Set Extension Tricks with Mocha Pro Mega Plate. A Virtual IBC 2020 Replay.

because we're going to be rolling directly into our next presentation with the lovely mary poplin hello mary hi how are you very fine thank you very much and how are you oh you know good good okay good yes mary is in la uh where things start to be or seem to be on fire still uh are things still definitely yes right yes yeah it smells like actually somebody lit a skunk factory on fire it's pretty pleasant very good i'm imagining this and now wishing i wasn't so bad i don't think we want to do that but we're going to be we're going to be doing stuff that is is not to do with fires or skunk factories or a combination of them both we're going to be having a look now at how we do set extension tricks with the mocha pro mega plate and coming up after this we're also going to be looking at some continuum work with a into the spider verse inspired 3d title sequence with our director of motion graphics john dickinson we're also going to be rounding off the day with a uh an unprecedented uh live q a with the uh some members of the boris effects engineering team we're going to get as many of the engineering team as we can fit into into one box and we're going to be having a nice chat with them so please stick around for that you really really want to be joining in the chat if you're if you're not already doing so so you can do that by going to borisfxlive.com or by going to our youtube channel where you can also be chatting away there and uh because we're live mary ross and maybe me will be here to uh to answer your questions as well as we can mary and ross definitely will be had to answer your questions i'll be able to talk a lot until you have forgotten what your question actually was and with that with that i think i'm going to hand it over to mary now so uh mary please set extensions with mocha pro take it away all right thank you let's just go ahead and share my screen all right so um we're going to talk a little bit about mega plates today and set extensions so um for those of you familiar with mocha we added uh this thing called mega plates to the last release well last release and a half ago of mocha and it's a really cool tool that basically automates the process of creating a large stitch out of a shot based on a track it uses the remove technology to create a single mega plate you know so what we're going to do is we're going to show you how to make a megaplate from scratch and then i'm going to show you what you can do to create sort of matte paintings on top of that and then i'm going to show you a more complex megaplate and composite to deal with objects that are a little bit more difficult to remove so without further ado i'm going to go ahead and get started and i'm going to show you this shot so this shot is a time lapse of a desert i found on pixels so if you want to go ahead and repeat this shot you can find this shot on pixels in fact you can find most of my ibc shots for all of my demos on pixels now what's cool about this is that this is a sort of interesting look with the clouds going over the top but if i want to add a matte painting to this i'm going to have to do some blending modes and i'm going to have to think about how this is going to stretch across the scene so i'm going to show you what we ended up with which is this lovely render here and we'll show you what the before looks like so here's the before and here's the after all right now i'm going to show you how to make this to start with what you want to do is you want to take your original footage and you want to track in mocha now i'm going to just duplicate this really quick and i'm going to show you how to do this from scratch because it's more interesting that way so let's grab mocha pro and let's drag and drop it right on to our timeline if you want to use mocha as a plugin instead of standalone you can also go to boris effects mocha and find it here and of course this works the same way in all hosts that support plugin and it works the same in the stand-alone if you're using the standalone now we're going to go ahead and hit launch mocha which you know if you're using the standalone you have to create a new file but anyway we're going to hit launch mocha because i've actually stopped using the standalone and i'm only using the plug-in from now on and what we're going to do is we're going to track this scene but what's interesting about this is we have a lot of motion in this shot from the clouds so when we track this we actually have to be pretty thoughtful about how we track it so i'm just going to take a big shape and i'm going to put it across my mountains here and the reason i do that is because they're in the scene the whole time i could also use unlink to track if i wanted to but i don't with this shot because i want to grab the whole thing we're going to track translation scale rotation shear and perspective and the reason we're going to track perspective is because there is a little bit of perspective shift in these mountains that i want to make sure i grab it i'm going to leave the minimum percent of pixels used alone because i don't need to worry about that and we're going to hit track backwards as usual we are going to leave it on large motion large motion is for most basic tracking that you do inside of mocha small motion is for what we call sub pixel motion and manual track is for when you actually move this the track manually so we're not going to worry about that so usually you just leave these settings alone um same thing for luminance versus auto channel london says your rg and b channels combined and auto channel selects different channels selectively based on what mocha thinks is a better choice you really don't want to use that unless your shot is super color corrected or crushed so i tend to leave these on the default and then make sure that i'm tracking the areas that i need to track with the type of motion that i need to track because like every single module in mocha this is built off the track and it has to be good in order um the track has to be good in order to get a good track now i do notice this is moving a little bit slow so what we're going to do is we are actually are just going to move over to this part of the mountains here and we're going to hit track backwards and what you're going