3DEqualizer - Matchmove Stock Footage With No Data - Part 1

hi and welcome to vfx tutors i'm josh and in this tutorial we're going to go through how to track stock footage with no data just some random footage we found online we have no idea what camera that's been used or any data no lens grids or sensor size we're going to try and figure all this out i'm going to go through the entire shot i'm going to go through tracking it figure out the lens distortion and the focal length then we're gonna build some geometry in a 3d equalizer with some some techniques that i've used in other tutorials then we'll probably finish it off with modeling the the building in maya and completely finishing off we're going to go from first step to the last step through the entire shot of this so the first thing that we want to do is load in our image sequence so i'm just going to go up to my sequence camera here i'm going to go to live action footage and select browse and then go to mm-28 stock footage and i've just got stock footage bg01 and i have no idea what this was shot on or what camera was used it's a nice shot it's not the most complicated but we're going to be using the same techniques as you would with everything else so first of all we don't have to do our 8-bit color conversion because this is probably this isn't jpegs so there's no color depth in this this is just a flat image so it'll be a lot lighter to download anyway but um yeah there's no color data in here so there'll be no dynamic range so the first thing that we want to do is go to our playback and export our buffer compression file this might take a while so i'll probably fast forward through this cool so that's now exported so we're going to import this in and if we press spacebar we can play for our shot this is quite there's not a massive camera move on here the last thing i really want when we're doing shots like this we want to really focus on getting our lensing correct so i don't really want to spend we don't want you to spend loads of time tracking shots when the most important thing about these shots is actually getting the lensing correct so that's why some of these are a bit simpler we'll add some harder ones um but i think at this point 2d tracking is not the thing that we really need to focus on it's more of getting the correct lensing which is the most important part but we can do some i'll put up some more difficult 2d tracking shots so um don't worry about that if you want some really difficult ones i'm sure i can make some for you cool so usually we'd go through and fill out our lens and do our film back width and height um when you load in an image sequence and if it's not because i have no idea if this has been cropped or anything it looks at this resolution it looks like it hasn't been cropped especially not at 4k so what happens with your film back width and height it will come in at the correct aspect ratio so we're not going to change this at all because this feelback width and height is correct for this plate it's just not in the right sort of sort of scale if you if you know what i mean like this ratio between these two is correct but the values might be too high or too low so we're actually going to leave this as this and with a drone shot we can probably safely assume that it's probably between it could be anything lower than a 50 mil probably and when you start getting bigger it's bigger lenses heavier so i'm not sure if they're gonna put on the drones but we can see this is this is a really wide shot anyway so this is possibly a 25 25 or something like that and you'll start to see that sort of stuff further on if when you're working in shots and doing tracking you'll just start to recognize focal lengths so we're not actually going to change any of this apart from changing our lens distortion model to a classic ld because when we go to solving this distortion we kind of want to keep it on the basic parameters we don't want to be solving too much so we're going to leave it on that then we're just going to start tracking we're going to get a good spread of points so i'm just going to turn my fov off and i'm just going to start picking points are going to be useful for me that i know some of the other tutorials i've come before this are probably a little bit more advanced with surveying but i think i missed out doing something like this earlier on i think it's been it's been requested quite a lot to do something with no data and stock footage and stuff like that so this is one of the top requested things along with anamorphic and a couple of other things so hopefully when i start getting through those we can start leaving match move behind and moving on to more more fee effects sort of things let's go around and get as much on this church a lot of useful tracking points on this church like i said i picked this not to be a hassle with 2d tracking more for your lensing and figuring out because the process will be exactly the same and it's quite a nice shot as well i'm just going to stop that i think i've jumped up there oh see always keep an eye on your tracks jumping across so that's probably because it's picking up the other bit so that's actually included in the pattern box cool we can also track backwards as well it tends to be my workflow track forward then track backwards and just effectively see saw backwards and forwards cool i'm gonna try and get lots of as many as i can on this foreground we will go for a tracking technique that i haven't actually covered yet um stopping the starting tracks which is one of the most common things that you'll probably do and uh i can't believe i actually haven't covered that yet but i think it's probably because i went straight into production match move and stuff like that i didn't really start with a basics on match move but hopefully this should cover everything that you need to do if you haven't got any data or anything like that cool so got some good points there let's get some more on this church for