Getting Started with Mocha - 10 - Remove Module

you're watching the free version of this tutorial upgrade a premium for all for Tizen projects and exclusive content [Music] in exercise 10 we're starting to get into some of the more advanced modules in mocha Pro and over the next couple of Clips we're going to be looking at the remove module which lets us quickly remove foreground objects from our image and we can use this for a lot of different tasks including why removal and removing signs removing people moving rigs and the list goes on in our first shot just get you comfortable with the idea of how we set that you've remove up what we're going to do is just remove the top of this plant the math scene now the way that we set the move up is fairly simple and track our background we find and track our foreground come to the road module put a couple of buttons and let Moka do his magic sound simple to project it can be to it shall we let's have a little look through our footage and find the background well there it is it's the sky buildings and trees and they're all sitting fairly flat in the same plane let's come in and track this it looks static a little bit wobble in there little bit jitter but we need to make sure that Moka is aware of to get the best results and I'm going to use this opportunity to talk about track mats as well so let's come in and just track our background to get the best bit of the plant in as well so let's just move that out of the way and we can see if I scrub through that some of this is going to come in as well so let's frame that before we even do any tracking we'll just do a quick put keyframe on that lovely okay try to track this as 10 I'll aim at on as we try to track this now when she probably would get a decent track but the risk of all this movement throwing stuff off means are done we're chance it and often come up the situations like this you want to track something in the background there's something in the foreground that's getting in your way so what do you do well let's come over to our layer controls I'm just going to call this one background the layer maps for a second I'm going to make another shape around our plant zoom in a little bit there not going to be amazingly accurate I'm just going to be a little bit accurate just make sure that I take most of the leaves off and we'll leave that there okay and we will call this one foreground foregrounds without any problems whatsoever but we still have the trouble with our background is something really cool every time we start adding new layers here what happened so the lower layers is that the upper layers are cut out from them and aren't included as part of the mat so if I come and click my layer mats on let's make these different color so we can see these a bit better between these let's remember a little layer map looks a little bit like a a weird ice creams a bad thing which means because we see this little thing in the corner I can click and hold on it and more options pop up so now I can look at all mats or I can look at selected track mats okay so I have all ground selected this doesn't look any different if I have the background selected look what happens there all of a sudden our background shape is now the area we drew - the stuff in the foreground and this is great so this means that we can track both of these two simultaneously and if everything goes right with the foreground map then the background mat is not going to be affected by what's going on here and let's set this up shall we right so if we come to the track parameters on the background in-1 track translation I know there's just a tiny bit of judder in there I don't need to track anything else and it's going to be small motion there's pretty much no motion in there so this is the case we talked about when we were talking about large motion and small motion back in the previous exercise now if we go to the foreground and look at the tracking parameters here well we can pretty much leave everything at the fort I do want to make sure that Shearer is turned on because the way this is moving it will start sharing out it's not going to be in perspective this doesn't move in perspective isn't isn't rigidly they're moving in in depth that is going to shear off and distort off a little bit and when I'm happy with that let's just come to the background while we track it through just so you can see what's going on with our track map so the layer moves but that's because we keyframed it if we want to test this out let's have a look at the surface and if I play that through surface stays nice and stable within there so now we've got a decent track on the foreground we've got a decent track the background excellent move on soon remove module of land asks I'm here I'll also turn off spine tangents as well just to clean things up a little bit for ground layer selected the process called turned on which means that this is going to be a layer that we render out now we have multiple layers we wish to render out we can have multiple coax turned on touching any of the default parameters I'm just going to hit render so you can see what it's going to do it has a little thing let's turn off overlays they'll think sell most of our plant it looks around and it tries to find the elements being currently obscured by foreground shape in the background from other frames so it looks in time to try and find and pick out different bits so they can reconstruct the background very cool let's try and understand what these things are these little artifacts are moving around because you might be seeing these quite a bit it's a very common artifact when working to remove and when we find these artifact it can mean one of two things it can mean that Moka can't find the particular background pixels within the frame range you've given it that we haven't set our foreground properly and it's treating some of the foreground as background and then just copying that in force and that's exactly what's happened in this case and I know that because set out plan that I was quite adamant about doing this quickly and I was quite adamant about not worrying about these little bits here because I wanted to show you what those artifacts look like so now I know tell might be key on so that I can move everything across all the frames and I'll just tighten this up a little bit so we're not getting any of the the leaves in there anymore tracking data is separate to the shape data I should be able to describe through here you can see that everything is updated now we do need to I might have to keyframe a little bit here just to make sure just to make sure some of these individual leaves are masked out properly cool now once