to see is this is going to track a little bit faster and the reason for that is because we're tracking less pixels because again mocha is a texture tracker and what it does is we track all of the texture that's inside of the shape and then our surface tool is what the track is actually doing and you can see that the surface tool and the shape are moving the same but if i were to unlink the surface tool from the track over in link to track um the surface tool in the shape would be doing something totally different and sometimes that is the best call sometimes you do want to use unlinked to track i don't really want to use it in this shot now the other thing you'll notice about this shot is that there are a lot of flickers in this shot and the reason for that is because this is the time lapse so it's a camera that's stuck on a tripod and it takes a you know a shot every at a defined interval okay and that's what creates the clouds moving so quickly over time but what that also does is because we are shooting outside in the daylight it creates a lot of flickers over the top of our image and we need to think about that when we are going to create our map painting so we need to think about how we're going to blend that back in with the shot and what we're going to do to match the lighting over time we could also try to remove the lighting using like a flicker fixer or something like that but in this case we're not going to we're going to try to blend it back in with the top but continuum does have a flicker fixer that you could try to use to get out this sort of flicker in the image now we're almost done tracking and you can see that perspective is um shifting properly over time and what we're going to do is we're going to take this scene and you can see how fast we're tracking because we're tracking with gpus it's still a long shot what we're going to do when this is done tracking is we're going to take the shape and we're going to move the shape out to the edges of where we want our mega plate to be so what mega plates do is mega plates are basically doing what you would normally do with a corner pin stabilization and then painting in objects in like a paint program to flatten out your image something like nuke or you can even use after effects for this or it's where you would take a bunch of different frames throughout the shot and you would put them into photoshop and you would try to auto pano them together but the chances of that auto pano actually matching the motion of your shot is pretty slim we're going to show you how to build this based off the track so the first thing i'm going to do is i'm going to jump somewhere into the middle of the shot um the reason i do that is because i want to make sure that when i'm creating my mega plate that i am creating my mega plate from the middle and not either end that's going to make the lens distortion over time less noticeable because when you are blending in a bunch of frames over time there is lens distortion in every single frame the closer you get to the edges the more that lens distortion is apparent so we're going to take our shape here and i'm going to just go ahead and use the uber key actually let's delete all our keyframes we're just going to delete all our keyframes and i'm going to pull this shape out and i want this shape to cover the entire area that i need to create my clean plate in so we're just going to drag this very large here we're going to make sure that we're on auto key so that we make a keyframe and let's pan through all right so that shape is too big on this edge you can see it's folding in on itself so what we're going to do is we're going to just move this a little bit left and we'll move this a little bit right there we go because perspective shift is happening even though we have corrected for some perspective drift um we want to make sure yeah that our shape isn't folding in on itself okay so that looks really nice that covers my entire area i can see that my shot is contained within the shape what we're going to do is we're going to turn our mats off here i'm going to turn my overlay off here and we're going to jump back to the middle of the shot any middle part of the shot will work and we're going to go over to our megaplates tab in our megaplates tab what we're going to do is we're going to use the same settings that we use for something like a remove so we're going to check how many frames before and how many frames after we're looking at we can increase a step if we want to if we want this to render faster we can use an auto step and what that will do is that will look at a predetermined amount of frames that mocha thinks is a good idea to save itself on time for rendering we can also use a blending mode if we have a lot of lighting changes over time and the megaplate will try to take those into account when it's creating its megaplate we can also use blend to try to blend frames together for the same mega plate but now that we have our track and our shape defined we're saying build out our megaplate in this shape and we're going to hit render current frame and this is gpu accelerated so what it's going to do is it's going to look at 401 frames before and after and it's going to use an auto step and then it's going to build out my plate based on the track just like that so here is my megaplate all right and now the sky is pretty unusable because the sky is moving really really rapidly and i can see we have a little bit of lighting changes down here that i want to try to account for but because we're just going to paint on this part of our shot here i'm not going to worry too much about it we're going to hit create mega plate and what this will do is this will have a save our mega plate anywhere that we want to so i'll say mega plate input 196 and we'll save it and what we can do i'll just hit save and close on mocha actually i'm going to show you one more thing before i do that um on the same frame that we created our megaplate we're going to jump over to our surface tool and turn that back on and then i'm going to use this align surface tool right here to expand the surface tool to the edges of my my screen now the reason i do that is because i want to apply motion to this megaplate over time so i'm going to make sure that when i use this megaplate that i project it properly back over