whatever it is i just assumed it was a church it's not nice it's got sort of a cross thing on it so it probably is so i'm just gonna gauge marker every so often so it refreshes the patch so it doesn't slip off and it starts to jump see that so i'm just gonna rotate it gauge mark and track oh see it's jumped across there stop that let's make it a little bit smaller cage marking track and let's do this one here well so we got quite a lot on that church let's maybe get some stuff here because the more points we track these are it's gonna it's gonna help us a lot with modeling stuff but it's also gonna help us get a good lensing song as well it's snipping off there so let's go back gage mark and track sing maybe a couple more pixels is going to help just make sure you turn it off quite a good few amount of tracks on that church now let's start pushing out to our sort of further out in our mid ground you can you can pick your background if you like i'm just slowly picking other bits what's going to be useful to track shadow on the ground good and obviously we're going to get a load of nice parallax in this so because obviously that runs out i'm going to scrub back i'm going to find something on a similar sort of depth okay maybe it comes in and track and that goes all the way through so i'm going to start tracking backwards so this there's plenty of stuff to track in there so i shouldn't worry about that if i'm just struggling to find things to track there's absolutely loads so okay so this is gonna be our first one where we sort of see it come out but if we continue it actually comes back in here so we don't want to make another track there we just want to continue this track so that's still selected just left click then use page up and page down to flick between the two keyframes so that's page up and page down and you want to use your nudge point to get it back in the same place and once it's in the same place you want a gauge marker and track and doing shot tracks like this is going to really help yourself because you've got tracks that are going in all the way from the beginning all the way and all the way to the end but don't forget every time you do that you need overlapping tracks as well so let's pick this probably a top of a shed it's probably very easy to track so let's gauge marker and track make sure you stop it before it goes off end point go through your timeline so it starts to come back in and we can see it there then just left click and use page up and page down to get it back in the right place and you want to make sure that your key frames you want to nudge them in so they come in the right place just gage marker and track again let's see it's sort of slipping where it's going behind that tree probably don't worry too much slip quite a bit so let's reduce this box gauge marker and track it's slipping a bit so we could we can just probably let's just end that because it's causing more problems than we'd like to go behind that but what we can do we can pick something that's a little easier to track so if we actually look here where did that go i've actually got this shed roof here which is quite good and that goes all the way through gauge marker and track there's nothing in front of it until oh stop that let's remove that key accidentally clicked engage marker and track and stop it before it slides off the end point scrub for your timeline until it comes back and there he is nice little shed and just left click and use page up and page down to make sure make sure you don't change this because you've just tracked this you want to make sure you change the the start frame never change the end frame always change the start frame so i'm just using my nudge point on my number pad i'm just gonna gauge mark and track so we've got quite a few things that we can track to go on and off what's this here probably want to pick things that there's nothing no trees going in front of it and that's quite close to the ground just stop it before it goes on end point make sure you end it clicked again by accident end point then left click when it comes back in and this is probably the most common technique that you will use you'll use this all the time and if you can get this right you'll be able to do anything so let's get some stuff over here even these tiny little patches are really good you always need to make sure that you're overlaying tracks as well so because we've got a lot of good tracks coming on and off we need to make sure that we've got tracks that are covering them for when they go off and on as well so i'm just gonna pick some points just wanna do what i was doing to try and get a really nice spread of points over the entire frame not like when we did the anamorphic shot where we predominantly tracked in the middle for the start but that was just different shot different techniques so if we select all our points because we'll see where we've tracked we've got some good mid-ground stuff maybe even could do something here be surprised what this can track just end that not sure if that comes back in i think it does i think that is there just using my end point uh my page up and page down and only ever change the start change the start frame cool engagement track so i'm going to start pushing out to our more background so you've got tons of stuff to choose from to track here stop it before it goes off and i'm just going to get these these things here pretty little huts or something it's likely that that might jump across to the other one because they're very similar just make sure you stop it before it comes off i'm just going to go through and try and get as much of this as possible so what i'm doing here is i'm always making sure i'm trying to keep an even space so it gives you a good overlap of points because you don't want patches where there's no point suddenly coming off so you can start working back the other way just end that and that does actually come back in so what you can do this oh so because we've got