I'm happy with that let's come back into frame 31 overlays and just hit render again and that's we clean that up and there we go now sometimes it might not be your foreground shape that that fails you you might also have to just look at the background shape as well and make sure that nothing is or poking in in the background shape and just adjust that as you need to remove this is probably the one time why'd leave uber key on as much as possible especially the start where we're trying to figure out the best parameters that we want to use because all of this stuff gets keyframed and speaking of parameters let's come to the next frame and take a look at these parameters going to come to input when we look at our next clip so let's start with this search range now sir train sets up where mug is going to be looking to find the replacement foreground pixels and at the moment it's looking the first frame is zero the last frame is 57 so it's taken in our whole range here and the step is how many these frames are we going to look at with a step of one it means it looks at every single frame with a step four - it looks at every other frame step of three every third frame and so on and so on why would it be important to change this step well the more frames that motor is looking at to try and fill in the details the longer the render time is going to be a lot of times you can get a great result a lot faster by turning the step up we'll come back to this as well trains before Anna framed after our the number of frames before and after the current one that mocha is going to be looking at to find that fill and again this is going to be a good way of cutting down our processing times by just reducing this to layer to a smaller number especially on long clips set these at 17 and see what's going on now what gaps here it's not being able to do that within the 17 frames Safa game process works out nicely crank these frames up a little bit here and take my step up to 2 [Music] got the other frames because I set my step up I'm looking at half the frames so we got a nice and fast remove their butt I've got a little bit of mass trouble still going on there but I can easily fix that at a later time so let's say that exit and alone who would render the clip out from the standalone system if you work in a mocha Pro plug-in you can either render it within the plugin or you can use the module renders as we've done before and come to our move and hit render and that will then calculate it within the host all right let's move on to our second shot here and let's come directly into mocha with it and let's play this back this is a slightly trickier shot because we've got a moving camera so we have obviously a moving background as well so this may add a small level of complexity to it but the basic idea is the same we identify the background we identify the foreground and then we tweak our parameters and remove to get the best result we can background here now a lot of the stuff down the street level disappears out of you quite quickly remember we're not dealing with point trackers we're dealing with a planar tracker so here's what we can do we can track the stuff at the front here okay one [Music] tract come down parameters and our turn perspective on large motion yes billion potential pixels used 30 happy with that let's just track that backwards Oh right okay so now we've got our background tracked let's check it to make sure that it's set up properly probably the most important thing to getting a good result in remove is getting your background tract sorted out properly is this controls how mocha starts to line line the background up so we get this bit wrong the rest of the stuff is going to look wrong as well but that's that's not an issue there so so that's cool and the Sun surface and the transform tool off as well okay that way transforms all use the uber key to move all of this down and line up nicely with the background there but one other way we can do it quite like doing this like having sort of master track layers open up a little bit swing to that bit more I'm going to do here is instead aw shape layer the small area that I'm after just a little patch there and I'm going to use my linked track to link that to that ground track Calla background and make sure that this the right way but also covers all of the stuff that we're after and it does all right good is locked enough also our foreground which is going to be our cyclists here and I'll make a new layer another cool thing about the foreground is that we don't have to have the foreground tracked in Brown is covering the stuff that we want to remove take it out here's a nice little trick we could probably track this fairly easily Bart's and link my foreground to my background track as well moves backwards all I have to do keyframe that back as well can use the troll or command key on Mac just to distort that into the right place you there we go right and it's the first frame this should be our in point previously how we can set the in point and the out point on the timeline itself but not on a layer if we go to layer properties over to the left we can now set an in point on the layer itself only going to pop out this time now cool all right so we've got a foreground set up we have our background set up let's come in go to our move first things first let's turn on the uber key I will see how we get on just doing a regular render Kate not bad so first tell me off there can't see anything horrible happening at the moment there what I might do is just increase my step to two and then render backwards because it is 90 frames long we've still got 45 frames to be playing around with okay not bad know that the basics of that done let's have a look at another thing to remove that's going to be a little bit trickier and we're going to look at this cyclist in the front here ideas are going to be the same but what I'm going to do is just get rid of let's come let's come to our track module and let's group these are these other things here so we can not see them for now let's just group that I will call this one remove one turn off view okay sound of lose ability and let's turn the shape outlines back on again exactly the same so let's now on first you round about here probably about there let's have a little look at that we've not got any parallax in this shot so we can recycle the track from we can recycle the track from before we know that one's good because from background - and come to our layer properties and link this to our background track make sure that's looking all right is covering the guy I hear as well that one up and come to our guy and trick him in I need to remember to take the shadow in