Matchmove With Nothing To Track Tutorial

hi and welcome to vfx tutors i'm josh and in this tutorial we're going to go through how to manually track a shot where we don't actually have anything to track so we're going to start off by opening maya this time and so i've got my open so the first thing that i want to do is just go to file import and i'm gonna you can download this i'm just gonna use the the rig from the the roto tutorial so i'm just gonna import that and we're going to use this as a rough lineup for when we bring it into a 3d so we've got our rough room we're not doing anything to her we just want to now make a plane it needs to be it needs to be quite big but i think i went a bit too crazy we need enough for the horizon line so and let's just scale that up and get some subdivisions so let's try that again sorry about that i got a bit too a little bit too crazy with the scale so let's select all that so now i'm going to export this to our file file export selection i'm just going to go to my file just put it in data i'm just going to call this rough geo look for lineup v01 export selection so now we've exported this our next step would now be to bring this into 3d and do our a single frame lineup or a rough guest lineup so i'm just gonna open up 3d now cool so we have 3d open so what we can do we can go to our sequence camera and just load in our image sequence just go browse 32 plate girl on beach select okay and as usual it'll be dark it's in a linear color space let's change that to 2.2 and as we have no idea what any of this any details for this we'll just play back and export our buffer compression file straight away and if this takes a long time i might fast forward through it because then we can sort of figure out our uh a reasonable focal length and also possibly get some of this track as well so thing is with shots like this we're looking for any parallax i know the ocean is constantly moving but just from there i can tell you there's absolutely no parallax in here and just from seeing how this is shot this is just clearly on a tripod and just panning around so that's going to work in our favor let's play through and see if it's lumpy so i'm going to treat this as a nodal shot and obviously here we've just got nothing we can go to the windows go to image controls turn it on and very unlikely there's going to be anything in there so yeah there's no there's nothing coming out that so we're gonna manually we're gonna we can get a couple points on here probably if we wanted to but let's do the manual tracking in my because you can probably just track that any um some of those points but cool so what we're going to do i'm just going to pick a frame that's going to help us the most with our position because we want to get a good start position and i'm actually thinking maybe because we see his shoulders we don't see anything there we see a horizon let's go with this let's go for something like that because we've got a good horizon position here and we can sort of see our body so i'm gonna just load in our 3d model we exported just go into models and import obj file roughly a rough geo lineup and let's turn it to reference only so we've not changed any of the lens i have no idea what film back height and and width this is i can probably take a good guess at this is quite a long lens because there's a lot of image compression in here so this looks closer than it really is so and you can tell by the way the face the face looks a little bit compressed from it so we're going to start with a 60 ml which you can get f5 and center our models uh where's the rest of that let's go to f6 okay so let's go back to maya and export the rest of it i don't know why that didn't explore so let's go file export selection let's overwrite that yes we'll probably end that as well and let's go back to 3d right click and reload models cool so now we've got it all in there let's go to f5 we can let's try get that position again let's go to our project and change our far clipping plane we may have made the geometry a little bit too big let's bring that in so we need a big but maybe not as big as okay right so we made that way too big so let's just start that again it needs to be it needs to be quite big but i think i went a bit too crazy we need enough of the horizon line so and let's just scale that up and get some subdivisions so let's try that again sorry about that i got a bit too a little bit too crazy with the scale so let's select all that export selection let's just overwrite that let's go back to 3d reload 3d models cool so now we can see our background we uh definitely made it a little bit too big and the reason this is quite useful because you can sort of see your perspective and we can just try to see what it looks like in multiple angles we're just doing rough line up so we're just seeing what it looks like let's get some face and all i'm doing is just oh my god i've just changed that by accident it's just comparing her face against the rig that's not gonna match but we should get some sort of so if you see how so if we so if you if you know how the focal lengths change the look of the face it will help you to understand what i'm trying to do so if i change their focal you can see how the wider we get the wider we go the sort of perspective it goes a bit funny but this is kind of everything looks very compressed so maybe even 100 ml seems reasonable so i'm gonna i'm gonna go over 100 mil for that just because it looks very the shot looks extremely compressed obviously these proportions are not going to be correct we're just because she's on the ground it gives us a good idea of where stuff is cool so we're just going to store that pose and we're going to remember that we're on frame 112. i'm just going to go to f2 i'm going to make loads of points any random points i'm just going to lock this in i'm just gonna edit uh project points on 3d models press alt c and now that's their