my shot so we're going to hit save and close okay and now i can bring my megaplate in so i can just you know come over here and we can go to our desktop and we can go to our webinar and we can just bring in a megaplate right here into our shot right so here's my megaplate and i can take my footage and my mocha track and i could say hey in my mocha interface i want to create my tracking data but before we apply our tracking data we need to do something to our megaplate so we can see our megaplate excuse me we should be able to see our megaplate yeah we can so here's our megaplate and what we're going to do is we're going to go to layer pre-compose and what we're going to do for after effects is unlike what we normally do when we pre-compose mocha objects for mocha inside of after effects we usually go to move all attributes into the new composition for megaplates we actually want to leave all attributes into the composition because it is larger than the comp okay and we're going to just hit ok and now we're going to toggle our switches and modes and we're going to click this little button here which is a collapse transformations button and what that does is this continually rasterizes an image so that when we apply our corner pin it's not going to shrink our object or cause any resolution problems so collapse transformations and of course we have to pre-compose with leaving all the attributes into the new composition in my plug-in interface i say hey i want to create tracking data and i want to create it from the track that i made i want to apply a corner pin i'm going to choose a power pin and i'm going to export my option to my megaplate and we hit apply export and now my megaplate is applied over my shot so what i can do is i can start to create a matte painting inside of this mega plate now i'm not going to really create a matte painting from scratch here for you but what we can do is we can put an object over the top of this and i'll show you what that ends up looking like so let's hide these and what we're going to do is we're going to show you our matte painting that we've made so we have our original megaplate that we created and i created it on a different frame so it looks a little bit different um so here's my original megaplate and what we're going to do is we're going to put some images over the top of this what i did is i just composited um a whole bunch of pictures that i found of cave dwellings and cliff dwellings and didn't actually paint paint and matte painting a lot of times with matte paintings you layer reference with actual brush strokes and blending modes until you get something you want or you paint it all from scratch if you have the time and the budget for it um and so what we do with this is because this is moving um in our comp but not moving in this precomp we can add whatever we want here you know we could add text we can add suns we can add all kinds of stuff so when we go back to our project what we end up with is me there we go yeah so what we end up with is a painting that we can put over the top um and what we can do is we can we can use blending modes or masking to put this back over we can also do things like composite in you know a sand crawler if we want to or two suns or you know whatever you want to composite in here you can i just want to show you that there's a lot of options that you can use to paint this in and then what you can do is you can add color correction over the top of this and you can mask everything out if you like in this case what we want to do is we want to mask this out let's go back to our matte painting here for a second here we go and i'm going to turn off this background because that's where we're getting a lot of our problems from because you can see with our matte painting we actually alphaed this out so let's go back to our basic map painting there we go and you can see we end up with something that looks like this so to get things like the sun in i just made a new precomp and applied the tracking data the same way same size same everything we just used the matte painting and then made a new pre-comp and then put the sun's in same thing for the sand crawler because i'm a giant nerd but i just want to show you there's a lot of stuff that you can do with this and you're not really limited to one thing at a time everything can be live the nice thing about this is it saves a lot of that preload time so here's our original and here's our render do we have any um questions or comments about uh the basic workflow for creating a super basic one layer matte painting um using the mega plate tools that's looking really good mary um there was just one thing if you could uh well once that's rendered up if you could just have a little look at the the mega plate just the full size mega plate if that's possible absolutely full size mega player okay boom boom yep with that yeah it's could you explain why uh it's it's looking sort of a little bit distorted why we're seeing things we you know why we're not seeing just a regular rectangle you can zoom out yeah absolutely yeah absolutely and that's a good question okay so the reason why we're only while we're seeing a distortion okay is because we are actually taking that um corner pin data that we tracked and you would also see this if you were doing this by hand by the way um when you unless you were doing translation only in which case you wouldn't but most people don't do it that way because you want it to align into a flat plate um the reason that it looks distorted is because what we are doing is we are applying what is essentially an undistortion um based on the tracking data and because the tracking data moves in perspective as that perspective changes because obviously even though we are panning the mountain perspective is changing because it's going away from the camera all right because we're not so far away from it that it's flat we're getting this distortion as that perspective data is applied in reverse and then held still and blended into a bunch of other plates does that make sense it does so so basically what the the uh corner pin is doing is it is matching the the camera movement back to the to the original uh to the original movement of the camera and and doing the undistort on the maker plate exactly yeah it's basically like um it's like pinning it into