as well let's just bring the shadow here and right-click makes with all that stress as well that strap is going to be a pain I know it turn my auto-keyframe on as we call this layer walk around - and let's just track this one through now so I don't want to do shear and rotation I'm just going to do scale and translation because we don't need this pixel perfect and it lost it right at the end of course because there's nothing for us to track let's find the first frame which is going to be frame 18 and so our in point can either of linked this one to the previous track as well would have been an issue keyframes so that we can get the shadow in really nicely the shadow of the moment and watch out for the strap strap team sign we zoom in little bit of breast keeper he's out there make sure we bring this one that one it / smart all right so let's see what we can do here go to remove the key em to begin with and a default gives us martyr to think about it is off to render out so what I'll do is I'll reduce the frames before and after and just render those out okay now with a fall now look who's gone Wabble also done it's starting to do a job but it's not perfect at the moment try to do you try to sort of smooth out the results a little bit if that helps the illumination model and will come directly to dissolve dissolve with up and just process out again what that's going to do is you can look friends that we were working with previously and try to sort of blend those together to make the edge a little bit less conspicuous we also can see here at the top is a problem with the different lighting that's going on in this shot so we've got strong lights coming down lens flares being created that means that this bit here can start to get a little bit sort of mushy try to do now is also we can hit randomize and what this will do with the edge is it will serve blending the alpha channels together in sort of blending this will sort of randomize the pixels out a little bit and we look at it we'll look at it just really close up on a single frame it can look a little bit weird but on the edge like that randomly can actually disguise the effect better than the year than the blend cap you can also use edge feathering on the foreground layer to do this blending and even use the per point feathering to get some more complex blends let's set this back down to 0-2 let have a look at some of the other stuff that we have sir take that here three decompensation and what the three decompensation will do it will try to calculate out four perspective changes that's going on in your background as well in this place we don't have a lot of space for change happening especially in this area so it's not really helping as you mention that 3d compensation does take longer to process how to I still not quite getting the results that we want out of this so sometimes we just need to give Moka a helping hand and we do that over on the left-hand side with clean plates and clean place our clips that we've gone in and cleaned up ourselves we can either import things like we've already created or we have created one yet we can click on create asked us to save a new file out say that in my clean plate folder and this will automatically link one or more clean plates to our project if we keep hitting create at different point we'll keep creating new clean plate other hand we've already created a gameplay I can import that file in and this will bring up my import clean plate clip can navigate to where it is and it's going to be clean plate input 64 and if you've only imported one file it's going to say frame number is going to be all so it's going to use that and clean slate for the entire range of the clip that's fine if we've got a locked-off camera if we don't we have to double click on this and type in our number which I happen to so 64 because it's right there in the title preview as well and that will preview that clink like for me pretty nice I can play set up and we can see that it says clean plate input so we are using clean plate if we don't want to use clean plates anymore for whatever reason we can just set that back to none I can hit render on that and see the difference at the moment there is no difference because what's happening at the moment is moco is only using the clean plate to fill in pixels it can't find itself if I come back to my input and say use clean plates exclusively and hit render only use the complex we've set up so let's render that all the way through cool you zoom out better alright so using the clean plates exclusively is giving me already given me a better a better result make sure that it is compensating now for the different lighting that's happening because as it moves through getting the sunshine interacting with this in a different way so to make sure that that's working properly I can change my illumination model it's going to try to match my remove match to the other colors that are going on in the image come over to this one here and then you can see so that's looking fairly green and on that matching in a whole lot better with our illumination model is set this to interpolate insurv linear and what this will do is instead of correcting the entire patch as one and look at the surrounding areas and try to match the match the coloring on those different areas this is useful if you've got uneven lighting in the scene in this case our lighting is fairly uniform so I'm going to leave this set to linear my patch isn't doing at this point is it isn't matching some of the the motion blur so I've got a couple of things that I could do here what could do is create another clean plate at this point that's matching the background a bit better at this particular area all I can see if I can get away with just adding in a blend we want to just add in a clean pipe at this point this a first look at remove and how can start to work with the remove module there's a few things in this particular shot that I'd like to tweak up a little bit but this should give you a good enough start to work on your own shots we've seen some of the common pitfalls not having your full grande mask set up correctly not having your background mask up correctly and especially not having your background track done correctly that's only a big problem if you let it be in exercise 11 we are going to be looking at the lens module as in what a huge difference lens boggling can make to our tracking and effects but we use that tracking on so join me there you

Channel: Boris FX Learn

Views: 26,252

Keywords: Imagineer Systems, Mocha Pro, Mocha Pro 5, Remove Module, Clean Plates, Training Series

Id: tWQKbnyjar8

Length: 27min 17sec (1637 seconds)

Published: Wed Jun 14 2017