start frame we want to make this our end point scrub to here do the same so that's made up keyframes engage pocket track come off a little bit let's go back to this so obviously it can be a bit difficult to find these patches but you want to pick really recognizable parts and you can sort of see it when you even if you get randomly guessed you can see where it is if as long as you're in two decent 2d you'll be able to figure out where you are small bits here and that fork is there make sure you find the right place like say i'm pretty sure i know it is but let's just say we randomly click there let me use our page up and page down as long as you're on center 2d you can sort of see where it is so we're here i'm just using my left mouse click to get it close then my nudge tool my number pad nudge it in we definitely need some stuff over on this side and that goes off a couple points here and see what happens when you don't end it it sort of jumps off so you need to make sure you end it otherwise it will just break yourself and give you hard times and we've tracked quite a few points so if we select all our points and just have a look we can see that we've got a really good spread of points maybe not maybe we've not even got anything here so let's add some stuff here we may not need it but just as a general rule of thumb you want to make sure you've got an even spread don't be too biased to one side of the plate seem to be a bit right biased at the moment let's get some of these cards cards sorry i really want to hit some of this canopy stuff because it's not shifting as much the pattern is staying quite quite the same all the way up so let's try that let's let's press alt c to solve and we can see we've got something and if we look at our solve we can see the same pretty dreadful going on here it's a mix of wrong focal length and no distortion but in general our tracks working really well it's not a difficult shot to track but this like i said this is more trying to figure out the uh the lensing for the shot not necessarily to give you a hard time tracking because this is probably where most of you guys are probably gonna be gonna be picking up stock footage if you don't use mine um yeah like i said unless you do your own footage and you have your own data so the first thing that we want to do once we've got a reasonable solve let's first of all change our focal length to adjust then we can go to windows parameter adjustment window i'm going to put this on wide just to see where it sort of sits i'm going to do it again so both times on that it's pushed it to a 40 millimeter which has reduced the deviation and looking at to be honest looking at the quality of the footage it does look quite good so it doesn't look like a like a commercial sort of drone or like a mavic or something like that this looks quite nice footage so it's quite lightly there's a good lens on it so let's now go to off parameter adjustment and let's change this to fine and let's clear that change it to adaptive and select adjust so it's really not changing that much cool so it's kind of feeling that it's around a 40 mil lens and it seems reasonable um it doesn't seem too bad we've not changed our film back width and height so obviously if we did change that our focal length would change but for now let's see what our distortion entails so if we select our distortion if we're getting really crazy distortion it's probably a little bit wider than this so then we can maybe adjust our film back width and height so i'm going to select my distortion go to my parameter adjustment turn this off clear that and i go on adaptive and see what this gives us so it's not changed much so do a couple times see if that helps you can also change the brute force and see if that gives us different result this is a little bit lower if we press alt c so the difference between you can use both i tend to always find that adaptive works really well um but some shots are different sometimes brute force works better sometimes adaptive works better so don't just be like oh you have to use this try both what as long as you get reasonable results not like insane distortion um it should be all fine so now what we're going to do is go to our quartic select just on that and we'll do the same put on adapter first and see how well that goes just a couple times see if it changes also make sure you save it because uh once you've tracked a lot of stuff and you haven't saved it and you it crashes it's extremely frustrating so make sure you save it i'm just gonna make a little folder here of course i saved it so after doing this distortion let's try it on brute force as well let's clear it now solve it it does seem to be getting a bit better so try our focal length adjust so it's quite possible we need some more points so what's a dead giveaway that we've kind of got a wrong focal length as i've mentioned this before it's that this green line is so we're in a f5 this green line is our horizon so it looks fairly reasonable but this is this blue line also kind of indicates it's it's the farthest distance so this blue line in this green line is like infinite distance it's as far away and if we go to f2 we can sort of see our clouds and stuff like this is in our infinite distance because it's it's really not moving there's zero parallax here almost so this blue line should be this should almost be anchored on somewhere on the background so this is telling me that we don't have enough data in the background so we probably need to track something in the background and we may need to put it as an infinite distant point so we can tell the solve that's as far back as we it goes so if we look at points so let's pick a see if we can actually track this cloud barely visible let's change this to image controls let's reset turn on let's see if we can pick up any information in this plate there's very little uh dynamic range in this plate so and point so you probably could manually manually track through that if