forever locked in so this is what we're going to start with in maya so we've got our rough position we've got a horizon line on our background we probably need to we can make some more uh subdivisions for this geometry but this is where we're going to be starting in maya so we're pretty much done in 3d we're not going to do any distortion because we've got nothing to guess it on so with things like this you you're probably better off there's nothing really saying what's going on here so i'm actually just going to leave it for this shot and i'm just going to export out my camera so project buyout one and cool so i'm just gonna export my camera and that'll explore a single frame i'm not gonna change anything else so next thing is to bring this back to maya so i've got mario open now so the first thing i want to do is import my camera and my geometry so i'm going to go to file import like so you can do this with any software i'm just using maya because this is just what i use but you can do this in pretty much any 3d software so i'm going to input my scene then i'm going to import my rough geo lineup so now we've got see we've got our girl and and for a panel's perspective our image plane has set up our image plane sorry to one one and change this to 0.7 it's not loading in so you might have to load it in again and we'll use image sequence we just turn our shading wireframe on shaded on we can scrub to what we did our line up on so we can't really see anything else because we change our clipping plane so if i select my camera and just add a couple zeros that clipping plane maybe change this to change up to one because now we can see our sky dome which is at absolute infinite distance i think our lineup was there it's nice flat of the horizon so this is our furthest point away we can't really uh see much geometry so what i'm going to actually do if i go panels tear off a copy because we're going to have to use a similar method to what we do with body tracker we're making our sort of key positions just going to panels perspective and change my clipping plane on that one as well i'm just gonna hide that for a second i'm gonna make a ground plane again i can't really see much in this i'm just gonna scale it now i can start seeing this one so i think the other one might have been a bit too big so i'm just gonna keep scaling it obviously you can just translate it if you like i'm just gonna keep scaling it until it meets the horizon it probably doesn't need to be as big as we already made it stick this down here for now and go to my poly plane i'm gonna add some extra divisions more in the height these 25 let's do one two five by fifty obviously we've got a vaccination now let's keep it keeping that low because we because then that'll just turn into a mush after a while i'm just doing it so i can see it in this viewport and you can probably just shift this and make it a little bit better in fact let's hide that where is our camera so we probably can oh let's hide that so i'm just gonna delete all the polygons behind the camera so i think we need that and don't worry that these are kind of rectangles we're just using it so we can see it in here so now all i'm gonna do is just gonna select my faces on here and just delete that old one and if we select polygon here we can probably select that edge loop and delete that and delete that so we're just kind of optimizing it so we have loads of polygons in here and you can see we can push that all the way up to there at our sort of furthest distance but as you can see there's almost no point because we're just going to be stacking it so i'm just going to call this set geo cool so obviously we have nothing to track let's put this all on layer so we can add a color to it so that's a much clearer then i'm going to go to my arnold of my render viewpoint 2.0 change my anti-aliasing to smooth multi-sampled and you can change this lower this down if you want eight is usually pretty good cool so our problem is that we haven't been able to track anything but we've got all these um we need to be able to track it basically so what i'm going to do first is i'm going to create a locator because i don't really i don't you can animate directly on the camera i don't particularly like doing that i like to always animate on a locator or shape so i'm just going to create a locator so now if i go to my girl on beach camera i can select all my uh translational rotations anything keyed in red i'm gonna break those connections so there's no keyframes i'm gonna press shift p and i'm going to select my locator let's just double check it might not have broken it let's just check cool let's go back to 112. and let's select our locator then our gallon beacon will go constrain point constrain orient so we know it's in the exact position we can delete that and we can just middle mouse click that under the locator so now now we've removed all that animation off there and placed it under our locator we can press s to save that keyframe on the locator so with this i'm going to kind of treat this as a nodal because there's not really much parallax in it and it's hard to tell really what's going on but what we can do we can match the horizon and the y rotations and we should be able to get a really nice track out of it just manually um it's obviously quite a lot of keyframes so we're going to try and get as much of this in our in betweens so we've got that line up there and i'm just gonna look through and see what we've got so that's where it can be quite tricky so we're gonna just completely manually admire but sometimes you have to so i'm gonna i'm just looking all i'm doing is looking through for points that i can recognize that's because obviously in the water things are moving and you can get a pretty good guess of stuff um just from the waves because they're fairly localized but they're probably moving a bit but what i can do i can go down to here and i can see this part of this rock