Mocha Pro for VFX Workshop with Mary Poplin

[Music] [Music] [Music] [Music] [Music] [Music] hmm [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] so [Music] it's not stressful [Music] hello everyone welcome back to the third presentation of boris effect's virtual siggraph 2020. we have an exciting presentation today we're going to break down mocha pro in vfx workflow with mary poplin before we get started um just want to let everyone know about our new product the boris effects suite which is everything we sell in an annual subscription that is a multi-host sapphire multihost continuum mocha pro standalone and plug-in um silhouette stand-alone silhouette paint plug-in and the brand new optics all in one annual subscription regularly priced 12.95 per year it is on sale for siggraph for 9.95 um you can use the code sig 20 at checkout to take advantage of this great deal and one lucky winner at today's live stream will be um getting a annual subscription to the boris effect suite for free so um how you enter to win a subscription to the boris effect suite is to go to borisfxlive.com there is a little form at the bottom that you can fill out into your email and we will pick from um today's viewers um and somebody will be getting a whole bunch of free software so really cool stuff so if you're watching on youtube or watching on facebook go ahead and pop over to borisfxlive.com and enter to win um after mary's presentations we have two more coming up today that will round out the day at 4 30 um eastern time and 1 30 on the west coast we are going to um be hanging out with brendan o'neill from bonfire who's going to break down his unreal slash flame compositing workflow that he uses on his on some of the commercials he works on over at bonfire really cool stuff brenda's definitely on the cutting edge and a amazing artist so that's definitely a must-see that is at 4 30 on the east coast at 1 30 on the west coast and then closing out the day we have john dickinson director of motion graphics for boris effects showing a sneak peek at particle illusion 2021 some new features like support for 3d camera um in particular 2021 that is coming up at six o'clock on the east coast and three o'clock on the west coast so definitely two more great presentations coming up after mary's mocha pro for vfx workshop that we are going to begin right now hello miss poplan how are you hi brian i'm great you know we're uh the weather in this together good to see you i wish we were all in person at siggraph like we should be but uh we will make do as always yeah all right let me go ahead and get okay sorry i'll talk over each other let me let me just keep joining us joining us as a as another guest on our esteemed panel mr raw shane chief product officer for hey ross how you doing i'm doing good and i think mary's probably glad that i'm not uh dragging her around at various bars at a trade show this year so my great to see you guys yeah oh before we get started before we get started everybody please like subscribe and share let us know you're out there say hello let us know where you're from feel free to ask any questions in the chat um we love to see that people are watching so go ahead and like subscribe and share the feeds um we have ross here um we have mary and we have a bunch of our um friends of boris effects that are monitoring the chats in the background so go ahead and ask the questions and we'll sneak them in live and and get your questions answered on air okay i'm done let's go marry okay i'll try not to talk over you next time all right guys so um i'm mary popplin obviously and um i'm gonna show you a little bit about mocha and definitely ross i am happy to not be walking all over creation um going to various dive bars ross loves to walk it's true he does um it is fun you're right um all right so uh we're going to get started a little bit we're gonna talk a little bit about mocha in general um for those of you that are unfamiliar with mocha or a little bit familiar with mocha um moco was created a while ago and one of the things that it was created for uh it was originally a research project but then it got used for things like harry potter to put things like portraits on the wall and that was one of the most major first uses of mocha but mocha is a planar tracker and so what it does is it's actually a texture tracker it follows a pattern of pixels as those pixels move through the scene and you can use that data to do all sorts of things including screen replacements which is like our bread and butter but also things like motion graphics things like tracking for visual effects that you wouldn't be able to really do with a camera tracker very well and because we're a planar tracker we split everything up into planes which means you track one plane at a time so that's what the surface tool does and you define that with spline and that's how you track your object now we get used for set extensions we get used in for invisible vfx all the time and you can see mocha in just about every major you know tv show and movie that is around so um a lot of times people don't even realize that they're looking at it you know and i think some of these shots are a really good example of that like obviously for things like ghostwriter yeah okay we know that's visual effects but for things like sky replacements and building replacements or screen replacements people often don't even realize that's what they're looking at um now i'm going to talk a little bit today about some of the new things that we have in book or newer and also we'll talk a little bit about techniques for tracking so let's go ahead and get started on this um i'm going to just mention one really quickly this is a set extension and i'm going to show you a little bit about how to do something that's similar to that technique if not 3d projection all right so let's start talking a little bit about perspective tracking so in mocha we can just go ahead and turn this off so here's our original shot we've got this lady walking through a tunnel and we want to replace the graffiti on the wall we're going to end up tracking this and for those of you that are mocha veterans you might realize this shot is kind of tough and one of the reasons the shot is kind of tough is because the plane breaks the forward plane of the camera okay so we're going to go ahead and add i'll just show you what the render looks like we're going to add this very fancy unicorn graffiti and the way we're going to do this is we're going to track in mocha and mocha is going to track this in perspective on the wall so let's go ahead and click mocha if you want to add mocha to your shot you can either go over here to your effects panel and you can type in mocha pro or you can go to effect excuse me you can select your layer go to effect and you can go to boris effects mocha right here and add mocha pro all right now what that will do is that will add it as a plug-in mocha also runs as a standalone mocha also supports ofx programs like nuke um and it also supports avid media composer and programs like premiere so you can use mocha in just about any host we're going to use after effects for