Intro to Mocha AE CC - Adobe After Effects tutorial

this is Evan Abrams and in this After Effects tutorial we're gonna be using mocha AECC where you're doing some playing our tracking rotoscoping movie showing you this powerful plane art tracker this wonderful tool if you're already using the newer versions of After Effects you've already got it bundled in there this is a powerful suite of tracking tools that can really help you out when a nobies tracker kind of falls on its face it uses a totally different methodology for tracking things like in this shot where the actor is foolishly put their thumb over one of the corners we need for a four corner pin and then they wave their finger around over the other points just blocking and cutting them off and doing all kinds of crazy things I don't know why they would use a tablet like oh wait it was me doing this and I don't know how to use technology a lot of the things I've done with this reader would make it difficult for Adobe's point tracker to do anything thankfully Moke is there to help and I'll show you how with mocha AECC [Music] so we've got After Effects open how do we get mocha onto our footage well if we want to use mocha we just have to go to the effects and presets here and type in mocha and you've got mocha AECC this is the free version that comes with Adobe After Effects so it's yours to enjoy it doesn't have all the bells and whistles that mocha Pro does mocha Pro is pretty great it's got a lot of motion blur tools you can do 3d camera solves with it you can remove things from a scene that you don't like with a couple of clicks of a button it's it's phenomenal if you want to upgrade to mocha Pro there's a link in the description to make that happen and you know your old buddy Evan gets kickback when that happens so how do we use mocha well on this shot we just want to stick this screen this checkerboard screen onto this screen here and we'll replace the checkerboard with something else something more exciting if we want but we need to get data so let's grab the mocha AECC drag it out onto the layer here we have this button that asks us to launch mocha so let's do that we're gonna launch it and now we have another interface we can look at the same footage I'm looking at the classic version of the interface but we could look at the essential version I'm gonna be using X to pan around and Z to zoom in and out if we want to track the surface of this pad I think first we want to make this finger not part of the equation we want to tell mocha hey I need you to forget that that finger is even here all right so we can take our X spline here we can make x blinds or Bezier splines I'm gonna make an X line and I'm just gonna draw like a rough shape around this finger you know do rough shape cool finger and just gonna soften those up with X blinds if you haven't used them before you have a point that is you know a little vertex and then our softness handle how close to that vertex does the line actually get so we end up with this kind of a shape all right that's cool it's kind of a weird beam and I'm just gonna track this forward and backwards so I'm gonna track it back to the beginning you see how it does using the power of GPUs who attract it nice stayed on and we're not being super precise what we're doing right now isn't for the Rodos so all we're doing is getting the rough shape of this finger where it overlaps with this particular thing here so I'm going to need to set a little keyframe here because then it gets a little wacky here the purpose is really just to make sure that the places where the finger overlaps with the pad aren't going to be calculated we don't need to worry about those areas cuz they're just gonna get in the way so just like that we've got this finger taken care of let's take this layer and rename it finger it's a good name for a layer we don't need to have this gear on it anymore because that we're not gonna be calculating anything for it and I'm gonna go to the layer properties and I'm gonna say blend mode subtract meaning I want to subtract this shape from another shape and what's that other shape well the other shape is gonna be this pad so this looks like a good frame to start drawing it and grab the X flying again and I'm just gonna draw out here doo doo doo look at that wonderful shape excellent excellent and maybe we go here here here so whenever you want to make a shape you just left-click put some points right click to close the shape then there you go so now we've got this rough shape I'm actually gonna tighten up these corners a little bit just because I want to make sure I have the most surface area possible so I get a more reliable track so this layer I'm gonna call this the tablet and we're gonna put that under the finger so the finger is above the tablet because that's the way it is in our scene that makes sense and if we go here to the classic interface and we just move around you'll notice the classic interface has a lot more stuff everything's arranged a little bit differently we're gonna work mostly in the essential interface but if you feel you want to get to more advanced stuff then get into the classic interface that'll be for later tutorials I just wanted to show you here that I can toggle on and off the layer mats and we can see here yep the finger is cutting in so if we scrub ahead to where the finger is over the thing we haven't tracked it on yet so don't worry don't worry about why this isn't lining up but as you can see the finger is cutting a hole in the shape so that is subtracting from it so moko won't have to look at those pixels to figure things out alright let's go back to the essential interface and let's track this so we've got translation scale rotation and skew on I'm gonna add perspective to the mix because this thing is gonna be tipping towards and away from the camera so it's gonna have that little perspective shift a little bit and now we're just gonna track it and look at it go it's tracking it's doing super well it's getting that shape in there interesting good now we're gonna track forward