you wanted to um it does help a lot if you you try and keep things solidly tracked but i don't really want to keyframe a lot in this shot just want to pick up some of the issues that you'll have with tracking random footage so these points are going to be sort of these should track as our way distance in our infinite distance basically so see if there's anything else we can sort of over once that's coming off and on pick this point here gauge mark and track because we have no idea what's happened to this plate or who's done anything to it it could who knows who knows what's happened to it but when you convert your so when you download a dot move or whatever video file of the internet so it's always good to check what frames per second it's uh it's been shot at luckily this was they've shot this at 24 but sometimes you might get 25 sometimes you might get 30 so whenever you export uh render out your image sequence you need to make sure that you get the crite at the correct um uh frames per second or you might get some weird things happening in your plate or you can sort of convert more to 24 frames per second cool so we've got that let's gage mark and track let's solve that see what happens and if we select these and change these to infinitely distant so that's in the far background see if that's actually and now let's press alt c and solve now you can see that these points have been jetted off to the far background and now you can see our points are sort of sticking so let's go to our image control window turn that off so parameter adjustment and let's do another wide focal length adjustment let's see where that gives us see how it's gone down to 35 solve that fine just so now we've got this an infinitely distant it's giving us some more reasonable results but we still got this problem here so what we can do is change these both to adaptive and solve both these at the same time so if that helps so they'll kind of work together you might get some odd results but so just to keep forever free let's try a brief force bring up our samples this might take a little bit longer but i say we'll get different results it's possible we just need to track more points it's really take quite a while so i'll just cancel that so i'm just going to actually track some more points way back here because we've not got anything back there solve that let's get back to our so what we can do let's try this brute force all possibly give us some very odd results um but it might work so we're kind of getting everything to sort of relax with the distortion and the focal length so this probably will take a lot longer if it takes ages and ages i might fast forward through this well in fact let's just stop that and let's just do focal length and distortion because that's helping it quite a lot and we can probably do the quartic afterwards solve that see our deviation is getting better now still got some strange stuff going on so let's not turn our distortion and turn our quartic on see how we get different results from adaptive and quartic adaptive and brute force but we need to keep an eye out for um abnormalities and our distortion because they could cause more problems in the long run but just loosening this up with the distortion getting the focal length to work with the distortion on us off is it seems to be helping it quite a bit there we go start to get lower just because it's low as well doesn't mean that it's going to turn out to be a good solve it can be re it can be at 0 or 0.01 and still be a bad solve um so yes just be aware of that shouldn't really solve these together but when it's not when nothing's working sometimes you have to sort of let let it relax around the focal length and distortion it's only because if you sometimes you see some really bad distortion that some people have made and uh it causes more problems than not distorting it because you can add ripples to the plate when or like because don't forget this distortion's got to be placed on the cg to match the plate so if you've got really weird distortion that looks like it's working when there's they're not going to add that distortion to the image sequence they're going to be adding that distortion to the cg footage so if your distortion's got weird ripples and stuff in it it's going to ripple the cg then it's going to look really odd over the plate it's just not going to match that's really important to make sure that your distortion is logical so this is taking quite a lot of time so i'm just going to stop that and let's just see what it's doing before we go any further just press f5 fairly the distortion looks fairly normal for a wide shot so that's not bad so what i'll do i'm actually gonna save that so it's looking to eat my hat and say it's actually looking pretty good when i thought it might not so it might be struggling doing it that way so let's just do this the quartic by itself because it seems to be sticking around a 27 millimeter lens so we'll give it to here maybe do all distortion again do them separately see if that helps so i'm using a lot of the brute force because it seems to be working a bit better than the the adaptive so far so these points in the background are looking really good let's see what's causing us could be slipping points that are causing us problems it looks more like uh change up to 3d see this yes see what happens if we switch this back to adaptive select adjust see if it doesn't adapt dissolve from the brute force solve seems to be working so don't just be stuck with you have to use one switch between the two and uh see what gives you the better results obviously if one's going completely nuts try to avoid using it even more but we're just going to slowly chip away by adjusting this focal length see it's only going down tiny bits really changing it small but so you can do it again and see how that goes so for a 26 mil or probably a 25 or it's not looking too bad so let's try adding both of these together this is where let's save it first so