this but the workflow is the same no matter what host you are in which is to say you apply your effect and inside of your effect panel will be either a little check box that says mocha or this very shiny mocha button and we're going to click mocha and what that will do is that will launch mocha let's go ahead and go to our selected layer here and inside of mocha you can start tracking your objects i want to talk a little bit about some of the techniques that we can use to track this let's actually turn our track wall on and to set this to none for a second all right and what we want to do is we want to do two things in order to track this shot now i'm not going to track this whole shot for you because this cake is already baked for you but what i will do is i'll show you how to get started so if you want to start tracking in mocha a lot of times what people will do is they'll just take a primitive tool and they'll just draw it around the area that they want to track this is not quite what you want to do because as you can see we have her shoulder here we have the wall here and the ground here but what mocha is is mocha is a planar tracker okay that means we want to track one plane at a time when we are tracking so i want to take my surface tool and i want to align my surface tool to this wall a little bit and that will give me a good idea of whether or not we're going to track this correctly okay now the next thing that i'm going to do is i'm going to take my shape and i'm going to define the area that we want to track which is this wall here but if you notice our wall is broken by her shoulder plane and also when we track we have to worry about i mean when we uh composite we're going to have to worry about her shoulder as well and i could probably crank the saturation up on here and pull a key but i might not get great results so what i'm going to do instead is i'm going to zoom in and draw a shape around her shoulder now what i also want to show you is that we've got a new tool well newer because it's not it's not new in this this most recent release but it's very recent is this magnetic tool and what the magnetic tool does is it follows an edge so that you don't have to draw this by hand and you can click and drag to create a hand drawn spline as well so you can either do the magnetic tool or you can do a hand drawn spline or if you click and hold down while you are using the magnetic tool you can also create a line that is hand drawn now that will create the shape for you and you don't have to create it by hand normally for older versions of mocha you would come in here with an x blind tool and you'd have to click and trace this arm and hope that you got it correct you know and then zoom in and correct it that takes a little bit longer but with magnetic tool you can make complex shapes really really quickly and easily now we're going to call this arm track and roto okay and then we're going to call this wall track 2. but here's the thing when we're tracking we want to make sure that this arm track and i'll just go ahead and turn a mask on so you can see what we're doing we want to make sure this arm track is in the layer above the wall track and the reason for that is because mocha actually holds out top shapes from the shapes beneath them so every time you put a layer in the layer pile at the top mocha treats that object like it's closest to the camera this is user defined it is a feature and not a bug you know so if you put a larger shape over a smaller shape it will keep the smaller shape from tracking so make sure that you pay attention to that anyway when you start tracking it will hold it out and that's a very powerful feature that you should know about when we also track we want to talk a little bit about what parameters we are tracking now we track translation we track scale you know and we track rotation okay excuse me rotation there we go rotation all right so what do those mean well we all know what translation scale and rotation mean translations position scale is obviously the size and rotation is the rotation but shear in perspective mess people up what are shear in perspective so shear is like a square becoming a diamond excuse me let's just hit where is it shear is a square becoming a diamond and the uh perspective tool is the addition of that motion in z space so what we're going to do is we're going to track translation scale rotation shear and perspective and the reason we're going to do that is because this object is moving in perspective so let's go ahead and hit track forwards and what you will see is that mocha will track this even though it is moving forward in perspective now it used to be that this surface tool would break the camera plane and mocha would have trouble tracking this object but that is not the case anymore and i'm just going to go ahead and delete these so you can see what the final track looks like down here and what you'll notice is even if we make the surface tool very huge at the end of the shot i'm getting the shot so here's our surface tool and you can see it goes completely off screen now we totally redid the way the uh that mocha thinks about the camera and that is why we are now able to do this so it's a new feature so for those of you that have struggled in the past with um the surface tool breaking the camera plane that is no longer an issue and now we can take this we can use this in the insert module or we can use this as a corner pin um one of the things that you uh will be interested to use in after effects would be the power pin that's available as an export and you can apply it inside the plugin or you can use the insert tool for this because we're going to use the insert tool for this we're going to use the insert clip and we're going to select insert layer and what that will do is that will use a layer out of my host or a node out of my host depending on what host i'm in so like for nuke your insert layer would be a node it would be an input okay um in after effects it's a layer and in avid it's a track okay so it's just going to depend on what host you're in um but that is how you define your insert layer and then your insert layer can be loaded into your shot and you don't even have to worry about corner pins back and forth we're going to hit save and close and inside of our mocha pro user interface um the plugin interface what we're going to do is we're going to go to our insert layer section and we're going to make sure that we are on the layer that we want and that's why it populates into our shot and what we do is we use the render button so this will just go and turn this off we use the render button and what render will do is render will render this right back into our scene okay and we're going to do the insert cut out so that we can add compositing to this such as blurs or grains or whatever we need to do to make this blend within our shot so that is how this works so that is the excuse me let's just fit this into the screen so that is perspective tracking with mocha and using the insert module to apply new graffiti to the shot over graffiti that we didn't necessarily have the rights for in this shot or that the