Quickstart guide to blender tracking, masking and compositing

okay welcome this is our first blender clinic special and today we're going to be talking about tracking masking and comping in blender we only have an hour so let's get to it uh so i'm just going to go to new oh i already messed it up new vfx uh this gives us this sort of tracking panel layout and we can open our footage directly into it by that little button there i'm going to load in some creative commons footage i downloaded from a blender cloud this footage is pretty ideal for a tracking uh tracking test it's on really well lit green screen it's got loads of tracking markers relatively no low noise and compression wise it's not too bad uh and also it's already been broken down into an image sequence so when i when i open that you can see there's an image so you can so hit a selects all an open clip um basically uh image sequences work better for tracking because rather than operating with compression like group of picture compression that some video formats use and various other tricks they do to make the video files smaller you know images are every time you open my image unless you're saving it on a lossy image then you know you're getting the same image every time and therefore tracking is going to be more consistent um said let's jump in set scene frames this basically sets the uh the start and end point of your project the amount of frames in your shot hit prefetch and it will load all of that footage into blend into the memory so blender can access it quicker and you can scrub back and forth to your own heart's content i'm going to change my end point actually to 240 numpads not turned on because i don't want to do the whole shot we've got very limited time that seems pretty good to me now um a couple of things to mention uh so tracking points tracking points really important but you know this is saying i didn't know up until a little while back really um tracking points only record the location of the point it doesn't matter if it's a location rotation scale tracker they only ever record the location okay um these motion models location location and rotation lock rod scale are fine and perspective they don't record rotation data they don't record scale data and a fine in perspective whilst they skew and attempt to model based on distortion we don't record that distortion what these are are basically tracking is all about pattern recognition so if we have a tracker on here and we're looking uh this is what the tracker sees yeah so um it's looking for this pattern in every frame and it's going to move a point to that pattern um and and it's trying to do that by using location or by using location and rotation to keep matching that image so if your camera's twisting like that then it the the the pattern will appear to rotate and that's what it's following and if the camera moves in closer then uh you know it's scaling up so it's using those um distortion methods and transformation methods to try and match the image it is not recording that information it is only recording location okay a fine and perspective also allow for skewing uh and distortion and a fine is probably the most appropriate uh motion model to choose when we're creating tracking points in blender because it's good in most situations and it's fast okay so uh the other thing you need to know is this side and this trips me up all the time yeah this side is purely the settings for new trackers once you've created a tracker so if i change this now it's not changing this tracker it's changing the data it's changing the setup for this the next tracker you put in if you want to change this tracker that's over here so i'll change that to previous frame this one has not changed the previous frame i have to do that over here so this is purely for the creation new trackers and this is how you edit existing trackers this is important to know because it will catch you out and trip you up all of the time anyway with that said we'll deal with the rest of it as we go through okay so um keyframes good for now um now with this i'm going to actually i'm going to use right so it's here it's control and click to add a point s to scale the point r to rotate the point if you wanted to do that and g i've g is to move it around um so i'm just going to use g point it there you can also do some finer corrections here i'm going to choose this side of where the pole meets the tennis ball i'm gonna scale it down the reason i'm doing this is i know that this red tracker is coming for this and at some point that tracker will get in there and it's going to confuse the pattern recognition because this red point that didn't exist in this space is going to get in there and it's going to break the track so if i scale this down move it over here there's a lot of contrast in this point to track and we don't need to worry about that tracking point coming in yeah except the only thing is i'm now in the middle of my thing i really want to do it from the start so let's do that so uh yeah so control click there we go and we can just track forwards by clicking this button and as you can see it tracks all the way through and you can see what it's tracking here and it's done a great job now i'm trying to track the camera i need to make eight solid points from beginning to end of my scene in order to track the camera so let's add some more one two it's also worth noting that having tracking points on the floor is really going to help me later because i want to be able to match a floor plan uh in the scene so yeah knowing where the floor this is but we're going to use these points to create a 3d approximation of this in in 3d space it's going to extrapolate all of that out it's very impressive and very clever now what we don't want to do is track anything on these guys because they're moving and they're going to move around and we we need static objects to make a camera track so i'm gonna select all of these um and blender is so blazingly fast at tracking nowadays just do that and i mean i'm not speeding this footage up that's just