and this is going to be a nice indicator let's see how far i can go down before getting that probably should have done my one single frame lineup with that in there that would have made more sense let's go to keyframe 109. let's go to our camera and i'm going to turn my auto key on so i don't have to keep keyframing and just scale my manipulator i'm just going to rotate this the moment because she's walking i'm not too bothered about that i'm just i'm just all i'm focusing on is getting this horizon line correct and obviously you've got some movement she's not moving that much we can also use that for the rotation as well it's only a small amount so obviously it's not same shape she's probably moving but i'm only i'm not gonna do any translations i'm just going to be using rotations for this so i feel like we've got if we look at our arm well she sees walking so it's not going to be absolutely perfect but we can sort of get the distance relatively close i think that's probably about right so now because i'm going to use this as a sort of guide for my rotation speed so i'm going to make a i'm going to make a cone i'm just gonna do 180 i'm i'm not that fussed about because that's probably not the correct depth but we're treating this as a nodal so it should be fine and obviously this is completely flat so i'm just going to use this cone as a rotation reference cool so we've got our first two key frames i'm just going to scrub through and you can see that corner of that rock and keep seeing until it goes through and you can see it about there so this is kind of like let's scale this camera up it's tiny your last resort sort of last resort animation sort of stuff because this can be quite tricky let's just see how that looks and we'll go to our windows animation editors graph editor and what i want to do drag this over here it's gone over there i guess my rotate these are the two keyframes that we've just made i'm going to linearize them just going to drag this over here so we need to fix this sort of dropping down so bring that up and just what we'll do we'll just go through and check all the horizon on these sort of keyframes now you see it's sort of getting there we just need to add some more keyframes on our keeping her horizon in i'm going to do this on every 10 key frames and we're only focusing on the y and x for now so we're not going to worry too much about the the rotation so if you look at that you can see we've got something fairly rough i'll see we've got some movement which is not correct here so let's compensate that by fixing the y i'm just going to use that cone you might not even see it in some bits so i'm just gonna make another keyframe there so i can guesstimate it there like this is quite hard it's probably one of the more difficult things to get cameras working in a just in maya so it's uh it's extremely tricky to get right so i'm just gonna go through and get it roughed out i'm just gonna do this horizon line same with body tracking sometimes you might end up having to delete some keys but try and get it as close as possible i'm just going to do every 10 keys and just sort that horizon out and there's gonna be a point where we don't see any of the horizon line so i think past that what we generally do is do a sort of post infinity so that's kind of just continuing the movement from the last sort of known animation and you can see our height not really changing with our head obviously our position is because she's moving that's also quite walking so let's not worry too much about that yet so we're getting our height that's what we're going to worry about for now it's just getting this horizon lining i'm just going for every 10 key frames you can do however many keyframes obviously the least amount you do if you start keying every frame you might start getting some sort of lumpy camera movements but for this it's probably yeah it's gonna be gonna be hard pushed to get absolutely perfect but you can get something that works and that's probably more important than getting it perfect having something that can you can give to the rest of your team that can work with even if it's a case of them having to reproject stuff that's it so if i go back to my if i just make that small in my y you can sort of see there's a a trend angle if you know what i mean so it's kind of what we can do is let's keep going and let's go to that key frame i'm just gonna slightly rotate it and make a key and i'm gonna select only my up and down and i'm just gonna match this angle so it's sort of following here let's delete that i don't know we can have a look at that in a minute so i've sort of roughly continued it let's have a look see that so our y looks not our rotation doesn't look too bad but obviously all of our our horizon lines broken so let's go through and fix that um select all that so it's quite funny here so i'm going to go curves and not sure what's happened there let's pull that up probably shouldn't be like that so sometimes it's just better to delete keys that doesn't seem right so i'm just going to get rid of that so we've got a fairly reasonable curve just going to minimize that and now i'm going to it might have been a uh i'm going to turn auto key off i think because i may have auto keyed everything uh let's break selection no i'm gonna break that i'm gonna turn my auto key off i'm just going to scale up so i can see my camera it's just easier that way come on i put my auto key back on and hit e i'm just going to fix this horizon line obviously this is not gonna we're not gonna see that woman walk because we're not because she's walking basically and she's static so that's gonna not unless you plan on uh body tracking as well but if we look here we can sort of see we're actually starting to get something working quite well even though all of our back all of this is moving it's still going to be quite hard to tell if it's working or not but we can sort of guesstimate the