director didn't like or you know whatever reason you want to replace graffiti on a wall um including advertisements all right um are there any questions for that guys that i need to address hey mary no i think that was a definitely a really cool you know introduction to mocha and i you know like you said we did rework the engine the actual algorithm of the planar tracker in recently to solve some of the really hard tracks where sometimes if if you saw that surface go wonky uh you know that's really been improved and that's gonna those improvements trickle down to all the modules in mocha they do and that's especially handy for the mega plate that's correct that's correct there's one one question that came up was about uh how to show the alpha while you're rotoscoping maybe we should we can cover that when you cover roto in a little bit absolutely i'm fixing to jump right into roto all right sweet okay go for it all right perfect all right so back no problem thanks for answering me okay so we're going to talk a little bit about roto and um this is actually one of ross's shots that i have blatantly stolen um and uh what this is is this is a rotomation shot uh where we have done rotoscoping over a shot in its entirety including things like fingernails shirt details etc this is very popular look for commercials and advertisements also was seen in a scanner darkly which was another movie that used mocha and what we're going to do is we're going to take these rotoshapes and we're going to make what's called rotomation right and the nice thing about this is you can get a lot of details for free because you can use the same tracks over and over and over again for new shapes which that's the power of mocha and rotoscoping also rotoscoping and mocha cuts your keyframes down to about a third of what you would normally use which cuts your roto time in half so let's just go ahead and click on our source clip here and we can show you what that source clip looks like we've got this lovely guy with this camera what we're going to do is we are going to launch mocha and this shot has already been done but i want you to notice how many shapes are in this shot okay and then i'm going to show you how to do this from scratch obviously we are not going to roto this whole shot from scratch that would be longer than we have to spend on this but it is important to make sure that we talk about these concepts um and show you how to do them so let's go ahead and hit stop here and i'm going to hide all these layers and you can see that we can put layers into folders which is extremely handy especially when you're dealing with tons and tons of layers like we are here so let's just go ahead and take all of these and we're going to turn the eye off of them excuse me off of them there we go all right so that means we've turned visibility off for our rotoscoping tools now i can either use x blinds or i can use the magnetic tool now for this what we're going to do right here is i'm going to use the um x blind tool first and then we're gonna start hooking shapes up to this so and i'll talk a little bit about what this is doing while we're doing it i'm just gonna go ahead and take an oval shape and we're gonna just draw it right around his face here really quickly we also have things like the area brush if you want an area brush will start to track layers based on how you are painting uh details in but that's not really necessary for this shot usually primitives are enough for this sort of shot we're going to track a translation scale rotation and shear but what we are not going to track is perspective and that's because we are doing roto so let's go ahead and hit click track forwards and i'll tell you a little bit about why that is let's turn our surface tool on so we can see what our track is doing excuse me i hit the wrong surface button here surface on i accidentally hit the align to surface tool which is very good but not for what we are doing it's only good for things like set extensions anyway all right let's go ahead and hit track forwards one of the things i want to talk about is why we are tracking shear only when we track in perspective um you really only want to use perspective for things like rigid objects for people as they move back and forth you can start to lose the track a lot more than you would on a rigid object and that's usually because people move more organically same thing for animals but the reason that i like tracking sheer is because you get a little bit of that perspective motion for free and it makes it a little bit easier to rotoscope but when you're using perspective what can happen is your shape can collapse in on itself because the plane has completely turned around because of how much data you're tracking and that's just not very helpful for anyone so i tend to tell people when they are rotoscoping humans or animals or other organic objects that are moving organically is the key word okay you want to use shear instead of perspective now i'm not going to track this whole scene but i am going to show you a couple of things here let's go ahead and trim this to here and we'll trim this to here and you can see that i'm using the in and out points what we can do is we can zoom in on this like this and now we can start to roto our shot now i'm going to turn my perspective off and i want to show you that we can now start to add details to this shot so i can use my x-blind tool and i can come in here and i can start to make some more detailed shapes like his eyebrow and let's just sort of fake hair a little bit like this all right so that is a new eyebrow shape and i kind of like the way that looks um now we're going to do is we're going to call this face track only spelled right there we go um and we're going to call this eyebrow roto one okay so here's our eyebrow roto what we're going to do is we're going to select our eyebrow roto layer and then under our layer properties we're going to select link to track and we're going to select face track m and so now our eyebrow is linked to our face track and all of that roto that we would normally have to do by hand is gotten for mostly free okay and i can do the same thing for the eye so we're going to come in here and let's say i want to give him some little rotomation eyelashes you know we're going to do a little bit of symbolic eyelashes they don't have to be perfectly accurate all right and now i want to show you something else cool we can select all of these points right here and we can just relax on the x spline for a curve with mocha you pull tight for corners and you relax for curves and that is how x blinds work we have beziers if you want to use them they're right here some people really prefer them i really don't and the reason i don't is because when you try to move stuff in perspective it doesn't always look right to me also when you try to adjust all the handlebars at the same time it doesn't quite work right whereas if you want to adjust a whole bunch of points at once in mocha just like this it sort of reacts in a more predictable way if that makes sense so that is why i prefer x blinds over beziers your mileage may vary okay so we've got