how quick it is and we now have over eight points we could actually go from here and and that's you know that's enough to make the camera but we're not gonna do that we're gonna be clever we're gonna go to annotation we're gonna draw and i'm gonna draw around these guys because as lovely as they are also incidentally this this chap over here that's tom rosenthal he made blender uh this footage is from tears of steel by the way a short film that they made a few years ago when they were developing visual effects visually it's still great and it did it's great fun to watch it's a bit of a hokey film it's a little odd um but yeah it's it's still one of these things it looks so much fun to work on um anyway annotation and yes we've created this annotation thing and we're going to use it as a mask so we're going to click detect features and we're going to say in this pop-up panel outside annotated area now it's only going to detect stuff outside of that area um so this is basically automatically choosing points to track i'm going to take the distance down and look at that it's created loads of points well it could create more but i think that's that's an appropriate amount and now with them all selected we're just going to track backwards i'm going to start losing points rapidly as they go off the edge but some of them survive all the way through now these points don't need survival all the way through because uh you know well they just don't we've got over eight trackers which go from beginning to end and these are just additional information what we do want to do is whilst we're here is as these fall off some of them might jump or jitter so we're just going to find those things in the tracker and we can see a little aberration here and that's this tracker so we've as i've clicked on on that point you can see this one goes white that's the active dragon so i'm going to use this button which filters selected or all so it's like do i want to see the graph mapping um i should explain the graph in a second do i want to see the graph mapping for for all of the points or just one which is selected with that on it's only going to show me the information for this tracker because that's the one that's selected so basically we've got two different uh graph lines one is the x and one is for y uh so the x position and the y position for each tracking point that's all this is and when you see a big jump like this you can pretty much assume if all the trackers aren't jumping with it then then something's gone wrong okay so uh it looks really good up until here but from there on i don't want it so i'm going to hit this button and that deletes everything going that way just as this one deletes everything going that way i'm going to undo that because i do want that tracking information uh again i'm going to select all we're going to go through and if we see any more aberrations that one looks a bit a little bit off and we can see it's that point there yeah it you can see here what's happening let's get rid of all that the rest of it extract nice and smoothly okay so that's really good um something else just to uh just to show uh there's another feature i'd like to show you so i'm going to track from here also it's worth noting on versions earlier than 2.93 of blender um tracking backwards way slower than tracking forwards but sometimes it is necessary um but it was fixed in 2.93 i believe so uh yeah and i say way slower blender is so fast but you probably won't even notice it's so fast at tracking it's insane so we've got this point now as this goes forward because you can see that that light the bloom from the light it changes what this is going to look like so what we can do is we can click normalize normalize normalizes the light levels of uh of the pattern that you're looking at i can also scale this up and hopefully that pattern's going to be a little bit more recognizable also i'm going to change it just so that it's tracking the blue channel because there's so much more contrast in the blue channel uh i figure but it might do quite a good job in fact let's also just go here oops right and we're going to just track that see how far it gets it's it's kind of gone wrong it's kind of gone wrong so what we could do is i mean it's kept really tight to there about here and i'm going to delete the rest of that track now normally if you if you lose a track and it refuses to go past a point so we can just track forward again where it breaks at that point you can just go back and just hit scale and normally it will track forward again you see so you can you can correct it like that but what you are going to do in this case is you can see how far it's slipping is it's going to go it's going to go bad it's going to give us bad data it's better to have fewer accurate tracks fewer more accurate tracks than lots of inaccurate tracks the more inaccurate data the more it's going to skew our model so to there it's pretty good um what i can do is i'm just going to correct the pattern here and like i said this track is only recording location data all this skewing and stuff doesn't matter it doesn't change the final data it's just how it's how it recognizes uh our our image and i'm going to change this to previous frame and what that's going to do is rather than when you first set up your uh your point and whenever you use g to move that point around you create a new keyframe and it's always referencing that frame and trying to match the next image to it previous frame we'll just go from this frame to the next frame let's match what's under the tracker in this frame and find it here and then when it gets to this frame it takes what's under the tracker in this frame for the next frame and so it has this continuous thing so if a point is constantly changing and mutating previous frame will track it but it is a little more sloppy than the keyframe uh style of doing things so anyway with that in mind let's track forwards and see how it does pretty good there we go a far better track than we would when we had previously it's a little sloppy but hey me likey um so