Hi, I'm Ben Brownlee for Boris FX, and we're gonna be continuing our look at the camera solve module in Mocha Pro. And I'm gonna show you how we can start to combine Mocha's
planar data and PowerMesh data with inside our camera solves. And this is the shot
that we're gonna be working on in this video. And it's a moving shot
going around a still life coffee setup and a few things
we're gonna want to do with this when we come through it, we're gonna be wanting to
take out or extend out the ground, removing of course, the
markers that have been put in on top, and even one of
those marks is crossing over a coffee cup, not great. And we also want
to replace the pack label at the front as
well for something different and maybe even clean up this area here. So we're gonna use 3D camera solving data to help us do that. Now I'm already in
the camera solve module, and let's just see what
we can get with an auto track at default settings. So it takes us through, it's very fast, little process here,
and this is looking pretty good. But take a look at a
few things that are seeming a bit out of place. Like if we take a look at the floor, or the ground plane,
that ground plane doesn't seem to be fitting in particularly nicely, especially over
here, we've got points drifting where they shouldn't be drifting. So we'll have a
little look at that a bit later. But when we're doing auto solving, we can't be guaranteed
that features are gonna be placed exactly where we want
them to be when we take it out into the host application. But we can change that. If I come back into my tracks here, I know that I want
to know what this plane is on this particular front here. So what I'll do is I'll
just use a Mocha planer track to do that. So I'll just add another shape into here, make sure it's set to perspective, because it's a perspective track, and we'll just track
this through nice and quickly. That looked like it was all right. The other thing I'm going to want to
track is the coffee pack at the front because we're going to
want to swap this out later. So let's come in and bring this
up here. I'll avoid the coffee beans. There we go. Turn off the surface. And I don't just
want to have a planer track on this. I want to
create up a mesh on this. So I'm going to come in and use
PowerMesh. That should be pretty good. And track this backwards. Obviously the best way
of checking for the PowerMeshes to make sure they're
stable is go to the Stabilize tab, come to our Mesh
Warp, have it set to unwarp. Let's turn off the overlays here. Now we should see that
that's looking pretty good. All right, let's come back
into our Camera Solve module now. And I'm just gonna look
up in our Layers control now and make sure that the cogs are turned on for the chopping
board and for our coffee pack. So with the cogs turned on here, it means that those
tracks are going to be included as part of the solve when we hit Solve. Excellent, and when we have that now, if we look over in the 3D objects, we have the
features that we've always had, but we now have two layers. We have a layer for the surface. Let's just zoom out a little bit there. We can see the
surface points there in Magenta. And we also have the
mesh for the coffee pack as well. So we know we're
guaranteed to have the data in the right place when
we start to want to use this. Let's just check this out one more time in perspective as well. And we can see the PowerMesh is not the most 3D of all
objects because it is just a flat pack of coffee but
there is some shape to it. Let's come back into the
camera, have a look at one more thing. I can still see
that my ground plane points that sat there,
let's just turn those into a different color. So just click on the color swatch over in the 3D objects,
let's turn those to orange. Take a little look
at those and you can see they are drifting
quite badly, they are not really helping with the solve at all. So I want to make sure that those
are going to be taken out and not included. So this whole area is
just flat, it's just not very nice. And this area over
here with the reflection, the reflection
actually not going to be helping us out at all either. So how do we exclude
areas from automatic feature points? Well it's really simple and
it's in the track module one more time. So let's just
create another couple of shapes as we would do if
we were doing regular track mats. So I'll add a shape in here and
just exclude the areas that we don't want. So I'll add a quick one there, let's actually link that, see
if it makes sense to link it to our coffee pack front so we
don't have to do any actual tracking. Yeah that's pretty good. We will call this one front track matte and let's do one more
for the reflection as well. It's going to be around about here. Let's do a similar thing, see if we can link that to the
chopping board front track and see if that makes sense. Pretty much. Yeah pretty good. We will
call this one reflection track matte. Excellent. Alright so let's now pop back into the camera solver and over
in the layers controls now, instead of having
these to contribute to the track with the cog,
I'm going to look at the new column we have
over here which is going to be removing
these and masking these from the results. So now we have two masks and two
that are going to contribute to the solve. Let's just solve that one more time. And you'll see that
we don't have any of those strange ground plane
features created for us here. Let's just orient
the scene properly. Well we don't have any ground
plane features so we can't really do too much there so I'll tell you what we'll do
instead. Let's set our origin to the front there
and we'll use the chopping board. We'll grab
some of the top areas of the chopping board
here and align those as the ground plane. What we
can do though is we do know that we've got some you
know a few areas that are sat on the on the ground
quite nicely. So these ones here probably that
one maybe at least one of those. What we can do
is we can color code these ones so I have
them selected look at our 3d objects on the right and
we'll just yeah make those ones orange and let's pop into one of the side views. So let's
look at the right hand side and what we can do now
is we can manually transform this scene up and
reorient the scene as we want it. So all we have to do
is make sure that we have the scene transform
in the 3d object selected and then we can either use the on screen controls the on screen
widgets to work with that or we can come in here over onto the
right hand 3d object properties and we can change things up manually here. And we'll take a
look from the top hand view or the top view and from the front view. And maybe I'll rotate
this in a little bit more. Excellent. So let's look at
the camera one more time. See if this is sat
where we want it to be. And that's looking pretty good to me. If we do want to work a bit more with this particular set of data, but we can't use any
more of the refining tools inside of Mocha. If I go to export
the camera data out now, we can take all of this data out as a Boris FX SynthEyes project, load that into SynthEyes
and then do our sort of more refined work with
inside of SynthEyes if we need to. But for a user
friendly 3D match moving experience, Mocha Pro is gonna do
pretty much all of what you want for a lot of your shots. The next part of the
series is gonna be all about how we use this 3D
data in various packages. Now, of course, each of the host programs are gonna have their own way of importing and using the data. So you will have
the choice of which program you want to focus on. My name is Ben Brownlee for Boris FX and I'll see you in
another Mocha Pro Camera Solve tutorial very soon. Bye for now. If you have any questions
about the Mocha Pro Camera Solver or you'd like to see a specific task done with the match move data, please let us know in the comments below. We're always happy
to hear your suggestions. If you wanna take
Mocha Pro for a trial spin, just head over to BorisFX.com.
