- Once we're happy with the tracks that we've done in Mocha we can then export out that data to other programs. And the export to Motion is very simple indeed. I'm just going to pick the layer that I want to take out. I'm going to take out the box front track. So, we take out there. We can see the corner pin surface is set up exactly as we need it to be. I'm coming down to the my track parameters and Export Tracking Data. And the motion ones, we come down to the bottom here, we have Motion basic transform and Motion corner pin.
Now, these are only available if you're working with the standalone version of Mocha AE or Mocha Pro. If you're working with the bundled version of Mocha AE CC, so the Creative Cloud version, then you won't have these options here. So, I'm going to choose a Mocha corner pin because we're going to be doing the screen insert here and I'm going to click Save, and we'll give this one a name. I'm going to call this one Motion Corner Pin. There we go. It's a nice descripter there. And that's just saved as a Motion file now.
So, if we open up Motion and if you're working with Motion 5 you get this lovely project browser, and we can just open up the other. Let's cancel that or we can just come up to File, Open, and then we'll pick our project. So, I save this here, of course. And Mocha saves our project as an older version of a motion project and this is to keep compatibility with older versions of Motion, of course, but it just means that if we want to update this I can either open up the original, so it can only be opened up in Motion 5, or it can open up at Untitled and give it a new name.
But I'll just open up my original and overwrite that. So, if we take a look. Let's just fit this to our window here. We've got our Motion project and it looks like, well, we've got a corner pin going on but nothing else is really going on in the background, and the reason for that is because we've been using an image sequence that hasn't quite been picked up there. So, have a look at my media. It's just got a box, which is a single frame here. Not good.
So, I'm going to come into my hard drive and we'll find the original. That was in Exercise 04 called Box Close Up. And Motion's very happy to work with image sequences. You just have to make sure it's brought in properly. If I bring that in it doesn't bring it in at the right frame rate, which it should do, here we go. We've got video frame rate. Well, there is 25 frames a second, so that's fine. There we go but we can always use the Inspector to change that.
And I've got me image sequence in there. I'm just going to bring that down and just replace that in the timeline there. If you don't work image sequences you don't have to worry about this. Let's bring that over a little bit so you can see that better. There we go. So, now you can see that our video is actually working as it was intended to. And where we have the surface in Mocha we now have a blue, a lovely blue sort of solid here. So, now, we just have to add our insert. Let's come back to my file browser over here and we'll navigate up to, well, back to the Exercise Files, and we have a replacement both in Exercise 06 but also in Exercise 08 where we are now.
And we'll go to Footage and here it is our replace.jpg. So, let's just drag that in here and let's come up to our library and go to Behaviors, Motion Tracking, and we'll choose Match Move, and we'll drag that on top of the replacement here. Let's have a look in our Inspector now. So, what we have to do with a Match Move is tell it where we're getting our Match Move from, and in this case it's chosen the surface as the layer underneath.
And then we tell it what type of Match Move. So, what's it going to be taking from? Because we're doing a corner pin we'll take the four corners here and as soon as we do that you can see that it's starting to fit in quite nicely and we've got it attaching to the source, which means it's going to stick to the four corners that we exported out in Mocha. We can do it. Choose Mimic Source. But Attach to Source is absolutely fine with what we need right now. You'll notice, of course, that it's not fitting entirely in the region where we wanted it to and the reason for that is simply because our original footage wasn't the same aspect ratio as the composition.
So, if I turn off my Match Move in the timeline, just turn that there, you can see that I've got spaces on the left and the right. We don't really want that so if I select my replacement there I can just very easily stretch that out to the edges of the timeline there and the snapping will snap me in, and if I turn my Match Move behavior back on now you can see that that's fitting in.
I can also do it because it's independent. I've got the interactivity of being able to do it when the Match Move is turned on as well. But now you can see why it was doing it. So, the only thing that's missing now. We've got this working quite nicely. The only thing that's missing is the fact that we don't have motion blur. So, our insert just looks a little bit weird. Oh, we can easily do that. We come up to the Render up at the top right-hand corner and we just go to Motion Blur, and you can see that's starting to blur our now.
I'm going to zoom in a little bit so you can see things a little bit clearer here. Because we've got our motion blur on, which is great, but to make the motion blur fast the default level of motion blur is fairly low. So, if we want to change that let's come up to Edit now and go into our Project Properties. I can even change my Field Order because it's not Lower Field First despite what it wants to say. We'll change that to None. This is going to be important, of course, when we export this out or use it in Final Cut.
And I'll take my Duration down to 125 frames because that's the length of the original, and that's fine there. But the thing we really wanted to look at at the moment was the Motion Blur, and if I turn up the Samples check out what happens in the viewer. The more Samples I give, the smoother this is looking. Obviously, the more samples we have the longer it's going to take to render out. So, you want to sort of find the balance.
Sometimes you don't need a lot of samples. And with a few number of samples it gets even more jaggy. For this case 30, yeah, 32 is pretty good there. Cool, all right, so, let's come back down. Let's take this down to Fit in Window one more time and play this back, and now we have out matched in footage, the motion blur going on there as well. So, we haven't quite finished this here and in Mocha we can make our surface shape a little bit different there or we can add further effects in Motion to make that sort of fit in even better.
One thing to remember is just turn off the surface. We don't need that anymore. We don't need that visible and you can find that at certain stages you might have a tiny bit of bleed like a sort of half a pixel bleed coming out from behind. And this is ready now to export out. I would choose to render out from motions. So, go to Share and just Export that movie out there. So, corner pin data out of Mocha is very easy to use in Motion because all we have to do is find your insert footage, add a Match Move, and connect that Match Move to the surface that Mocha already provides for you.
- Understanding the core modules in mocha
- Setting up preferences and organizing projects
- Understanding the planar tracker
- Using tracking data for different tasks
- Rotoscoping fundamentals
- Creating complex mask shapes efficiently
- Correcting for lens distortion in your footage
- Generating a 3D camera solve
- Exporting tracking data from mocha