movement and keep this horizon line fairly fluid and just makes basically keeping most things just logical so i'm just going to go through all the keyframes that i've done you can see we might have to introduce some uh zed roll in there at some point worry about that afterwards i'm gonna try and keep this the x and y axis is our main focus for now because he was getting something actually pretty good don't worry about the bumps we can fix that a bit later and we need to fix those y rotations so we're gonna do the exact same thing and all i'm doing is i'm sort of trying to predict as much as i can predict the curve i'm just going to make a keyframe to make sure that's on up and down and most of the time that's all you can really do on shots like this is actually just predict the curve so so it looks like furry fairly basic here so we've got our sort of y rotation here it's a little bit lumpy but we can just go through and have a look at our keys and things will probably be broken so if we look at that it looks pretty messed up because it's probably not actually as much as we thought so just undo that actually let's go back to that and undo all that i think it actually might stop so i'm going to stop that see if you predict it too much you could end up adding wrong animation onto it so what i'm actually going to do is i'm going to rotate it one because i can see my cone here and it just comes off that edge so i'm just gonna rotate it just enough so it's roughly in the correct place and if you can't quite get it sometimes it's easier just to select it in the curve editor and then you can adjust it that way we don't need to move it that much and all i'm going to do is going to make another status cone duplicate it i'm only going to move it on the ground i'm just going to use this to sort of guesstimate another position and because we're kind of working in a nodal state it doesn't matter if these are in the wrong depth because it's pretty you would never really be able to find the correct depth of this anyway so like all this we're just going to do best guess so now we're going to switch over from this cone to this cone because it rotates slightly nowhere near as much as i thought it was and the more accurate we can get this sort of rotation here we can then continue that up so if we go back to our rotation we can sort of see now with those rough keyframes we've got this rotation curve which is sort of working with our y and obviously he sort of focuses more on the on the person here so it's more than likely that starts with a slow curve then ramps down quite quickly so let's just go to our here i'm just going to make a quick keyframe i'm going to continue this curve and albeit this is quite rough and we can delete these keyframes because we do even if it's we want it smooth so being wrong and smooth is better than being as close as you can get but really lumpy because at least with smooth you can work with it but we should be able to get this pretty close anyway so now if we look at that it's actually it's working just from predicting the curves it looks quite nice obviously we're gonna get some sort of wobbling and we've got the horizon ramping up and down and you can sort of see if we look how she's walking she's not really walking she's rotating so that's where the slow y rotation comes from so it's not really moving that fast then she's walking so it speeds up she's still walking and she's staying relatively in the same place in frame and i think she does stop there so we can probably safely say that it sort of ramps up to around here that sort of curves down so let's go to our y rotations like so with this one we have nothing it's best guess and what looks correct let's just make a keyframe i'm gonna pull this down like that and at this point it's more artistic choice as well you can kind of have the background doing whatever you want um generally you want to keep it logical but um let's say because she sort of walks and stops our best guess would be to sort of have this sort of ramp up probably something like this ramp down sorry so it's a nice smooth transition so if we actually look at that ignoring the horizon line it's probably actually a bit and it probably stops too soon so actually and it doesn't stop fully so let's play the tangent so it doesn't stop completely so now if we look at that we've still got some movement okay so you can you can probably change this quite a lot as well it's because you don't really see much there's a lot of artistic choice that you can put into this but for now that's now fix the stuff that we can see so let's scrub through like i said we've probably got some y rate z rotation here as well we should fix let's just have a look at all our oh don't do that let's just try keeping it to the basic of the x and y rotations first then we can focus on trying to make it a little bit tighter so we've got some bumps here it's quite hard because you kind of you definitely need a couple monitors for this or two at least um just gonna pull that and just make a keyframe doesn't seem to be updating both windows so it's a tiny bump in there we see this in the graph editor we can fix the bumps afterwards after we've had a play with these uh curves so it's it's updating now which is nice what we can see you can use the curves to find it's easier to control it in the curves if you need to sort of fine tune it i wanna let me slip i'm just going to go through all these keyframes let's do because we're moving it really small amounts but it looks like a lot in the curve editor but we want to keep this as smooth as possible and that's what's going to help you a lot just trying to keep this horizon line is as close as possible let's get rid of that keyframe we might not need that go for it slightly adjust these keys i'm just going to go for a check so we've got some very slight z-roll in here but like i said we're gonna just focus on the x and y for now getting these