there we go tracking forward from the keyframe looks like it's getting nice and stuck on there and it is done the bars gone blue that means we're done looking at this track where are the four corners that are gonna create our four corner pin data well I'm gonna show the tracking surface here and I'm gonna tell it where that is so I'm just gonna move these into position so I can grab them when it goes here there we go we're gonna stick that there and then we get our third corner oh yes right there and then this corner we kind of have to extrapolate we have to say well I think it's around here and then stick it right there cool so now if we scrub through you can see oh yeah that that's kind of locked in isn't it that seems pretty locked to where those corners are it's not moving all over the place even better we can show this grid and if we look at the grid and scrub through the grid is moving as if it were stuck onto that surface which is exactly what we want we can see that these lines are parallel and that's what we want to see we want to see parallel lines if we start moving this shape around let me start to deform that grid to get it to line up even more precisely you want this grid to be as accurate as possible now if you wanted to find this even further we can go back into our classic interface and we can use the adjust track module to really dial this stuff in that is that is for a later date this is this is basic stuff today so let's move it along so we want to get this data from mocha into after-effects how do you do that well we just hit save cool and then we close this window and we want to get the tracking data so we're gonna go here to tracking data we're gonna create some track data we're gonna click on the tablett layer down here put the gear on that hit okay and now all of this gets populated with some tracking data how wonderful is that we've got the corner pinned data we've got some scales some rotations some excellent stuff let's go to our screen and this is what we want to stick on to the screen of the tablet this has the same width and length ratio as the actual screen I just used a ruler and measured it so now we're just gonna go export option corner pin export to the screen and apply and oh look at that it's tuck it over here now it's doing that because the anchor points don't really match up between these two so we can just select them hit a to call up the anchor point data copy this paste it there and now it goes right where it's supposed to and wouldn't you know it this is now stuck on the tablet and it is really stuck there one thing that I really recommend you do is pay attention to your motion blurs so this layer is deforming a lot but it doesn't have the same motion blur it's a way to crisp so you'll want to kind of dull that down and you might use things like the lens blur so we might use the camera lens blur on here and set it to a radius of like 1 or 2 but you should be kind of blurring your elements to make them fit you might have to use the old force' motion blur on here which will give us a little bit of that motion blurring as it's getting shaken around if you were to turn motion blur on for the layer won't really do much because we're not doing anything with the specific position scale and rotation all of its motion is being derived from corner pin data which isn't really gonna blur it out too much so you might need to get a little blurry to make those things happen but that's for any kind of corner pin so let's move on and do the other thing that mocha does very well and that is rotoscoping I need to roto this finger out of there because it does not belong behind the checkerboard it belongs on top of the checkerboard obviously so we're gonna go into that footage I'm gonna duplicate it and bring this up to the top because I'm gonna basically cut the finger out and just have a finger floating in space that's the plan so I'm gonna launch up mocha and we're not gonna look at these two layers when I turn the gear off because all we're gonna do is draw a very very good roto mask around the finger and we're gonna track it in place we're gonna see how well that does if you've done roto at all then you know that this is not a very fun process is not a good times even a little it's not even a little bit of a good time we want to find a frame that's pretty clear so we're gonna grab our X spline we could use Bezier splines but an explanation fingers are an organic shape you can you can quote me on that because they come from organisms and I'm trying to do this with as few points as possible so I'm really just trying to stick points on the parts that have the most change so in the middle on the knuckle in the middle on the knuckle then over here then I right-click to close that so it's it's a few points it's a few of them out here yes we can smooth them one by one we can select all of them here and try to smooth those smooth those out good I think that's looking pretty close now I might just just stretch these points a little bit here and there we go this looks like a pretty accurate shape if you ask me so now what we're gonna do is this layer 3 which I'll rename two-finger roto we're gonna go ahead and try to rotoscoped this through now we can look at this in the essential interface or we can go to a roto interface which will allow us to track kind of changes our track controls to down here so what we'll do is we will just start tracking this you know maybe start hitting it a couple frames at a time to see how it starts to go this thing's starting to get off get outta hand so we might track it forward and backward and see how that goes cool keep a track and keep going this is actually going a lot better than I might have thought so there we go well actually I did this project already so I'd kind of know how this is gonna go but yeah tracking tracking we're just kind of checking to make sure oh this one's starting to get out of control I'm gonna I'm gonna rain that in so we can just track back a bit doot-doot and yet that is good that's looking good so let's keep tracking forward