place but pinning it into place with the motion the same way you would see it in the stabilized module or or if you did reverse stabilization um and why that's important why that's important is because when you apply that corner pin you want that to move properly in perspective and for the track to match back back up because otherwise what you would have to do is you'd have to do what we did in the past where we create a matte painting we project it onto 3d geometry we try to match that 3d geometry to the basic motion of the shot we fudge it a little bit and hope nobody notices you know and base it along with you know things like uh translation tracks so this is much more camera accurate hey mary a couple other questions just came into the the chat um someone's asking you know what what are your tips or best practice advice when creating a mega plate okay um best practices uh as i mentioned earlier you definitely want to start in the middle and whenever possible okay and the reason for that is because you will get less distortion at the edges the other thing that you need to think about is if you have any occlusions if you have any occlusions you need to go ahead and mask those out and i'm going to show you uh in a minute what that's going to look like in a more complex example if you are tracking make sure that you are tracking the detail that's actually present in the shot so like if you're tracking an object that's super far away translation scale and rotation are fine no problem but if you are tracking something that is medium to close up and the camera is moving um you're going to want to track perspective 2 just to make sure that you're tracking the motion that is present in the shot you also want to make sure that that track is rock solid you cannot fudge the track okay so if your track is even drifting a little bit go ahead and jump over to the adjust track tab and fix that before you track because this is such a simple example we are not seeing any adjust track um necessary but keep in mind that you may have to do that to get a rock solid track in order to get a rock solid result just like any other module in mocha cool that's definitely good advice yeah no it's good advice another question is you know someone's asking what is so special about the megaplate or or why would you want to use it and i think you've answered it but uh maybe describing a little bit more about how that you can paint you know you might want to clone from pixels that wouldn't actually be on screen normally yeah so i can show you too um also uh one more tip i want to point out to the thing that i forgot in the original which is you want to make sure that shape is you know how i made the shape large enough to encompass the entirety of what the plate would look like that's important because it uses remove technology that shape has to be large enough to create the plate in the first place let's jump over to photoshop for a second and i'm going to show you why you care about a mega plate let's say i needed to do like some complex paint work here let's say i needed to fix for instance some of this lighting problem on the ground or i wanted to get rid of the flicker entirely and keep the uh the sky for example but get rid of the flicker on the ground because it's distracting i could use a megaplate to do that without even creating a very fancy matte painting but if i took a sample the same way mocha is doing and built my own clean plate a i would have to spend time doing that and b um i would maybe try to do paint work but what we're going to do instead is we're just going to paint this every time so what i can do is i can come in here and i can just like you know clone this detail in for example and what we can do is we can like get rid of these lines and then what i could do is i could you know bring this back into my shot but it's also that like when you're creating a matte painting or something like this you want to be able to see the whole object so that when you're creating your your plate you know what it's all going to look like before you try to just composite little tiny elements into your shot based off of tracks also you know a lot of times in pre-production um you know before you start working on the shot or even while you're in production and post-production directors have a lot of opinions i don't know if you noticed they have a lot of opinions they like to see stuff first and whatever you can show them to visualize how this is going to look um the easier you can get shots done on time but even if i want to just change this what i can do is i can come into my shot and i can for instance come in here and you know um clone excuse me let's make a new layer here and all layers perfect um we can like you know clone new detail in wherever we want it so this would not necessarily be on screen is why i care so whenever you create matte paintings you want as much detail as possible that's the long and shirt of it um and you want to have as much control as possible being able to visualize the whole thing really helps with that i hope that's probably a more succinct answer yeah no i think that that makes a lot of sense being able to visualize all the pixels you know all the areas that are going to come into the shot even though they're not really on they might not be on screen at one particular frame but as an artist you know being able to work like that i think the way you described it makes a lot of sense yeah absolutely and let's show you a more complex example than this this is just i want you guys to understand the technique before i go into a shot that takes a little bit longer and don't necessarily want you to have to wonder what the heck um like how that happened right because when we talk about techniques we want to talk about the basics first and then the cool stuff you can do with it right and i i'm always interested to see the way our users use stuff like i mentioned in a talk we did yesterday uh the basic techniques um then get applied in ways that are super interesting and we love to see the way you work and i'm going to show you some of the ways i work so for this shot i wanted to do something kind of kind of silly and a little bit surreal um this is i think this is the balloon festival in new mexico that happens in albuquerque it looks like it to me but i don't know if that's