this eyelash we're gonna call this eyelash roto one and again we're going to link that right excuse me link that right to our face track and you can see we kind of get that for free but notice that we're zoomed in okay now that we're zoomed in if we try to scroll through our timeline we end up with our our object kind of moving across the screen in a way that makes it hard to tell what the rotor shape is doing so we're going to use this tool right here called quick stabilize mode what that will do is that will just pin mocha right um to the track and now we can make sure that our roto is moving accurately and i can see that it's actually not i want this to come down a little bit just like this i want to bring this up and i want to take these eyelash shapes a little bit and i want to kind of move them let's see just a little bit this way and out okay and what that will do is now we have an animation between those two points based on our track and what's nice about it is because our track is nice and accurate we get a really smooth motion for free so let's go ahead and turn our auto stabilize mode off and so here is our nice rotoshape so let's talk about how to view those mats all right so if you want to view your mats while you're rotoscoping let's just select these two you can do in a couple of different ways so you can um go ahead and turn your mats on right here or you can turn the mats on here or you can view them with the alpha as well so you can switch between all of these tools and you can also see how they work together and you can colorize the layers depending on what your needs are so if you need to colorize your matte like let's say i want to make let's say i want to export this just out of mocha as a let's go to file and let's go to export rendered shapes let's say i wanted to do this by matte color and i could do all my visible layers by matte color and i didn't want to bring this into after effects or any host i just wanted to render out rotomation in big bold colors i could i could actually come in here and pick a nice eyebrow color let's make it red i don't know and uh let's pick an eyelash color and let's make that uh like black okay and now we have two different matte colors for our eyebrow and our eyelash and when we render this out it will be those colors so there's a lot of things you can do with mattes you can either um view the mat in your interface you can um adjust the matte with color changes over here and you also have control over edge values so let's talk a little bit about that in your selection tool uh you have the option to pick both points pick the edge or pick the inner point so we do edge feathering inside of mocha if we pick both it moves both of these together but if we pick the edge we can pull this out and what we end up with is a feathered mat based on our tracks so now if we just scroll through our scene you can see that that is feathered where his eyebrow ends and you can make all sorts of really cool effects with this you can do shading with this there's a lot of very interesting applications that you can have with adding edge feathering not to mention just the compositing tasks of when you need to blend something in you need edge feathering and sometimes you need per point edge feathering and we can do that now the other cool thing about edge feathering is it does animate so if we use our auto key tool and let's go scroll to the end of our scene i can create like a new edge feather here and let's just pin this right back in the middle so we can see what we're doing and you can see that animates between those two points now if i use uberkey to do that and let's say i just like feathered this out here for some reason like we're giving him crazy makeup you'll notice that that does a ripple offset throughout the shot based on the track okay so that's the difference between uberkey and autokey now let's see have i covered everything about roto um is there anything you all want to add let's uh think about it for a second you're covering quite a lot now i love that your discovery you know definitely this is a great example where you're like doing one track but using multiple shapes to link to you know take taking advantage of the power of tracking and linking um i also think you just showed a lot of like very small ways to edit the shapes whether you know using the bounding box and rotating and skewing and things like that all great tips to pick up you know because ultimately what we're trying to do is save you time right um let's think are you going to cover the uh the area brush in this example or in a another example um i talked about the area brush but i didn't really go over it in detail um so if you want to use the area brush yeah sorry it might be worth talking a little bit about magnetic brush with the detail settings and the area brush with the um there's a setting i forgot it's called it's the uh smoothing i think value yeah perfect i can talk about that so um the area yeah no problem so the area brush that we talked about a little bit i can talk more about let's just go ahead and click here okay so the area brush is a tool and what it does is it allows you to paint in areas that you want to track for things like background objects this can be really nice so for instance if i wanted to track this background shape but i didn't want to draw a complex shape here i could come in here and take my area brush tool and now we're going to just paint right over this and we'll just fill in the detail a little bit too all right so now we can say hey um i want you to create a quick mask based on this and let's turn our matte overlays off because they're looking a little bit weird um all right so now what we're going to do is we're going to take this shape and what we can do is we can adjust the um the smoothing on this if we like if it will allow us to now that we're out of quick mask mode it won't um yeah there we go so we can either do fill gaps uh which is actually what i think ross was talking about not smoothness because that's something else okay so fill gaps if you want to fill the gaps in what you can do is you can adjust this value higher or lower and the higher that is the more it will try to fill in gaps for you if the lower this number is it will not try to fill in gaps for you so that's the difference in fill gaps um and we were referring to that smoothness we were incorrect sorry let's go ahead and delete that but so i wouldn't have had to do the uh the blending in that i did but um i tend to think it's a little bit faster to to do that sometimes um all right so we could also use this to you know come in and grab these details here just like this and of course if we were going to try excuse me of course if we were going to track this the other issue that we would have um are is this hand here and i'm just going to go ahead and delete these points um and this hand would be in the way so let's talk a little bit about the magnetic tool so i had showed you the magnetic tool earlier but the magnetic tool actually has the ability to let's just go ahead and draw a big shape around this hand now normally i don't recommend drawing a big shape around