with that in mind i think that's enough track points for the camera so i'm going to select it all what we're going to do we're going to go to solve we don't need tripod this isn't a tripod move this is a it's a dolly and it's a dolly and a boom so yeah and i'm going to let it refine the keyframes itself and the keyframes in this instance what that means is it takes two keyframes and it takes the x and y axis for the you know x and y motion of each point and compares them over two frames and extrapolates the depth and in that way it creates a 3d model of our scene essentially you're going to see that later it's super powerful it's saying that um i don't you know it's just it's it's impressive and i like it so we're going to let it choose its own keyframes and we're going to let it refine all of these why not i don't actually have the metadata to tell that normally you can tell blender uh you know the uh the cameras sensor width and the aspect ratio and the focal length and this is really vital information for blenders no but i don't have any of that information because it wasn't included in the metadata good damn you blender cloud um either that or i'm too stupid to find it in the metadata which is also possible anyway we're going to solve the camera motion let blender decide what those values are so i'm guessing about a 35 mil 35 uh 35 millimeter sensor with a 35mm lens i have 35mm sensor and yeah approximately a 35mm there we go the years of my photography degree finally paying off um you know except for all the awards i didn't care uh yeah i don't know where i'm going with this uh right anyway so uh now we've got a camera solved um and it did it did say solve error 2.6 pixels it normally comes up down here as well but i was too slow to catch it um and so that's really good anything under one pixel is pretty slamming so we're going to set up a scene as a background and set up uh the tracking scene and it creates all of this nonsense so i'm going to create another 3d viewport over here and i'm going to hide this temporarily these are just objects to place in our scene what we want to do is uh we've got all of these tracking points but they are parented to our camera which means we move the camera they move to so i'm going to go seven on the numpad to go overhead and dot sorry full stop and choose 3d cursor that's now my pivot point i also want these on thank you very much and i'm just going to spin this around right round baby right round so it's in line with this axis this is purely for my own convenience this isn't my convenience you know i'm adjusting where stuff sits in the scene and i can adjust the scale as well if i wanted to i'm adjusting it so that it makes just makes more sense to me like i know that these pointers if i select these two points you can see these are the tracking points from here from the floor yeah so i know that these two points are or should be ground level so let's take them to the ground and i can scrub through and go this is on the ground yeah that's approximately on the ground and what else this is probably on the ground yeah so if i uh again i've got my camera selected just gonna rotate this and we're looking approximately you know we're looking at something like this okay i think that's pretty good and what we can see when we start to zip around our scene we can see these are the microphone stands or well the boom stands for c stands there we go essentially stand if you want to know their full name uh these century stands or c stands uh with boom arms and tennis balls on the end that's them you can kind of see their shape you can see over here where i tracked the light so that would be somewhere where we can put a light into our scene in fact let's do that now i'm going to with that selected snap cursed selected shift a add a light spotlight and i'm going to point this towards the camera in fact i'm going to adjust it over here as well so you can okay and uh you know we can go to our lights or options here and we can choose for colorable light and pick actually i wouldn't do it in this screen it's not showing the four color values there it's all grayed out because of how it displays with the background images but i can choose from there and we're getting this slightly yellow warm light and it looks to me like an arri 1k uh harry junior 1k or an arie junior 2k maybe something like that so i'm gonna put it to a thousand watts just a certain point remember we're cheating things here we're making stuff up we're extrapolating information that's just a starting point for us to work with if it doesn't look right you take it down you change it you tweak it um you know these are not scientific measurements necessarily um it's all good so there we go we can see our light is tracked into our scene and that is great i'm going to go alt h and bring back these um objects we had uh i'll hide that one again actually and we're going to zip out actually i'm going to turn this to wireframe rendering select these gg to slide them along the axes and gg okay actually you know these cameras the camera's looking a little bit wonky so let's select this active element and i'm just gonna there we go get rid of some of that wonk and we've lined that up approximately now this strip here this this is i actually thought this was another wall but it's not this is just um some fabric uh to cover some cables i imagine uh but i mean if we wanted to to line this up i mean it doesn't make sense to do it but it'll help us visualize our track i suppose i can oh no i could always just drag that again gg in and you can see that it matches approximately there i'm going to unhide our cube scale it on the y-axis pull it up and where were those yeah there's the two points which were you know where the drop cloth met the floor it's not just selected i'll set the origin to there actually okay now doing this in a very clunky fashion i do apologize but you know anyway this is it's not about it's just about demonstrating stuff wow we anyway so that's that looks something like that and now if we scrub through you can see it roughly matches