keyframes looking really nice so that's probably a zed roll there we've got some sort let's look at that key possibly could come up a bit and we've got some z-roll here so if you've got more coming on left and right just don't worry about it for now we want to try and get this sort of working also you've got a lot of z roll here but we've got no keyframe so we can sort of guesstimate that down there we can sort of see where this on because we're on a nodal we can use multiple parts of the geometry to sort of keep this correct so she her head is sort of in this sort of section here so you've got this block here in this block here and she fits within this range of six sort of rectangles so we can sort of keep a height in there which is going to help so she's not too far off this edge and the same with that and if you want you can also match the background with her as well so we could almost because we don't know we're sort of guessing because it's about here and probably when she turns it's there and but like i say at this point completely creative you can do whatever you want i think obviously you don't want it spinning like mad you want to look natural um but there's no connection to the ground so don't worry too much if it's not perfect because i would assume something like this you're probably gonna do a sky replacement or something so let's have a look through looks fairly reasonable like so you can't really tell if it's correct or not until you put something until you put a replacement background in and because you could effectively have this stop there but i believe we're still because she's walking we're still rotating and it stops because you can see from where we used our reference points in the rocks we can see how much the rotations are working so we can just guesstimate that we're still con she's work walking at a relatively average speed throughout so so let's go now to our last frame which we see the horizon so now let's go to our z rotations and we can scrub through and let's have a look i'm not too bothered about the z rotations there and just keyframe it there we'll go through let's see if we can slightly adjust our said rotations try get level throughout things come off here why is that let's hold it so it's let's just pull that up see what i'll rotate sets this is a tiny amount okay i probably should have fixed it for pretty much all of it was just a slight offset so let's just now go to our x and we can really what we can do let's just get this horizon line consistent actually it's still very slightly out in our rotation so let's see on a quite a large area here so we will have to go backwards and forwards but the cleaner we get this the nicer will be so it's gonna go through my keyframes and i'm gonna really because we've changed the the rotation on the camera it will be slightly off so whatever we do in the camera we'll have to always fix in our other rotations but this is the tricky thing with doing shots like this in maya is that it's very manual but you have to do a lot by and there's a lot of creative and sort of sort of logical sort of thinking that goes into it also using your graph editor is probably your most useful tool because that means you can instead of using this this is your manipulate is really good to get things in the right place as quick but to sort of fine tune things to a level that you want they're not great and if you're still not quite getting it select your point press f and that'll zoom in on it that means you can really do tiny adjustments i'm just going to go through every single keyframe that i've made and when i come to a point where i need to adjust the z rotation probably means i have to go back and fix the previous keys because we're on such a large area it's just what's going to happen you'll notice if you just paint take your time just be really sort of really accurate with your placement you'll start to get some really good results and you'll be surprised how many shots you're probably if you're working in vfx you'll come across you'll undoubt doubtably come across a shot like this and it'll be like oh great but you can make it easier for yourself it's unavoidable you'll get shots like this but as we're trying to keep it smooth like i said we can try and get every single thing in the chances are we're gonna make the camera worse so at best our camera should always be smooth because a jittery camera will cause us way more problems so i'm not keyframing so i think we've pretty much fixed that zed roll just in a couple frames so we're just going to go for every single keyframe just readjust for that z roll and you can sort of see it's actually start sticking quite well there we're just cheating this as a node also when it's a nodal with no parallax you can get away of a lot it's looking good i need to bring that down up and whatever we have our horizon whether if you have it slightly blue on top or completely chopped off it's entirely up to you but you just want to keep it consistent throughout someone i just have a tiny bit of blue so i'm just going for all the x rotations just getting that lined up nicely i think as we come to here we really start to lose our horizon so let's just look at this all the way through the important thing is making this look natural i think it's a first pass that looks pretty good for our y rotations i think we're not really going to get much better but what we can do we can fix this lumpiness in the background so i'm going to start from let's start doing in-betweens just gonna go to that keyframe i'm just going to go through all these x rotations and do an in between so on every 15th frame i'm just using the manipulator keys because i don't want to have to keep selecting keys in here this is where you've got to be really careful that you don't add too much because then you could make a jittery camera it's gonna go for on every fifth though and try and match that horizon light because it can be very