necessarily what it is um but the cool thing about this shot is i wanted to make it a little bit surreal so i made turned everybody into jellyfish all the balloons are now jellyfish and to create a comp like this uh what you need to do is you got to paint out all those balloons and i didn't want to hand paint out all those balloons frame by frame for every shot that kind of stinks so what i did instead is i painted i made a clean plate like a mega plate right which is what we would call you know a plate and um i painted the balloons out of that and let's talk a little bit about this workflow we also obviously had to do a lot more roto in this shot than we did in the original so let's talk about how to make this shot so the first thing that we're going to do to create this sort of shot and don't be fooled by how like deceptively simple this looks there's actually a lot of layers in our matte painting comp and that's why that's where our complexity comes in so first things first let's talk a little bit about our mocha shot here let's which one yeah this one okay all right so let's launch mocha just like this okay so we're going to talk a little bit about how we would make this shot um now i'm going to take this shot and i'm going to duplicate this layer really quick and i'm going to save out this mocha file so the first thing we're going to do is we're going to export this project as a let's call this mega plate create okay and i'm not gonna re-roto this because that's just we don't have time to show you how to reroute this but i'll i'll show you the basics let's turn that off and let's take our shot and let's duplicate it and delete mocha and delete our masks and i'm going to show you how to do this from scratch using the mocha file but we have already baked that cake for you and i'm not going to make you sit through it so let's take mocha pro and drag it and drop it onto our layer here let's hit launch mocha all right and inside of launch mocha what i'm going to do is i'm going to let this load come on after effects you can do it thank you and we're going to merge our project and so we're going to take our mega plate create project and load it up and what i'm going to do is i'm going to delete some of these layers what we want to keep is we want to keep the car layer we want to keep the foreground layer mid-ground layer and our background and our woman garbage mat and we're going to delete all the rest of these layers so when we made our clean plate our megaplate what we did is we used these layers to create our mega plate get rid of that too all right so we've got a couple of things that we need to think about in this shot and i'm just simplifying it down to show you how i created this so the first thing we've got to do is we've got to track that background and like in order to track this background in particular i'll show you what i did the first thing i did is i went over here and i drew a tiny shape all right and we're going to call this bg track example okay so for my background track i went over to link to track and i selected none and then we only tracked translation um scale and rotation in fact we can even get away with just tracking translation on this shot here's why when we track something like this the thing that we need to think about is that there's not a lot of parallax happening in this shot and one of the reasons that there is not a lot of parallax happening in this shot is because that background is so far away and the further away from your eye an object gets the more it flattens out that's part of perspective that's part of how eyes see it's also why 3d looks okay you know when there's no depth in the background and there's lots of depth in the foreground okay it's just the way that you know binocular vision works okay now because of that that means that we don't have to really worry about perspective when we track this so once i was done with that what we did is we went ahead and took our shape we made our shape large enough to encompass that movement just like we did with our previous mega plate so what we ended up doing was having this lovely background shape that covers the entire area that we're trying to cover with our track okay and i just created my mega plate on the first frame so what we're going to do is we're going to come over into our mega plate tab and on frame 0 we're going to hit all frame one we're going to render our current frame and what mocha will do is mocha will plug through this based on the track and it will try to create me a clean plate based on that data now i don't care about what's behind this ground because it doesn't matter so this is what mocha has created for me a big long plate um there's a lot of lighting changes happening there's a lot of vignette here so we're going to get some stepping over here in the sky we don't care about that because we're going to paint right over the top of it it doesn't matter okay now we have a problem here i want to make a plate but this giant car is in the way and this person is in the way so what we can do is we can make sure that we roto the car and let's go back to our selected layer here so we have a roto of the ground and a road over the car to create this roto of the car i took our very handy magnetic spline tool and just let it follow the car okay and then i created a track based off of that now we don't have to use that okay but i liked it for this for this track okay so there's our car roto and i just expanded it out and our woman now notice how far outside of the edges i am from the objects that i'm trying to get out of the shot that is the same principle that we use when we're doing removes we want to make sure that there are enough edge picture pixels that are completely uncontaminated by things like blur fly away hairs motion whatever you know clothes anything that's like you know getting in the way of our background because what we do is we use these background pixels to create a plate okay so what we're going to do is in our megaplates because we've created our megaplate here and i'm just going to re-render it really quick what we want to do is we want to remove these foreground objects let's turn our mats off here okay so we're going to select our layers here um our layer here and we're going to say hey remove the foreground based on those shapes and excuse me we'll