to do. Make sure the insert shot is selected, then come to Layer > Precompose. And we will call this one replacement corner pin precomp. And I want to move all of the attributes into the new composition and open that new composition there.
So I hit OK. And it creates up a new composition for us, that is, that is same size our main composition, so it's 1280 by 720. And here we select our footage one more time, go to Layer > Transform > Fit to Comp. And that will then stretch that down into what it needs to do so that it matches our Comp size. So I can close that composition now, and here we are we have got inside our main composition, now, lets see what happens. Edit > Paste.
It fits, fantastic, now lets play it back. Okay, now, it's not quite fitting in, it's, it's not looking as good as it did in Mocha. And there is an extremely simple explanation for that. In Mocha if we have a look at our clip settings, we can see we've got our width at 1280 by 720, so the same as our After Effects composition. But, we come over to the settings, we have a look and see that our frame rate is set to 25 frames a second.
Perfect, but let's pop into After Effects again. In After Effects, let's select our main footage layer. And you can see by default there, it's taken that to 30 frames a second. And that's because in our After Effects preferences, we go to Edit My Preferences > Import. Our sequence footage is coming in at 30 frames a second. Well let's change that to 25 or whatever standard of footage that you're normally working with. I'm working with 25 so I'm going to hit 25.
Hit OK. So that's going to be useful for the stuff we bring in afterwards but not really for this shot. So if we've made a mistake at that point, it's very easy to change it again. I'm just going to right click on my footage, Interpret Footage > Main. And, then under frame rate, I can assume a frame rate of 25 frames a second. And all this does, it just retimes my footage. There, so you can see, now, it's still playing back 125 frames, but it's just playing 'em back at 25 frames a second. Let's come into my composition.
Change composition settings as well to 25 frames a second, hit OK. And now everything should fit, and it does, of course I do have to extend out my footage a little bit, and because we've got pre-comps, going to extend those out as well, but, let's change that, well, actually just change that to 25 frames a second as well, and extend out my still there. Come back in here and you can see that, is now working and fitting in nicely. So those are a couple of very common things people get wrong when they first start exporting footage and then start wondering why things aren't going right.
And there's a top three generally speaking. the first one is not having your CTI, your bar here, placed on the timeline at the start frame, where you want to paste the information in. Because, After Effects will paste our key frames at whatever point, the CTI, is this current time indicator is currently sat at. So we've got it sat over there. Of course, things are going to be off. In fact, even a one frame offset is going to be enough to to wreck most of our hard work. So number one is not pasting key frames at the right place.
Number two is having the wrong pixel aspect ratio. So in Mocha, that can mean looking at the settings here, and having a wrong pixel aspect ratio going on, on the, the footage here. So it's taking out tracking information in the wrong pixel aspect ratio. Or, of course, when we come to exporting out that tracking data. We choose the old CS3 corner pin data. If you're working with standard definition footage, that's definitely going to throw things off. And number three of the most common problems when bringing in data is you've got your frame rate wrong. If you tracked at one frame rate in Mocha which was the wrong frame rate and then used it on your footage in After Effects or you tracked to the right frame rate in Mocha but you don't have the frame rate set up correctly in After Effects.
So you want to make sure that those two are the same. And, apart from that, bringing in corner pin data is relatively straightforward. All we have to do is make sure that our insert is exactly the same resolution as our timeline. And sometimes we'll have to precomp that to make that so. But once that's in place, it's a simple case of just going up, going to Edit > Paste the tracking information that you have in your clipboard.
This course was created and produced by Ben Brownlee. We are honored to host this content in our library.
- Setting up preferences
- Understanding the planar tracker
- Creating your first project and first track
- Tracking rotation
- Tracking objects that move off-screen
- Using the Shear and Perspective tools
- Exporting tracking data to After Effects, Motion, or Final Cut Pro
- Creating a fast rotospline
- Creating complex mask shapes efficiently
- Correcting for lens distortion in your footage
- Generating a 3D camera solve