a hand you know because of the way objects move because his hands are really still we don't have to think about how the um planes are interacting with one another so we can just draw a big a big shape around this hand alright so once i have my shape drawn i can select this and in my uh my excuse me my magnetic tool let's just excuse me there we go let's undo this my magnetic tool i can work on smoothing on this and the nice thing about detail is we can just take the detail down and it will take the amount of points that we're using in our spline down so if we are using a lot of little points and we want those points gone because we don't want to add a whole lot of heaviness to our roto shape we can take the detail down in order to take our spline points down and that's why you would use detail so in area brush fill gaps makes it where you can make broader strokes and have those filled and the detail in magnetic spline allows you to take the detail down in your spline all right so when you are all done with something like this you can hide your face track or you can put it in its own little filter and then you can link all of your face layers to that track so if i were going to finish my face layer here this is what it would look like those are all my face layers and they're all linked to one track okay um that is the power of mocha so we get a whole bunch of shapes for free that we wouldn't normally get for free we'd have to do by hand individually i have a friend who teaches rotoscoping over at nomin and what he likes to do is he likes to teach people how to rotoscope from scratch and then he teaches them how to rotoscope in mocha and the students are always like why didn't you show us this first you know and the answer is well you should know the principles of animation before you dive in into hooking animation up to a track but i have found that once i started rotoscoping in mocha probably like 12 years ago now or 11 years ago now um what i found was i didn't go back to rotoscoping by hand ever because this cut my rotoscoping time in half by cutting my keyframes down to about a third of what we would normally use all right that's rotoscoping um and then to put this into after effects we exported our applied our shape data inside of after effects what you can do is you can thank you for auto saving um photo after effects what you can do is you can either apply your masks right here inside of the um the mocha pro interface so you can either create mats right here by viewing the mat or you can apply them at and that will use this like a plug-in and what we'll do it will it will render your mats from mocha onto your timeline but the other cool thing is create a masks and what create ae masks will do is that will allow you to just basically like copying and pasting your masks into the native after effects um file type so there you go let's move on do you yeah no i think everyone some people are just really positive comments people are following along and you know people are getting a lot from this so let's keep going wonderful let's go um okay so i'm going to talk about removes before i talk about megaplates um removes are our bread and butter uh well other than screen inserts which are you know another bread and butter sort of interface that that mocha does but mocha is used by and large for screen inserts and for things like object placement but what we also get used for all the time are removes and the nice thing about removes is i'm removing a watch here from the scene but what we're doing is we're taking planar data and we are replacing that planar data with a clean plate if you can see behind the object mocha can actually remove the object completely from the scene as you may have seen with let's see this one um this is a demo i did recently where we removed a dog from the scene with mocha if you can see behind the object as you can in this shot we can remove the object no problem if you can't see behind the object we need a clean plate so what we're doing here is we're using a clean plate and the way that this works instead of mocha is just dead easy and if you are not a roto-paint artist this this will work for you in many cases now i do have to point out one of the limitations of this if you have oh open the wrong wrong software there if you have a um if you have a clip that you're trying to remove i want to show you how to do this in silhouette too so just we'll we'll touch on that and then we'll jump over to to the megaplate thing okay so you can do this two different ways you can do this in mocha you can do this in silhouette uh silhouette uses mocha tracks and you can use silhouette to create a clean plate if you need to without having to use photoshop if you don't have access to it you only have access to the boris tools so if you want to track this shot one of the things that i tend to do when i'm doing a remove is i tend to draw a shape around the object that i want to remove first and the reason for that is because when you do a remove inside of photoshop i mean sorry inside of um inside of mocha what you want to do is you want to make sure that you have completely encompassed that object that you need to remove because of those holdouts that i talked about earlier so i talked a little bit about holdout mats and why you always want to put your objects that are closest to the camera at the top of the layer pile tracking is vital for the remove module it has to have a rock solid track and if your foreground object that you're trying to remove is interfering with your background track uh mocha is not going to be able to do a remove because what moka does is mocha uses the foreground object and replaces all of those pixels with the tracking data from the background all right so we define that area first then what we want to do is we want to define the background behind the object we're trying to remove now in this case we actually have two areas that we are removing over now this is a really important concept a lot of times what people will do when they are trying to do a remove is they'll draw a shape around the object they're trying to remove and then a shape around the whole background including multi-planar objects like arms bodies background trees background further back in the background so it's moving in parallax differently okay this will not get you a successful remove unless you have very little motion in your shot and then you may be able to get away with it maybe okay but in order to do this shot what we need is we need the arm tract and the background tract okay because we are actually have pixels that break into the background and go over the arm and you can see that when you look at the shape of the object that you're trying to remove so i've already tracked this for you but i do want to point out what these shapes look like because this is important okay so here's our arm track and you can see that it will be using all of these other pixels to try to replace the object on the watch but what you can see is that there are not enough pixels to replace the watch with okay so that's a problem so what we can do is we can go over here to our remove what i like to do