just turn those all on and here we are and we're saying remove foreground and so what it'll do is we select our layers that we want to remove mocha will think about it and it will take out this car and this person as best as it can based on the information it has now if we don't give it enough information it can't render everything else so it's so what we have to do is we have to replace that information so what we're going to do instead is we're going to end up painting a lot of this out so let's go ahead and show you what that looks like so inside of our matte painting over here we're going to double click our matte painting and i'm going to just hide all of this mess and let's show you a little bit about what we ended up with so with our mega plate that we created we ended up with removing most of the car and most of the woman by going a little bit further down the shot in order to create this okay so you want to just basically give mocha as much information as possible to remove it now mocha cannot remove the rest of this car because it does not know what's behind it okay so what i can do is i can paint this out and you can either paint this out in photoshop if you like so you know you can create something that looks like this or you can use silhouette paint inside of after effects or nuke or whatever compositing program you're using and in this case what that would look like is i would come in here and i would start painting this out using my clone tools now inside of the silhouette tools what we can do is we can select clone or we can just select colors and the nice thing about colors let me show you really quick is you can right click to select colors so for things like the sky we can just paint these out really quick i mean just super excuse me just super fast based on color selection let's just make this a little bit smaller there we go or we can start painting out things like the car based on our clone tools just like this and the nice thing about clone tools is we can move to output instead of foreground and so now when we paint over we're painting over what's visible and painted over already so that gets really handy because it allows us to fill in data from places we've already painted so i definitely recommend that as well so there's many techniques that you can use you know i always say there's like there's just more than one way to do something right like as as the saying goes there is more than one way to skin a cat there is more than one way to clean a megaplate okay so make sure that when you are painting your shot that you are being thoughtful about what you're doing and that you are using the right tools for the job everything is about the right tools for the job okay so i'm not going to go through and paint this completely while you're watching because honestly like that's probably about like watching paint dry but suffice to say you can use all of the tools inside of the silhouette package that you would use to normally paint on objects so for instance you can use things like the blemish tool to fix blur and grain problems to you know hide any sort of small objects that you can just get rid of really quickly you know just like this and fix the striations in the sky okay there's a lot of stuff you can do with this so don't you know don't be shy about using these tools and let's just just for the purposes of showing you how this looks let's get at least these balloons out of the sky so that we can um show you what this will look like back in the scene and let's just blend these out blend blendland i love the blemish tool it is like the ultimate ultimate cheater tool because it what it is is a blur and a grain together and it you know ends up hiding a lot of stuff about your shot if you're trying to get rid of stuff there we go just like that all right it's basically like the heel tool in photoshop all right and you can also come in here and use the detail brush for the same so if i wanted to clone in detail i could while keeping the same lighting pretty cool all right so that is silhouette and painting on a flat plate so now if we save this and we close it what we can do is we can go ahead and hold the frame and paint back to our timeline really really quickly so that's silhouette paint i'm just painting live on a plate inside of your comp and what's cool about that is you can just change it at any time and it's just automatically updated in whatever you're doing because we're plug-in based everything is live and non-destructive and i love the non-destructive aspect of this if you painted something in photoshop for example that's destructive those pixels are there they're not changing okay you can't change them over time they don't animate you can't do anything with them it's just a flat image so some in some ways silhouette paint can be really cool um to use for this type of thing especially if you want to animate in a moving sky you can use that as a separate layer instead of silhouette and that's a separate source is what it would be and you can paint in like moving clouds in the sky if you needed to or you can complement um in this case what we're going to do is we're going to comp back over this um how are we on time and do we have specific questions yeah we're doing pretty well on time um so mary um someone actually just uh threw in a question in the chat which is i think that uh because mocha and silhouette have a lot of overlapping features i think that sometimes it can be confusing for uh for a user who's only used one of those tools for a long time and now that we've acquired silhouette we're all working together for for users to understand the differences so this user said what uh what was how they worded it it said uh what can't mocha do that you need silhouette for so i know the answer to that but i'll let you take that one roto paint for one thing um so uh yeah so you noticed that i had clone tools available inside the silhouette tools um so silhouette can do rotoscoping and it even has its own planer tracker and a mocha planer tracker we work together we actually answered this question yesterday too because this is a question we get asked a lot um the difference between silhouette and mocha is that they both do totally different things right um silhouette is for like hand painting when and it does have automated hand painting but