all that stuff which is great you know good stuff well done um what else can we do well we could extrude up some walls i'll probably be useful later anyway so we've got a camera we've got a scene um we can we know approximately where we can place stuff within that scene uh but what we need to do now uh well we need to track our object so we're gonna do that we're gonna go to track over here the camera is what we just did hit plus excuse me uh and we've created an object track and we'll call it box okay and now what we're gonna do is we're gonna track this funky wee fella here um troy i i have to apologize if you can hear all this noise it's uh it's been crazy all day in the studio so uh lots and lots of noise um so now we're doing an object track so it's uh we've got the camera track and now we're going to track this motion and blender can sort of go okay well we'll you know it can keep those pieces of data separate and working together which is great um we're gonna have to do this pretty quickly uh oh my god i can't believe all the noise today it's insane um i'm just choosing um these points which i know will won't change too much so like i you would think if you chose this red ball then this would be great but look at this red then green yeah we can't we go through and then because the angle changes it's now red then beige or you know wood and skin and and that's going to confuse the tracker so you know be kind to your tracker choose a point like that which is going to be consistent throughout so i'm choosing where the balls meet the god that sounds wrong where the balls meet the wood goddamn yeah i just i just said that um now the good thing about about that is also that we are you know this plane the level of that plane is more useful to us than an arbitrary point on these balls and [Music] yeah okay i've got all those so let's just track forwards all of them bar one succeeds this one i knew would fail to be honest it's because beardy man gets too close so what we're gonna do is just yeah and now it's worked um which is great so we've now got these points what are we going to do with all these lovely lovely points well we're going to make an object out of them i'm going to make an honest man out of him ah what okay i'm losing my mind so um [Music] what we need to do is solve this solve object motion again keyframe selected solving camera reprojection error um and that's good uh and then we're gonna come out just so we can see what's gonna happen here and we are going to uh do 3d markers to mesh and what happens is you can see um that basically a mesh but it's just a handful of vertices a third on every single empty um of that track has been created so each point in space now has a point of geometry um i want to friend 240 good okay but if i track through if i just scrub through the footage you'll see that it doesn't follow it doesn't do anything at all so i'm going to go back to my frame 240 i'm going to add with the mesh object selected i'm going to add a constraint and i'm going to add the object solver i'm going to choose our object track and our camera and it's disappeared but if we hit set inverse voila is back and then when we scrub through you can see these points in space now i'm moving with the track we just made so back to my camera what can we do with that well um i'll start with these two points here because why not so i'm going to go into edit mode select do as i say go into edit mode yeah i suppose it helps to be oh i had the wrong selection mode i need to be in vertices selection mode so i'm going to select these two points and i'm going to hit f to fill them and that will create an edge between the two points i'm going to hit e to extrude and just drag that up slightly now we've got a plane um roughly aligned with these points and what i can do is just drag them out to the corners of this bit of wood log logs biggest heaviest wood log logs better than that is good but a random stimpy for you now i know that these points will be roughly aligned on the x-axis with the um with the trackers that they were extrapolated from so i'm just going to tweak it up a little bit and hopefully now when we scrub scrubs it's big as heavy as wood okay now we're getting some drift there so let's have a look at why much better okay so what we've got now is that we've got a 3d plane that perfectly matches that piece of wood so we could add a texture on top of that if we wanted or we could replace that uh or build something in in this place so now we're going to do that with this box box box it's big as heavy as wood box boxes that is good sorry i have definitely lost my mind so what we're going to do we're going to take these free points and hit f it creates a face for us we're going to then again extrapolate these points out to meet the edges of our box it would be better if we had tracking points on these corners perfect tracking points on the corners but we don't i'm going to then take this edge i'm going to sub divide and drag out a corner to there okay now i'm gonna look at this plane and go yeah the plane should be flat so it's approximately right it looks okay to me and if we scrub through it'll we'll soon know yeah that looks alright i mean maybe it could be better maybe you've got more time on your hands than i do right now face select very select and i'm going to change this transform orientation to normal so we're basically we're projecting outwards and i'm going to hit e and extrude and then escape and then grab the arrow just pull it along and now we've basically got a box but we can see on our box that it's snap cursor selected it's not perfect it's not perfect so we could either rotate from this base yeah my battle that seems to have done that oh but now this is all misaligned okay and that looks good to me so now we've got a basically we've got this box has been replaced in 3d space siri trying to chirp in um and you know you could sculpt that you could or you could replace it with something you've already sculpted um and that way you could get a robot a digital hug from this man what a prize okay so we have