click click touch this up a little bit there we go doop doop doop and keep it going keep it going and good now let's track forward so again we're tracking this finger we're gonna track the finger forward let's see how this does it's going crazy so we're just automatically tracking this thing ahead we're going to see how it goes it gets really scrunched up and weird but you know what tracker wouldn't at that point some of the things you can do to save yourself time is you can just stretch this out using the transform controls to make things like that happen nice you might need to scrub through to see other areas where it's kind of getting a little deformed on you and like this too and you can rotate this you can in here the tool changes a little rotation tool just to touch it up a little bit if you need to you want to look for points just as a general tip for rotoscope you want to look for where it's on and then if it's gonna go off find where it's gone off the most so find find where it's really extremely off model and then you want to adjust that one you want to adjust the one that is off the most and then you may have to sort of dial back to the point where it really starts to just deviate off and make sure that that is okay because you don't want to mess with the frames where everything's totally fine and Placid and life is good but I think we've pretty much done it I'm gonna be happy with that and we don't really need to worry about these frames too much even though they're absolutely hideous just because it's kind of getting turning into a blurry mess so there we go let's go to so you might need to go through and pay a little bit more attention to areas areas like this where things seem to be changing everything's changing just kind of make sure that these things are not getting out of control you want to keep keep control of these points there we go didn't keep control of these points at all so we're gonna select those those under control good and you'll find parts that are quite blurry so you see this is pretty blurry so you want to kind of in the mid-range on that kind of in the middle of this blurriness because if we start feathering it and we wanted to go on either side of that boundary if you're gonna use motion blur and you want to stick to the solid most part and let the motion blur kind of carry you through so I think this is good we're gonna save this and we're gonna close and now we're gonna go into the matte options the m80 te matte options I'm gonna view the matte so the visible layer we're looking at his finger wrote oh good and you can see this matte of that finger cool finger nice and then we can apply the matte then as you can see it is made you know that matte applied all the way around this okay that's fun now we can even go in here and feather this so we can feather this pie like three pixels all right four pixels maybe and that kind of gives us this little blur around it which might be good enough I don't know don't know if it's good enough for you it's really gonna depend on what you can kind of get away with in there now alternatively we can apply things like force motion blur we can take this layer and we can we can create After Effects masks rather than relying on the effect to do the work for us we can have it create masks for us if we would like so now we've got these lovely masks here and now we can go into the mask and we can change its feather in here we can grow and shrink the selection all kinds of things the world is our oyster at this point but we've got a pretty reliable look going on so from here you we just need to put something actually interesting on the screen and and you can do that by just going in here and I don't know maybe just typing out your done onto a layer here and we'll just just grow that up way it's so cool so I'm put this in the middle and turn off this other layer and now when we go back we go back to where it comes from boom your your one I mean to say that might say you're done but the point is now you can see we've got some stuff on the screen we can swap out its contents with whatever we want its corner pinned into place and you'll notice the tracking didn't break in any people I just a little humble brag on that even though if we used a point tracker because skidding all over the place because of these very similar pixels and similar pixels over there so you see how powerful planar tracking is even with these very simple examples if you're like what you're if you like what you're seeing in mocha and you want to get the pro version please use the link in the description and your old buddy Evan it'll get a kick back from that there are a lot of really great features in the pro version that I get a lot of you set of I'm gonna be covering those in future tutorials so stay tuned for that if you enjoyed learning a little bit about visual effects here please subscribe to this channel talk about motion design visual effects after effects other excellent programs and if you got stuck if you had trouble with this tutorial please let me know in the comments and I'll try to help you out if you're really stuck or you just need footage to play with why not download the project files for this tutorial head on over to Evan Abrams comm to get your hands on those links in the description and the cards and if you like learn about the stuff then please subscribe to the channel we've got great tutorials coming with some great live streams coming up so make sure you subscribe to see all that great stuff and if you do I'll see you around the internet thanks again and have a great day

Channel: ECAbrams

Views: 172,257

Keywords: adobe after effects, after effects, adobe, after, effects, fx, mograph, motion graphics, motion, graphics, vfx, visual effects, instruction, tutorial, tut, how to, how, to, help, tips, tricks, after effects tutorial, motion graphics tutorial, vfx tutorial, mocha, mocha ae, mocha ae cc, ae cc, planar tracking, tracking, track, point, tracker, roto, rotoscope, software

Id: GoUpnqgCrUg

Length: 17min 27sec (1047 seconds)

Published: Fri Mar 01 2019