is i like to find where the object is most parallel to the camera so in this in this instance the object is most parallel to camera at the end of the scene we can hit create clean plate okay and what that will do is that will save us a clean plate somewhere now we want to make sure that we're on the object we want to remove when we do that but i just wanted to show you how that worked when we create a clean plate it will save that to our disk somewhere as an actual physical clean plate okay and we want to make sure that when we're replacing it that we replace it at the frame that we took it from in this case that frame is 199 okay so the nice thing about this is um once i've made my clean plate i can load that right into mocha so if we want to look at what that clean plate looks like you can see let's turn our mats off here you can see that this is my clean plate that i have crudely painted and you can see that i really over painted the thumb over here the reason for that is because of the perspective shift and i'm trying to get away with not having to do two remove areas which i probably would still need to do to final this shot but anyway i over painted the thumb area this is really an important concept when you're doing removes when you have to deal with perspective shifts so make sure you give yourself enough to replace the object with all right so let's go back to our selected layer and inside of our watch layer you can see that we have our arm track and our background track you can also see that our arm is held out over our background when i originally tracked this background i just want to point out i tracked this area and then i made the shape bigger that's important because you can see that when we have the shape for this background that it actually goes much in a much larger area all right because i just want to make sure that i grab all of those pixels um that's just a laziness thing you know like i just want to make sure that this watch is always always always inside of this background because uh mocha will not remove it if it doesn't have those boundaries now the other thing too that i want you to notice is this foreground arm has been completely rotod to the edge and i mean right to the exact edge with our roto shape when we are doing our remove okay just but only where we're doing our remove you see we don't care where the remove doesn't cross it but we do care where the remove crosses the object so that way when we do our remove what we can do is we can get all of that detail contained to this area and then the background detail will be contained to this area so in our remove we select our watch layer that we want to remove we have our clean plate that we made in photoshop i'm going to show you how to do it in silhouette too and we're going to use our clean plates exclusively if we did not use clean plates exclusively mocha would just try to replace the watch pixels with more pixels of the watch from all of the rest of the frame range because what mocha does is in its frame range where it searches for the pixels to replace this information with it says the first frame of the remove is 0 the last frame of the remove is 199. i want to look 200 frames before and after that means i'm going to look at the length of my shot to replace these pixels uh 200 frames of watch is just not successful for replacing this watch so instead we're going to say use clean plates exclusively and it will use the data that i gave it for this area okay when you can see that behind the object you can adjust these layers um to do all sorts of uh different speed increases okay so 200 frames before and after is about all i ever want to do in a remove when we start getting above 200 frames before and after depending on your machine you're going to start slowing down even if you're using gpu processing just because it's really intense to ask mocha to look at 400 frames at a time in this case the shot is no longer than 200 frames so it's fine but if we had like a 2 000 range frame range shot this would start to be a different um scenario also if we were using you know 4k 6k 8k footage the more uh render intensive your remove is going to be the more you want to take this number down to just enough to give you the information behind the object you're trying to replace same thing for step what step does is step actually looks at every single frame okay and with a step of one that's fine because we're using clean plates exclusively um so we're not really looking at step but if we were trying to replace this object um based on what was moving behind it we we might want to look every two frames every five frames every 10 frames okay and that will start to seriously speed up our removes so if you've ever struggled with remove render times make sure that you look at your settings because it's probably the culprit okay now the next thing is illumination modeling we don't need it on this shot but if the lighting was changing over time we could use linear illumination modeling and that would take this entire shape when it replaced the pixels it would try to match those pixels uniformly in hue saturation and value based on lighting changes so that's going to work for total lighting changes but if we had things like caustics we would use interpolate what that does is that blends a lighting change across the shape it's also very render intensive so if you don't need it don't use it all right now we're going to go ahead and turn this mat off and i'm going to hit a render test and you can see that this removes very nicely let's jump down here to the middle of the shot do a render test still looks good to me let's jump to the beginning of the shot and do a render test all right looks good to me now notice that i did not render through the whole frame range that's because i'm trying to work quickly we want to work smarter and not harder okay so we're going to hit save and close and now what we're going to do is in our module renders we're going to render our remove back to our timeline just like this and what that will do is that we'll now render this let's just go turn this off for a second um that will render this back to our timeline and we can just render this completely back to our timeline inside of our host without having to wait anymore just by clicking render and remove in the drop down menu okay now you can also render inserts that way you can render lens distortions and undistortions that way and you can render reorients for 360 and stabilizations this way so you do not need to render out a mocha when you're using the plug-in that's the power of using the plug-in and honestly i have stopped using the standalone so because i have more compositing options this way and i don't have to do test renders every time i can do a couple of frames of test render and then render everything out all right we have any questions guys before i move on to megaplates very cool example mary i mean it's it's amazing especially for you know from my experience when i used to work on various compositing software or in back in the day you know you did this in like one plug-in right one effect yeah uh and you think of everything that