an object in space one thing we also might want to do let's let's just shrink this camera down it's absolutely music here we go so we're just don't scale it use the viewport display over in the camera options and you can scale the actual represent the empty representation of the camera okay i'm going to put a 3d object in here i'm just going to make it a cube scale it down bring it up okay upsy daisies control alt s alt s to yeah all test there we go and we've created a pillar yes that's right and that pillar is going to get right in the camera's way later in the shot okay so now yeah we've got a 3d scene what do we do next uh well a good point would be a very good point to save it track test okay and with that saved let's just switch over to compositing view now when uh you created this you went to file new vfx it created a compositing setup uh and it also created two collections background and foreground now this is for a very specific reason within compositing but i don't like how it's doing it and i want to show off in the encrypt amount notes so i'm going to put everything into the background i'm going to delete delete that because stuff it who cares let's delete that we will skip this one oh something else to note uh preferences add-ons make sure you've got node wrangler enabled okay because that allows us to go ctrl shift and click and that will connect any one of these nodes to the viewer and that's pretty important because uh it allows us to actually see what we're doing as we're doing it um so now we've got the rendering which is here also we can zoom out in the background there so our nodes are over the top of our image it's not it's a bit clunky but it works um so it's got these undistortion nodes and scale nodes which we don't really need necessarily but we'll leave them in uh what i'm going to do is i'm going to key the image so shift a search keying and i'm going to select color and that's keyed out that color now you can play with these settings um in fact i'm just going to show you a quick thing ctrl shift and click and it will cycle through these ports now it's showing us our matte if we go further along you'll see there's some gray values in there which i'm not overly fond of so i'm going to take the clip white down move the screen balance try and get rid of some of those clip black up a little bit actually i'm going to click it again to go to edges and this is important edge data isn't affected by black and white it's it's you know it's trying to refine the edges um so anything that is considered an edge is removed from the clip black and white so you want to make sure you've got your edges right first so we're going to turn up our edge kernel and you know change the the radius if you want to i think that's pretty good um and then yeah control click back to matte and i'll clip white that's pretty good we can also add a little bit of feathering click back through to image okay so now we've got a fairly decent key it's all right you know i mean you could spend some more time with that you could add a ramp over here and all sorts of jazz anyway that is is going into our alpha over node and being combined with our render layer but we can't see anything just yet so we're going to hit f12 to render the image get rid of that and you can see that it's totally gone over our image so what i'm going to do i'm going to swap these ports around and now our footage is on top we'll convert pre-multiplied um it's getting hard to tell what's what however because you know there's not enough light in our scene so we'll go back to and we might as well go back to motion tracking um and you know if you were to scrub around this footage you'll see that there's actually a big area diffusion light over in this corner and a couple of park hands and all sorts of bits and bobs uh really don't know how i was i was rotating that in the most handed fashion we want to point it over there it's about there and i mean 20 watts it's actually a bounce it's a bounce diffuser and there's another one over here i'll back this one off the scooch um because this one as i recall it the shadows are a bit more prominent from that one uh anyway um so i'll hit f12 again okay that's rendering a bit more so now we can actually see the background a bit better but what we have got uh which you know green screen can't help us with is these light stands some of this this light up here we've got tom rosenthal the inventor of blender in the shot which is you know always a bonus as far as i'm concerned but you know in this instance on let's get rid of him i don't mean it don so what we need to do is go to masking i mean you can also do this in motion tracking and just tab to change this to mask but we'll go to masking because it comes it's already got the dope sheet set up here with the mask stuff on so we're just going to choose the footage from there and we're going to create a garbage mask control click and just start control clicking around your man okay and there we go um one thing i forgot to do was turn on auto keying i'm going to select everything uh turn on autoking select everything mng just to give it a jiggle and it creates a keyframe what we need to do now is scrub forwards right to the end set another keyframe okay and what we're trying to do is keep him within within the the lines at all times but cut all of this junk out anything that's going to interfere with our key um that way the green screen has got to work a little less hard and that's good because green screens are lazy anyway oh his fingers i'm just doing this incredibly roughly you can do this roughly too but uh you know there are going to be areas which are going to need a little bit of tlc so be prepared for that i'm going to select all i'm going to change to 2d cursor and just tap the pen over there and i can now scale from that point which will help us to adjust stuff i can use b to box select and move stuff on mass again using the g key will allow you to move s to scale r to rotate and keep going okay we're nearly there so a very very rough do we lose some fingers there maybe who