if you do too too much of this it can start to go a bit funny i feel like we can get quite good soul from this distortion is looking good we've got no pin cushioning effect which makes the sort of the rippling in the top which is what we need to avoid let's try both these together on adaptive and it's probably going to get to a certain point where our lensing is working quite well it's probably our 2d points maybe that's a bad 2d trick but 0.6 that's a pretty good solve for just random footage that you don't know what we can do let's change it to brute force one more time and try that see if it gives us a different result if i just stop that and cancel that because 200 samples let's leave it on adaptive you know i'm fairly happy with that that's a well we'll see see what it's doing first before we decide if it's good or not so center 3d on that point at this point when you've got to solve center 3d is the one that you want to use to check your points because this where it's going to be in 3d space pick these church ones they all look really good even in our infinite distance ones we full frame let's press spacebar and play it's looking like a pretty solid track so save it um i guess what we can do is just add a couple extra more tracks on it to help maybe with our modeling of it in fact we can yeah let's see what happens we had a couple extra tracks shouldn't do any make any difference to solve so it's working really well solve that it's actually got lower with more tracking points so there's proof that more tracking points do help us solve so i'm quite happy with that if we get to f5 we can see that we've got our points here and everything's looking really good we've successfully tracked the first part of this shot um so what we can do now is let's save it and what i'm going to do now is because i don't really want to model all of this environment i want to try and get a point cloud so i'm going to go to f4 and i go to my first key frame and i'm going to use the auto track to build the geometry in the background so first of all i'm going to select add mask and i'm just gonna if you hold ctrl left click it adds a vertice to the mask so i'm gonna do is just gonna crudely roto out this church and you can do it really nice if you want i don't really like roto or anything like that so i'm gonna do it quite rough cool so we've rotated that out perfect perfect roto just gonna win many awards i'm just gonna control shift to select all of them bring this down i'm just going to keep all of it covered because i don't want it being in the auto track check it once it's good control shift i'm going to select more control make sure you select the actual vertex oh so zoomed out i'm just going to adjust these to cover up this little church cool and that's that pretty much masked out so i'm going to go over to my camera settings and i'm going to go to auto tracking so i want to auto track a lot because i want a lot of this in fact actually i also need to do one more mask sorry so i'm going to go back to the first frame add a mask and i'm going to mask out the sky because we don't want to track the sky at all most of this background stuff doesn't particularly matter cool so let's just adjust these vertices so cover up the sky so we're just gonna roughly rotate this out like so it doesn't have to be amazing just enough to stop the background getting caught up in the solve cool so i'm just going to save this and now i'm going to go to my auto tracking settings and i'm going to change this to 2000 to change it yeah yeah i'm going to change it to 2000 to 3500 and i'm going to leave these i'm going to change my search error size i'm going to half them to four and six and a half this as well to 1.5 to 2.5 and i'm gonna change my minimum distance to one and i'm gonna select auto so it should be an f4 menu i'm going to select track and this is going to spray everything on the environment with tracks this is going to help us build the environment behind us because we can model this church easy in maya so this is probably going to take a really long time so i'm probably going to fast forward through this cool so that's done now so as we can see it's absolutely sprayed our environment with points and you don't really want to manually track all that so this is the only time that i'd use auto tracking and assault i'd probably never use it to actually create a camera track so what i'm going to do i'm going to select all my you'll know which ones are the autos because i say a at the start i'm going to select all my tracked points and right click add new point set and it quickly solve so i know that my points in here are the ones that i've got my really good camera solved with i'm going to add new auto so i know which one's the auto tracks so unfortunately goes the white spot so we'll do the auto tracks first select first auto track scrub all the way down to the bottom select the last one middle mouse click and drag them under auto see we've got 16 000 points there so it's quite a lot so now we'll select our solve tracks and put them under our solve make sure we select all of them cool so now we've got our solve tracks and our auto tracks so let's save this because we don't want to do that again because that's it probably might take quite a while um depending on how powerful your computer is so let's save that and let's select our solve points and view hide them because we want to hide them because we're going to end up probably deleting some of these and we don't want to delete them by accident so the first thing that we want to do is select all these points don't solve it yet select all the points go right click modify calculation and make sure you select passive you want these on passive you don't know what you don't want them to solve you just want them to be placed in the correct depth and that's basically what that does it means that they'll sort of work with the solve but they won't affect the solve at all they'll just be placed in depth so what we