you're doing there in a node graph system or in a full compositing system you know it's a very simple way that uh someone who doesn't know visual effects can take on some pretty intense kinds of shots right yeah what i like about this is the multi-planar aspect of it because we've got the background and the wrist so and as long as your roto is correct so will the remove be um oh you know i meant to touch on how to do this in silhouette if you needed to do that instead of photoshop so can i do that real quick yeah we might want to do that and as you get that going you know someone was asking about uh how would how would you know a tricky a common tricky example that they have problems with is removing like uh tracking markers off a reflected surface or something like that and you know i suggested there's two ways that i would approach it one might be with multiple clean plates or maybe silhouette paint is actually a better you know with the clone techniques or is a better option for something like that where when the clean shapes the clean the clean areas do not exist in the shot right yeah so for something like that that would be a planar um it would be a planar replacement right it's a planar it's a planar remove but the plane that you're you need to remove is not something that's a easily trackable or b uh really available in your shot so um what you can do is uh you can i there's a third way that i i would consider solving that too which is taking a mocha shape and then subtracting it and moving the reflection over and seeing what you could get for free and using a really really like i mean just crazy amount of feathering and seeing if you could get away with it which you might be able to or you might not depending on the shot or i would just straight up paint it in silhouette because no thank you um and also you might just be better off by cranking the values up zero to one so you just get a like you know a reflection that's you know very shades of gray and then painting that so um all right there are many ways to skin that cat in other words um so i've already painted yeah yeah absolutely um the delay is a killer on this okay so um i've painted this already but i kind of want to show you how to do it if you need to paint this in silhouette because you don't have access to photoshop or whatever what you can do is you can paint this and the nice thing about this is silhouette has a couple of really cool tools for this so we're going to use a right click to just really quickly lay in some colors right click will allow you to with your paint brush selected go ahead and sample and whole area of colors and you can just sort of start to lay colors in the reason i like to lay colors in as opposed to trying to clone stuff like this is because it just cloning does not necessarily work for large areas of details with shadows and stuff in them the other thing about this tool is you can take softness take it all the way up to 100 and you can start to adjust your brush sizes and you can really lay colors in quickly so you know we'll really color cover that up just like this and let's just take some of this color and some of this just like that all right and we can also lay them in at opacity um the nice thing about this too is you can use silhouette in order to track in mocha inside a silhouette and then hook this paint up to that if you want to we can use the blemish tool the nice thing about the blemish tool is i can blend all this together with like a noise over the top so that's something we can do in silhouette but the other cool thing that i want to bring to your attention is we can paint on detail so i can just we're using shift to drag this over what we're doing is just to show you um we're going to use the color instead of using the color layer we're going to use the detail layer because we split everything up in silhouette and color and detail and now we can come in and we can start to paint let's just take this opacity all the way up to 100. we can start to paint in detail over the top just like this and what's nice about that is that allows us very very quickly to get our color on the layer that the color is supposed to be on and our detail on the detail layer it's like using the heel tool so let's go to output real quick and let's show you what that looks like so now we can just paint detail over the top and you can see like very quickly my muddy mess of like just blur paint you know now starts to look like something because we're using the detail brush so now i can go back to normal i can use the opacity down i can take our clone tool and i can just start to blend the stuff together and very quickly we get a decent looking paint in silhouette so that's how you would paint this in silhouette instead of painting inside of after effects now i mean not after effects um photoshop although you could try to paint this in after effects i don't know that i would recommend it um all right so that is silhouette i'm going to just very quickly show you what the final looked like for that which is this and we're going to go ahead and close silhouette we'll talk a little bit about mega plates um since we've only got a little bit of time left so mega plates where did you go there you are all right so um for those of you that tuned into one of our previous webinars this may look a little bit familiar to you but we're going to talk about this concept the remove technology allows us to do something really cool um because we can look at the way tracks move and because we can look at the way tracks move and replace pixels based on various areas what we can do is we can start to get i don't want to say matte paintings for free but we can get the basis of a matte painting or any other usage that you would use for mega plates out of uh out of mocha for pretty much free so what we're going to do is we're going to launch mocha and i'm going to take this shot and i've i've actually already tracked this i'm not going to make you sit through the tracking of this but i will tell you how this was tracked so the first thing i did as usual is i tracked and rotoed this foreground mountain okay and i did that with the x-blind tool i made myself like a you know funky little shape and then i tracked and wrote that over time okay very easy uh the reason that i went ahead and made such a large area outside of the track is a because that helps track objects like this and b because when i create my mega plate i'm going to want to take this out of my mega plate because i'm only interested in the background information and just like a remove you want to make sure that you give yourself enough area between the object you're removing and the background so that when you replace all those pixels they'll blend seamlessly right into the background so keep that in mind when you're doing removes and when you're doing mega plates now to track this background all right i'm going to show you a really cool technique i'm not going to track the whole shot but i am going to show you the technique um if we want to track this shot mocha has this really awesome thing that you can do let's just go ahead and draw a little shape here that's all