In the last video, we went through
an overview of auto tracking in SynthEyes and left off with
getting a good 3D track. But we still needed to
prepare our track shot for delivery. So let's do that. The first thing I want to
do here is I want to go to track, clean up trackers, no we already did that, I'm going to
coalesce nearby trackers. And when you coalesce nearby
trackers, this is probably going to be checked only with non-overlapping frame ranges. That means that SynthEyes is going
to look for trackers that in 3D space are right next to each other, but
where their frame ranges don't overlap. To really explain this better, I
want to talk about tracker lifespans. And to do that, let's take a
quick look at the floating graph editor. The first thing we have to do
is make sure we're in tracks mode, which is in the
bottom left of the window. Now we can see our
frame ranges of our trackers. When SynthEyes says only
with non-overlapping frame ranges, it means trackers
whose lifespans do not overlap. So I don't want that. I want to uncheck this. I want to be able to select
trackers that do have overlapping frame ranges and eliminate those, or
coalesce them, make them one tracker. So I'm going to hit examine first. There are 21 trackers here
that are in nearly the same location. I'm going to hit coalesce. It's going to leave the
trackers that coalesced selected. And this Hpix error you see
down here, which is now really high, that Hpix error represents
just the trackers that are selected. And it's really high. But if I unselect all of them
just by clicking anywhere in space, you'll see that our Hpix
error goes back down to 0.397. That's actually a
little higher than it was before. But that's okay. We're still really low
under the threshold of one pixel. After we've done that, the next
thing we have to do is refine our solve again. So I'm going to hit go on this. And after I hit go, our Hpix
actually increased another tiny, tiny little bit. Like 0.1 pixel. That's okay. Nothing to panic about. The next thing I'm going to do
though is clean up the trackers one more time. I'm just going to go clean up trackers. I've got bad frames already checked. I've got disable already selected. I'm just going to hit fix. And I'm going to refine
it one more time and hit okay. And now our Hpix is 0.330 pixels. One thing we have to
understand about SynthEyes, and people ask about this a
lot, like what units do SynthEyes use? SynthEyes doesn't have a unit system. One unit can equal anything you want. So if in the 3D room, we make a box. Let's drag out a
box here, drag it up, and we'll see that it
is 81.066 and 70 whatever. What do those numbers represent? Well, those numbers represent
anything you want them to represent. So you could say
that one unit is a meter, and now this box is 81
meters by 81 meters by 70 meters. Or you could say
they equal centimeters. Or inches. Or feet. Or miles. Or kilometers. Whatever you want. So in our case, because
we're looking at photography, So in our case, because
we're looking at photography, where the background that is
being depicted in the photography is huge, we probably could use meters. We wouldn't use
centimeters on a scene like this. We'll just decide
that one unit equals one meter. Let's get rid of this box. I'm just going to
click the delete button. On my keyboard. Okay. So this thing that we're looking
at in the photography is actually this canyon rock
structure called Zeus and Moses. Or Moses and Zeus, some people call it. So it's a pair of 500 foot
tall, 150 meter sandstone formations. The top of this geological
formation rises 900 feet above the canyon floor. Okay. So what I'm going to do is I'm going to decide that this is
900 feet from the floor here to the top of that. But we're going to do this in meters. That conversion
comes to about 274 meters. How do we measure that? Well, let's make, I
don't know, let's make a cylinder. And we'll put it here. Make it about that big. And then we're
going to make this cylinder. I'm just going to type
these values in at this point. So this value is the height. I'm going to make that 274. Let's actually make
it a little more narrow. Let's make this five and five. So it's a little thinner. And let's put that
in the middle of the world. So we'll make
this just be, if you right click on these
values, they'll zero out. And now we can basically scale up our scene using the
whole button in the 3D room like we did
before and just scale it up. So I'm going to select scale and
then I'm going to grab this spinner here and just scale it up by a factor. But keep your eye on this
window down here or this window here, the front view or the left view. I'm just going to
grab this, click and drag. So you see when we scale like
this, it's scaling the world with the camera as the center of the scale. And we don't want that. So I'm going to right click. I'm going to actually undo that and I'm going to actually
scale it from the side. Let's unclick whole. I want to make this not green. So it's not the
same color as our trackers. Let's make it, I
don't know, some kind of yellow color or
orange like the background. So let's go back to whole
and I'm going to scale up the scene, but I'm going to do it from
wherever I click, just like rotation, wherever I click
in the viewport and drag, that's going to
be the center of scaling. So here we go. Scale that up. Oh, oh, oh no. Our cylinder is scaling. So let's undo that. One thing we have to do
is right click in this viewport and I'm going to
say 3D whole effects meshes. And I'm going to turn that off. There we go. And now I'm going
to click and drag again. Ah, there we go. Let's make our view
a little, a little bigger. And then let's hit
the W key to translate and we're going to make
this be about right there. So the top of our, you know, our
peak of our rock formation is going to be the right almost to the
top of that right there. And then from this view, let's
make that be the center of the world. So there we go. So now that is 274 meters
from the floor of this canyon. Let's make a little earthling here. And we're going to
make that earthling 1.8 meters tall, but I'm