can also do we can go to uh calc and we can go find badly checked points and it will filter for all the points uh frames to find any really sort of dodgy points and it's usually really good so it will find any sort of slipping points and it's not found any so most of these shots going to be pretty good anyway so with it all on passive so before you solve make sure that they're on passive because you don't want to solve this when these are not on passive otherwise it will take a really long time and probably crash your computer or they'll break your complete solve so i'm just gonna go to f2 and we can see all the points that it's made you know i can see my four does one and what now it's on passive is solving 000 points so press alt c and this might take a little bit longer than usual but um so it's figuring out the camera position from our solve our solve points and now it's figuring out the position of our 2d track points which we've tracked and this is going to just help us get a really nice sort of geometry for the area instead of modeling all this we can quickly make a rough scan and some of it's worked pretty well we'll have to delete some of these points but we can already see here that we've got a really good result we've got some floating points but that doesn't matter because this has just saved us a lot of time so i'll select use result then i'm gonna go to f6 and if you left click you can look around so we've got loads of points behind our camera so the first thing that we want to do is hold alt and left click delete all the points that are behind our camera because they're just useless but they're just misplaced points it's gonna go through and delete them when you look around at this point cloud you can see the general shape of the environment and you can also see some points that have slipped through it's probably all down to my bad roto on the mask so what we can do find yourself a position where you can sort of delete stuff i'm just going to go through and delete all these flat ones anything that looks a bit odd you can see that if i go view and turn off my image plane you can sort of see the points that are in the wrong place easier so we've got quite a few that are sort of floating so this is why we hide our solve points because our soul points would still be in here although they're in the they won't be floating like this still it's not worth risking deleting them by accident so i'm just going to go through i'm just going to shift across delete all these floating ones just gonna try and retain the shape of the hills this is how you get really accurate set geo for your environments if it's an organic environment you probably wouldn't use this on buildings as such that's why i masked out the building but for like big landscapes this is this is perfect for it but i didn't use it to create my camera solve because as you can see here there's a lot of bad points and if you tracked with those you'd have to you'd have to fix them and fixing points and a solve could probably take a little bit longer than actually tracking it normally so personally i would always avoid trying to do cameras in auto tracking because yeah it's just bad you'll end up spending more time fixing it basically and half of the battle with match move is the 2d tracking if your 2d tracking is good that means you can rely on it and as soon as you're in that position mostly it's just problem solving with lenses and once you're in that point it becomes a lot easier this way as a rule of thumb just never use wire tracking it's just not good unless it's just something that's ridiculously stupidly easy and it's like fail proof maybe but even when you're at that point you may as well just track it manually anyway it will save you a lot of headaches so it's getting harder to see the floating points i'm sort of keeping this general mass of points fairly logical zoom in and come down see some more floating ones so i'm just going to come close to the point cloud just try and delete them it's gonna get increasingly more difficult to uh uh find them the more more you delete because it's just a lot of green and green so good f5 and it's probably quite hard to see because we've got so many points let's try and remove a lot of these floating ones these floating ones could just be i don't know what they could be but it's probably unlikely they're actually trees let's just and it's never going to be like a full scan so don't worry if you delete too many points we just want a good set geo if you scrub around you can see a lot of the floating points it's just trying to grab them without deleting too much we can always fix that afterwards but this is just to get us the general landscape so we don't have to really model it because that can be a bit of a pain whereas this way a lot of our work's already done for us we know it's going to work with the camera and we've got all these sort of lumps and hills so there is a lot in the middle you can't quite see it if i just select all those it's very hard to see which points are what to be honest i'm very unsure about these ones at the background anyway so it's probably mostly those i'm not too bothered about not having those but i think those are probably because any points back here we're going to kind of lose our parallax anyway because it's so far away so if we just delete all these points here hopefully this should remove a lot of our problem points because we're probably not gonna want that but back then we can quite easily make some basic geo but let's just imagine that our premise is mostly in this foreground let's just delete all these points behind this sort of ridge so i think that's probably what's going to cause us the bigger problems and if we because there's just no parallax really beyond that point and the idea of this is to make our lives a little bit easier and not have to model loads of geometry so go to f6 and have a look around we still got some floating points juiced it quite a bit though but we can