has only a finger right so uh yeah all the way up to 240 we now have a garbage mask um and that's great uh you've got um various things you can take a look at here but we don't have time for that today so you can really look into into more details about that mask if you want to we're just going to add it to our shot and this is where we say goodbye to ton i'm going to shift a to add a new node search for mask it gives us this mask node i'm going to choose the mask that we just created which is called you guessed it mask and i'm going to just plug that mother lover right into the garbage mat oh god we killed him and it's deleted our guy um so to fix that we'll just uh add another node invert and we're inverting the rgb because what this is is actually spitting out this gray dot he's saying we're spitting out a black and white mask black and white image black and white values so we're inverting the rgb not the alpha so yeah it comes out as d by default in the correct way don't be fooled even though we are technically inverting the alpha um when doing that by inverting the rgb i could make that more confusing couldn't i and then i'm going to hit f12 again just to render because whilst the compositor you can set it to auto update um the compositor node it you need to render the animation first in its entirety technically to uh be able to see the frame so every time you move the frame you need to hit f12 to update that render but you can see that now we've cut out 90 of the garbage and uh if we keep hitting f12 you can see that we've got a tracked shot we've got a track chart keyed and garbage masked and it's all working really well um the only thing that isn't working is this post that i stuck in front of our man right that's rendering it in the wrong place it needs to be it needs to be rendering in front of him so what we can do is um we can come over to here this is only in the latest versions of blender again so crypto mat if you don't see this then you needed a more modern version of blender or there's a million other ways to do this but this is the way i'm going to do it today crypto map object crypto map allows you to choose maps to pick maps from objects and materials and it's super powerful i'm just going to delete the render layer and add it in again because now we've updated this and now i added in you've got these crypto objects they're nothing to do with nt non-fungible tokens or any of that bollocks uh no this is just here yeah it's saying very totally different and doesn't uh harm the environment so use it at your leisure uh i don't know what i'm talking about crypto map there we go and now what i'm going to do i'm going to connect the image up to here and crypto map object up to here i'm going to shift i'm going to select it and shift click shift ctrl select it as well i'm going to hit f12 and nothing happens um so what i'm going to do is i'm going to shift click shift ctrl click again until it comes until it gives us the pick option okay and i'm going to add a matte object and i'm going to select uh this blue pillar with the eyedropper okay and then i'm going to tap through and suddenly we've got this image that is perfectly altered and matted out and that'll go through the entire animation yeah so what we can do with this is connect up our alpha over to this okay and i've changed that image to pink just so we can see with what's where okay and so this bottom node is the top and that one's the bottom there we go that makes a lot of sense i'm just going to plug my crypto mat matted image into that node and it is going to drop it on top of the existing uh imagery and as you can see that works just lovely we'll just scrub backwards and hit f12 and you can see it works consistently throughout so that's that really um what else can we do uh with this i mean plenty you can add in lights you can sculpt stuff you can add textures and and everything that you can do in blender you can now do in uh in your scene you can you know build a cgi reality around your footage uh the other thing you could do is actually drop the footage into the 3d space and and avoid a compositor altogether uh ian cubert some wonderful tutorials on that um so check him out uh and yeah uh that's it really i mean i think i've covered enough so i'm gonna call that a day i'll just render this out or save it and i'm going to set this to render just render on the desktop for now um and i will do that thing but you're never supposed to do and render it to a video okay and i think we're good save render animation okay and as soon as that's done i'll show it to you um i hope you've enjoyed this this has been uh i've been chris mcfaul this is blender clinic and yeah this is a little special edition on compositing and tracking because it's it's one of those things which a lot of us never even touch in blender and it's super powerful it's one of the best trackers out there in my opinion it's it's i prefer it vastly to even mocha which is the industry standard um largely because of how it allows us to recreate um the 3d footage just right there in the viewport in blender and so quickly we can start generating 3d assets um which match the footage you know and and replacing those 3d assets with the footage uh in the footage and you know and then we can comp it all together it's so insane that this software is free and this powerful and wonderful i've been using it for over for about a decade now and and it still amazes me so uh that's why we're doing a special on this it's something that i wanted to get back into and i felt you know to be honest it was one of those things if anyone asked me a question about uh about this prior to me doing this tutorial and actually getting my head straight about it i don't know how i would have answered that question so uh there we go anyway enough waffle thank you very much for tuning in i hope the background noise wasn't too awful and we'll see you all soon

Channel: Hollowpixel

Views: 2,802

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Id: 11dMpspHio8

Length: 47min 40sec (2860 seconds)

Published: Sat Mar 20 2021