um but it's like based on tracks and there's a lot of manual work and it's for finessing um really high-end shots that would take a lot of tedious work um whereas mocha is more of an automation tool right like it's based on a track it is for rotoscoping and for tracking um and yeah you can use silhouette for rotoscoping and painting um but they are different packages meant for different things so um you can't do a megaplate and silhouette without stabilizing your shot um and building it out with paint and um and working on uh something like that you know and it's still gonna be like at the size of the shot if you're using the plug-in um you can also use silhouette it's kind of like a compositing tool and you can kind of use mocha that way too so there's some similarities but in general the difference is roto paint and more manual adjustments um mocha is really more for things like automatic removes automatic stabilizations with a little bit of finessing work on your end to get things um perfect so and if you have anything to add to that ross please do well maybe if you don't mind bringing up your web browser mary and just we can point the the viewers to uh the compare mocha silhouette chart i think that's actually a really nice useful resource for users that's found under the boris website um at sportsfx.com under the mocha section you'll you'll find this compare mocha chart which might be useful yes um give me one second to find that um there we go as you're doing that i'll just also just mention that to be clear that we have two versions of silhouette available we have silhouette as a standalone application which is a full-blown uh compositing paint uh tracking rotoscoping it uh it actually it's an ofx host so you can run sapphire plug-ins inside of uh silhouette uh so yeah if the full-blown silhouette is quite powerful and then uh silhouette paint which is a lighter version that's basically the paint features from the from full silhouette as a plug-in so yeah this is kind of a chart go ahead mary yeah no i was gonna say yeah for example like you're saying like the the standalone is a node-based compositor that you can use for painting tracking and everything together it's a little bit more of a robust composite compositor than modules for example um that being said um the paint plug-in is for paint that's what it's for um mocha's not for paint yeah that's right i mean mocha has object removal tools which are super super handy but when you need to create clean plates generate clean areas out of nothing then you know or if you have a logo on a shirt and that shirt does not exist anywhere in time without that logo then yes you do need to do some manual paint and that's one of the reasons why we created the silhouette plug-in yeah exactly so in this case i was using it instead of mocha because mocha can't do roto-paint i was using it to take the balloons out so you can see that there's there's no tracking involved in this paint it's just roto paint that's all it is um so that's uh you know not not like just wrote a paint as to minimize it like that's just it's what it's doing it's doing roto paint so all right so uh let's talk a little bit about um compositing as well so um one of the things that you have to do especially when you're dealing with directors is make multiple uh versions of things so you know um let's say that you wanted a more purple sky in this you could add that um right into the pre comp and the nice thing about this is if you jump back to your original comp it's actually going to be right in there so if i go back to my surreal comp you can see that my matte painting has been populated right back into here okay and it's moving properly and if i jump back into my matte painting i can start adding stuff to it like if i wanted to add like a crazy galaxy sky i could um if i wanted to add like these jellyfish back in in position i could and the jellyfish are just stabilized free comps i stabilized them in mocha and isolated them with roto and i'm blending them back over the top with a lighten mode it's extremely basic compositing here um and what you can do is you can even duplicate these so if i like feel like i want more of these layers i can go ahead and duplicate this and move it over just like this all right and now i've got my whole sky populated with these like surreal floating jellyfish and you can see that they're animating here well whenever after effects catches up to me let's go to quarter rose you can see that they're animating over time okay and because we're tracking that back in my comp is completely live and i can add things like a sapphire aurora into it i can add all these elements into my matte paintings that are animated and live and now when i go back to my more complex composite everything is populated back in and moving properly over time so i can add in the foreground with um some really complex roto uh what we did in with this is we just did some mocha roto uh for those of you that have done mocha roto before you will know that basically you make a track and then you link everything to tracks so in this case car body is linked to the track that is car same thing for the back bumper same thing for the front bumper and then what we've done is we've added keyframes over time you can see we have one two three four five keyframes and everything else is driven by the track okay and the reason that's handy is that allows us to save time on rotoscoping yes you can also rotoscope in silhouette it's going to depend on what you want to do and what you're most comfortable in that's fine but silhouette paint will not necessarily apply the rotoback for you whereas mocha will because still it's meant to be a paint package not a replacement roto package so we can apply all these roto shapes back into our shot using mocha so what we've done is we've gone to create ae masks and what that's done is that has made ae masks for us based on our mocha shapes that we made in mocha and what's cool about that is that allows us to have a little bit more speed in our after effects comps same thing for nuke comps when you apply the mat which you can do you can apply it as a black and white mask right here or as a rgb mask when you apply the mask it's applied as a plug-in it actually takes a little bit more computation time and i like to save render time whenever