see a lot easier so i'm just lining up trying to remove all this sort of wasted points and it doesn't matter if you delete too much because this is kind of doing us a favor anyway it feels like we're probably deleting some buildings which is fine because probably don't want that stuff in there anyway like one here i'm just gonna keep scanning around a relatively low height just do it loads here so it makes it easier but sometimes it doesn't but we've already got a huge environment here so it's just patience really is quite a lot in this area so let's just delete all them they've just deleted a big patch out of the ground uh okay so let's try this let's there's a lot of points back here i don't think any of these are going to do us really any good so let's get rid of those because we want to build a pretty clean mesh let's see where those are so i feel like a lot of those points are actually shrouded in this sort of layer i feel like the further we get back the worse our geo is so if we go to f6 let's get rid of this chunk there so it looks pretty good for a rough set geo but we've definitely got a couple big couple big spikes in there but let's just let's just try it so go to f6 let's select all our points let's go 3d models create measurement points and legacy let's create mesh see what this looks like so if we go view hide selected points so what we've got here is some clipping let's change our clipping plane and obviously we've got some really odd stuff here but there's nothing that we can't smooth out in in maya so let's select our point group oh sorry our mesh let's bring this down so we can see it easier full frame and we can sort of see what we've done and we've got these points here these are just points that we've missed and this is very easily smoothed out in meyer but what we have here is geometry that works extremely well as an environment so we didn't have to model any of this all we have to do is do a quick clean up on it and we should be good to go then all we have to do now is model the building so even though that looks kind of rough we're pretty much done now in 3d um our next step is probably to save this and now what we're going to do when it exports out our camera so your 3d export project maya i'm going to change my start frame to 1001 because that's when my um that's when my image sequence starts so let's go to our stock footage one stock footage bg01 v01 cam version one okay and make sure you have no 3d you don't want to export it you want the camera in fact actually let's cancel that we've saved that and in fact let's carry on because this is going to export out these points as well so we saved it so what we can do so we don't have to x because we don't really need these points and we don't want to come in with our camera as long as you save it make sure you save it first then what we can do you can just delete all those points there we go 3d export project maya oh uh sequence camera sorry i shouldn't have changed that i can't remember what that was on all cameras let's just leave old cameras i'll start frame a thousand and one let's go to a tutorial i'll call it stock footage pg01 cam v01 so now that's going to export with just our solve point cloud so it's going to be a lot easier to load into mine cool so now we want to do is export our point mesh so we have to go to f6 and we can see here it's quite rough but we'll smooth that out that's fine we've done we've managed to save a lot of time doing it this way and we'll go to 3d models export 3d model as obj and we'll just call it stop footage oh no um pc mesh for point cloud mesh and explore that so now we need to export out our nuke ld node for our distortion so we'll go file export export ld 3d4 lens distortion node and we'll do the same again nuke ld node v01 select okay so now our final thing that we need to do is export out our undistorted plate and you can do this multiple ways you can you can do this in nuke with the ld node um for the sake of staying in one we're not really going to be using it other than just using it for reference i'm just going to render it out from warp 4 so i'm going to 3d4 run warp 4 and this window should open and all we need to do is go down to destination footage save footage select browse let's go to our shop called new directory and we'll call it udp for undistorted plate same name stock footage bg01 v01 udp for understood plate dot four hashes so now it's uh image sequence dot jpg you need to make sure it's the same in what four you need to make sure it's the same uh image file so click ok then we won't do overscan we don't do overscans anymore that's always done in the renderer now so doing over scans is just um it's not good because it also changes your original camera so making over scans is quite old-fashioned we um we just do it all in the renderer now so don't worry about that let's select render and you should start getting green keys come up now and this may take a while so i'll probably fast forward through this cool so that's done now so we can close that and we're pretty much done in 3d we've done everything that we've done we needed to do we've tracked our camera we've got our rough environment geometry and now all that we need to do is um model this in my because it'll just be a lot easier cool so if you've enjoyed that tutorial hit that like button and subscribe for more like this

Channel: VFX Tutors

Views: 6,756

Rating: 4.9775281 out of 5

Keywords: 3DEqualizer - Matchmove Stock Footage, matchmove, matchmove tutorial, matchmove vfx, 3dequalizer, 3de, learn matchmove, 3dequalizer matchmove, 3dequalizer camera track, 3dequalizer distortion, 3dequalizer load image sequence, 3dequalizer create tracking point, 3dequalizer solve camera, 3dequalizer parameter adjust, 3dequalizer lens distortion, 3dequalizer export camera, learn 3dequalizer, 3d equalizer, 3dequalizer tutorial, 3d equalizer tutorial, 3DE, matchmove showreel

Id: 27FqUl-CPBo

Length: 79min 22sec (4762 seconds)

Published: Thu Aug 27 2020