we need to draw to track this because milk is a planar tracker and we're tracking the whole planar background and the nice thing about um objects that are very very far away from the camera is that the parallax is very small so you can treat it like a flat object um like uh i think the one of the most recent examples was the newer star wars movie um you know there's a bunch of nerds on the internet saying stuff like well you would never be able to tell from the knife where the the thing would be in the background it's like well that's not actually true because it flattens out because there's not a lot of parallax on objects that are far far away so we're going to use that to our example and what we're going to do is we're going to turn our surface tool on we're going to use the link to track and we're going to link to none okay and now we're going to track translation only okay because we don't need translation scale and rotation again because that object is so far away from the camera that the parallax is very minimal and the scale is also very minimal um because cameras work a lot like eyes work okay now we're going to go ahead and hit track forward now what's cool about this is because we link to track none our shape is going to stay tracking right here but look at our surface tool it's going to be moving right off screen and the reason for that is because we have unlinked the track from the shape that means the track is looking here in this shape as we track and the surface tool is representing what the track is doing i probably should have covered that when i was talking about planar tracking in the first place but the shape is where the track is looking and the surface tool is what the track is doing a lot of times people mix up the two they think that whatever that shape is doing is what the track is doing but please understand that the shape can lie to you it's not trying to it's just the shape is not what the track is doing um but the shape is a child of the track and will follow what the track is doing the only caveat to that is that you can hand animate the shape so many times people will hand him animate the shape and think they are hand animating the track no they are not if you need to hand animate the track that is the purview of manual track which we have many tutorials on or adjust track which look for some improvements to that coming soon okay now i'm not again i'm not going to make you sit through this whole thing but suffice to say that's our lovely track and what we want to do is we want to make sure that when we track let's turn our surface tool off and turn our mats off when we track we want to make sure that this shape is covered in the entire area we want to build our megaplate from so you can see that this shape is covering the entire area that we are using for our megaplate that is really really important can't drive that home enough okay you need to make sure that the shape is where you want to um build your mega plate now if we want to tell mocha to go ahead and put this together what i like to do is i like to find something near the middle of the shot okay and the reason for that is if i find something closer to the middle of the shot or the middle of the shape even um our warp will be less because all cameras have a lens warp to them if we have not solved for that lens warp it will not be solved for in our megaplate so we want to make sure that we have as little warping as possible that's why i like to create a megaplate in the middle of our scene that's the case for any type of blending that you're going to do with frames whether you do a megaplate manually by stacking a bunch of frames together or if you use mocha to go ahead and do that automatically for you so what we're going to do now is we're going to go to megaplates and we're going to say hey go ahead and render me a megaplate now megaplate is gpu accelerated but i'm having a little bit of issues on my uh my gpu right now um so what we're going to do is we're going to use cpu for this it is going to be a little bit slower but it's still pretty fast for what it's doing so what it's doing is it is looking throughout the whole timeline it's looking at our track it's looking at every frame along that track and then it is rebuilding pixel by pixel available in the background um that it can see based on my holdout shape i created for the foreground and the shape i created for the background so just like the remove tool the shape and the track is totally vital for this process now that is the same for every module in mocha you need to make sure that your track is rock solid and everything else in mocha follows your track all right so we're going to let this process just a little bit more because it's taken a minute but the closer it gets to the end the faster it will go and uh just uh let's jump in a second and let you know that we're getting very close to the end of our time so maybe while that's finishing up rendering i don't know brian if you want to hop on and mention who's next and any details oh there you go sorry trying to fill this last bit of content with but we can't because we're very close to the end of our hour absolutely um so the the only other thing would we do we would do here is we would hit remove remove foreground and what that would do is that would uh go ahead and take our foreground right out of the scene for us so that's mega plates and uh take it away brian um very cool don't want to shortchange megaplates because it is it is probably my favorite new feature very cool very cool um um let's announce the boris effects winner who won the boris fx suite congratulations to taj jackson taj has won 12 months of everything we make so that sapphire continual mocha silhouette and optics so very cool congratulations to taj coming up after mary's presentation coming up next on boris fx we have two more great presentations at 1 30 on the west coast 4 30 on the east coast we're going to go over um and hang out with brendan o'neill from bonfire who's going to show us how he uses unreal along with flame to finish his commercials that they work on at bonfire and then following brendan to close out the day today at six o'clock on the east coast and three o'clock on the west coast we're gonna um hang out with john dickinson who's gonna show us all of the new features coming in particle illusion 2021 including support for 3d cameras so really cool to tune in um to the two more presentations today thank you so much mary um i always learn so much watching and today was no exception so um always enjoy watching you work so great job thank you mary thanks for having me all right thank you ross thank you mary um and we will be back everybody in a half an hour um to um hang out with brendan from bonfire and check out some unreal and flame so please come back and join us in a half an hour all right we'll see y'all then thank you thanks guys alright bye [Music] [Music] [Music] [Music] hmm [Music] [Music] [Music] [Music] [Music] [Music] you

Channel: Boris FX Learn

Views: 1,590

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Id: 2zCK8G6LpnI

Length: 66min 26sec (3986 seconds)

Published: Thu Aug 27 2020