possible so unless i need motion blur and unless i need um per point edge feathering i tend to apply uh the the shapes as native shapes to whatever host i'm in um unless that host does not allow native shapes in which case for things like avid mocha allows you to apply a mask where you wouldn't normally be able to apply a mask so that's something to think about when you're using the plugin um and uh and then from there we just add a little color corrector over the top and um and we end up with our final comp so excuse me there's our let's turn that off there we go so here's our final comp we've added some color correction over the top and uh that's what that ends up looking like so let's here's our original just like this and it's you know it's a little funny um but i wanted to make something surreal for once and uh we end up with this sort of very fun comp um and i'm happy to answer questions about how this is done or if you have any more specific questions about how the more complex megaplate breaks down but it looks like we're running out of time as well that's really really cool mary it's it's uh a great actually to see people using megaplates with stuff that's actually animating over the over the top of it because you know a lot of the time when we've been doing uh megaplay demos it's it's usually been you know just the like the static megaplates like we uh like we saw in the uh the first uh the first example where we're kind of layering stuff on top it's it's really useful i think very um inspiring to show people the fact that once you've got this this big plate uh as a as a pre-comp you can then just start plonking in any kind of animated elements or elements in motion and those will react live down into your comp yeah and and according to the track which is really useful it's kind of the thing that brings matte paintings to life a lot of times matte paintings can look really dead um so if you notice when you're watching films although a lot of people don't notice that they're looking at matte paintings um if you notice with matte paintings and film they're always adding something like a smoke element to a campfire in the background or birds flying through or reflections on the water they're always adding something to try to give it a little bit of life and whatever you can do to bring life to your matte painting that's what you want to do yep the number of shooting stars you see is uh is quite out of keeping with the number of shooting stars you would actually see um no that's that's that's wonderful um i do have another couple of questions that came in from chat um and like some of these you might have answered a little bit already but one of them is about uh that the lens distortion what a sort of lens distortion workflow might be if you've got an element that's got you know a little bit more visible uh lens distortion in the in the original oh okay well i'm going to actually switch back to screen sharing for that and the reason is uh is because we actually have a lens module inside of mocha so let's go ahead and stop this if you have really visible lens distortion what you can do is inside of mocha before you start doing any work is you can try to undistort your footage so if you go over here to your lens tab what you can do is you can say hey locate lines and what mocha is going to try to do is it's going to try to find every straight line it can in the shot and then you can use those straight lines to try to do a lens solve so in this case we're going to hit in for a new line and we're going to trace some of the obvious lines in our shot um that are straight that we know are straight okay so in for new line right and in for new line excuse me n for new line and n for new line okay and we're going to try to make a distortion map based off of that line now the closer that you can get to the middle of the shot the you know a quarter way through the shot and the edge of the shot the more accurate your lens solve is going to be if you have a grid to solve from if your dp actually shot a grid for you like that's the holy grail that would be something that you would then load in as an input right a calibration clip and you could use that and then once you're done uh you can calibrate for a lens so in this case this would probably be a one parameter limbs distortion i have never distorted this so let's see yeah that's not accurate um because we're dealing with curves on a car and not straight lines we're not going to get an accurate saw for this shot but what you can see is that it will try to calculate the curves based on the information that you give it and the important part is that the information you give it has to be good and has to be straight in organic lines all right yeah no that's that's great that's that's what we needed the fact that there is you know ways of handling lens distortion directly within mocha before you take the uh the mega plate out that's uh you know very very very handy um yeah i would do an undistorted yes perfect that sounds like a very very good idea um we we've got too many questions but unfortunately we have to we have to get on to giving away free stuff but i want to say thank you very much mary that was uh that was wonderful i mean we could we could easily have done you know a lot more time on mega plates it's uh it's just great to see like some some of the different examples that you've you've come up with uh to blend together uh the mega plates plus the uh the roto plus the the paint stuff the silhouette paint stuff it's uh yeah really really interesting uh and you know nice greatly put together presentation speechless again oh thank you and yeah don't forget sapphire we threw sapphire in there too and sapphire of course yeah i mean that's that's the lovely thing about having so many products under the uh the boris effects umbrella is that you can just mix and match so many different things together absolutely yeah

Channel: Boris FX

Views: 3,394

Keywords: boris fx, boris fx mocha pro, boris fx tutorial, ibc 2020, mega plate, mocha, mocha 2021, mocha ae, mocha after effects 2020, mocha mesh tracker, mocha pro, mocha pro 2020 tutorial, mocha pro 2021, mocha pro 2021 crack, mocha tracking tutorial, set extension, set extension after effects tutorial

Id: mBiYkCzSLSc

Length: 53min 3sec (3183 seconds)

Published: Mon Sep 28 2020