difficult to see the more attention to detail that you put into this the better it will be so unfortunately it's quite a time-consuming job but because we have nothing to track it's not really much choice but at least you'll be prepared if you come across stuff like this it's better to know it and then be able to be like yeah i can do that and you have to panic if you suddenly come across a show you're like oh my god nothing to track you can see even the cones here are working really well so it is quite it can be quite painful but once you've done it you'll have a nice sense of achievement after it doing probably the hardest sort of well they're not they're probably not the hardest traction you'll get but being able to these are pretty these can be pretty difficult to be honest it's not to say they're not the hardest um they're definitely up there some of the most difficult ones but if you just take your time just be really accurate with your adjustments and use your curve editor and just make sure that you don't do loads of keyframes just do blocking out keyframes first like say have a lot of animation stuff because still sort of animation really is making sure that you block stuff out first and you can see on this rock this sort of crack is staying nicely on that line and blocking out correctly will save you a lot of pain yeah actually that's like a luckily that this is still like almost 300 frames but luckily about 170 you can kind of make it up effectively like make it up within a logical sense it's not it's not really updating very well at the moment for some reason it keeps stopping but keyframe and we're going to go over keyframes that we've already done but that's just the nature of it you're going to go over things because we did it in a way where we did our rotations we did our y then our x which i think we did on y and x at the same time but then our z rotation will kind of break some of that but get us in a good place sort of get a reasonably good camera animation hopefully by the time we've done these sort of in betweens i'm hoping no there's always a high chance that we could have just made a lumpy camera but let's hope that we haven't so like before the blur sort of stuff that we did trying to keep it in the center obviously it's it is difficult to see so don't worry if you're not getting it absolutely perfect it's just one of those things that takes a lot of practice and having a good eye for sort of being able to see where it is as well come to our last one even though we probably didn't need to do all these inbetweens but so that's our look scrub through so look i'll rotate check we've got nothing strange go it looks pretty smooth it's fairly logical we don't want to add too much in here because that's when um we start getting some funny results we don't want any sort of like gestures in the why and if we uh let's make this bigger so we can see let's just have a little look through obviously upset here you can sort of if it's not to your liking you can sort of play it however you want but what's that keyframe so maybe let's have a look even though we've done in between we still might need to do in between the in-betweens which looks like we may have to so let's i'm just gonna scrub through the timeline just look at areas that may need it so definitely think 10 12 might need it we can just go through just double check there's not any floatiness i think even maybe there might need it and you can do this for every frame i just don't want it to ferment too many just in case it starts to get jittery um because you can almost start to lose snakes and start seeing things that aren't really there so it's quite it's quite high here so it could even be a bit more of a zed roll here but if we change that we have to change everything so see if we can get it in there that's probably that's fine obviously you can play blast this and you get probably more a better idea for it might be slipping off the horizon but it's not a very heavy plate so you should be able to just see it by so we've got it definitely drops down there another key frame here sort of does it down there as well slightly this is like the tiniest of movements but we can try and get as best as possible so i actually need to bring it down as well a bit more this doesn't look like obviously our horizons come off by then and it's coming by then so sometimes this is a pain to slip just trying to keep it as tight as possible because it kind of cool so done there are some pops in there but we can go for in how long has this taken now this is not too long let's spend another five more minutes on it and see where we go because i don't wanna try and avoid to make these sort of hugely long tutorials i'm not sure if you guys i don't know how you prefer would you prefer sort of chopped up ones or uh i was like trying to just get it all in one tutorial but i'm not sure if that's your sort of i don't know what you guys internet's like you might might not have the internet to watch an hour long youtube i don't know but um i'm trying to keep them short shorter or without losing information but i'm pretty let's see if we can uh let's turn our key off and see if we can play through that it sort of plays through it's not great it's probably faster to scrub free so i'm quite happy with that it's working pretty well we can we can spend ages refining it and try and get these tiny bumps of the horizon but i think it's pretty good so yeah if you want to keep on improving on that that's perfectly fine but i'm probably gonna hold it here for now um it's pretty close so yeah that's how we sort of approach shots where we can't track anything in the background and we try and manually track it admire so yeah if you've enjoyed this tutorial hit that like button and subscribe for more like this you

Channel: VFX Tutors

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Id: Q1GPCEdiK14

Length: 79min 13sec (4753 seconds)

Published: Wed Sep 02 2020