going to show you a little trick. I'm going to go one, one, one. So now he's one
meter tall, but if I then make this factor
1.8, it'll scale it uniformly. And I'm going to move my guy. So I'm going to hit W again. I'm going to move him like over here. He's way down on the ground. This thing is huge. People climb this. Like rock climbers climb this. Let's pretend that this
guy's a little rock climber. We'll put him right here
and then we'll, we'll go around. Oh, there he is. So that's our rock
climber guy who's about six feet tall. So I'll show you another little thing. So do we have any
trackers on the back face of this? So we do. There's a tracker right there. If we unclick hole and we select this tracker and we move
our guy right to that tracker. Where is that
tracker on the, on this axis? We'll move him up a bit. So now our guy is right on
that tracker and now he will stick. So let's mouse around again. Yeah, there we go. He's climbing up the rock face. He's in that little
crevice right by that little crevice. Let's hit the
eight key on this viewport. Let's delete our
little rock climber guy. If we go back to the solver, now that we've got it scaled
correctly, I'm going to go. Uh-oh. It just destroyed our,
all that scaling work we did. So let's cancel that. We want to make sure
that every time we hit the go button with the
solution technique set to refine, we don't want anything moving around. So let's go to the coordinates room. And what I'm going to
do in the coordinates room is I'm going to
randomly select six trackers here. So these are the point
cloud locations of the trackers. So one, I'm going
to hold down the shift key. There's a second tracker. Let's, let's select some
trackers like right on our rock. We can do that in this window here. I'll just shift click on that. And now we have
three trackers selected. Let's shift click over here. There's a tracker. So now we have what
four, a good way to keep track of this is we
have four trackers selected. You can see right here in the
upper left hand corner of this window. Let's select a few more. Let's select that one right there
on that little piece of rock outcropping. How about this one right here? There, we have
six trackers selected now. They're kind of spread around
the space and we're going to now say set seed. So we're going to apply this
point's solved position as a seed position. And now we see all of our
trackers that we've selected up here. If I unselect them down here, I can reselect them up
here, which is kind of nice. So I just held down the shift key
and dragged and selected those trackers. The next thing I'm
going to do is I'm going to tell SynthEyes that
these points are all locked. So lock point to these locations. And now you can see there they all are. They're locked. That's great. I'm going to go back to the solver. I'm going to hit go again with
it in refine mode and nothing moves. Let's do that again. I'm going to move this
out of the way a little bit. Cancel. Go. Nothing moves. So we've locked our
scene into that position. That's one way that you can set
the coordinate system for your scene. There are many ways to do that,
but this is a way that I like to do it. I like to solve my scene
and I like to post constrain them. Some people like to pre-constrain them. You can do it either way. So let's hit OK on this. That's fine. Our error is still 0.330 hpix. All right. So we're going to go to the 3D
room and let's go to quad perspective. Oh, look at that. That's our scene. And we've locked this view. If you move this
around, you can lock the view. You can also pan 2D. You can also zoom
out a little bit and you can see the lens
distortion that we calculated earlier. Now the image,
because of the lens distortion, is a bit bigger than its original size. We'll get to that when we talk about exporting the scene
to compositing applications. But for now, we're just
going to right click on pan 2D. The other thing we're going to do
as we continue to work on the scene is I'm going to actually click on this little tab that you
can see on this viewport and I'm going to
set this to perspective B. So now I can dolly out by
just using my middle mouse wheel. And I can orbit around
by clicking and dragging here. Or I can use my command key on
my keyboard with my left mouse button. With my middle mouse
button, I can just click and drag. And then with right
click, I can dolly in and out. All right. The other thing I
want to show you is because we switched this
view to a perspective view, to perspective B, I'm going to
go to window viewport layout manager. So you'll see here these layouts. Let's hit cancel on that. You can see all these layouts. And this layout, once I
changed that to a perspective B, this now becomes layout custom one. So if I go into
window viewport layout manager, you can see this is custom one. And then this is
the top view, the front view, the perspective
B and the perspective view. Now you can save
these and you can rename them. If I just double click on
that, you can name this two perspectives. Two perspectives. I can also say save all. And if I hit save all, it will
say save all layouts for future runs. So if you want this viewport layout saved and you want
to use this in the future, you can just save it like this. And then two perspectives will
show up every time you run SynthEyes. I don't want that. Okay. What are a couple other things
we're going to want to do to this scene? There are a few things I want to do. If I go to view,
I can see horizon line. And that horizon line is this
thin blue line, right, right here. You can see it. Wait, if I move everything off in
the distance, that's the horizon line. Okay. So let's lock this again. The horizon is like that and
we're not really oriented correctly. So we're going to make a few more adjustments, but I
want to show you something. I'm going to bring up the
window floating constrained points. Let's make this
window a little smaller. I'm going to put it
right here in the middle. And I'm going to show you something. If I click Whole
here, because we set up those constraints and we
constrain those points to those very specific coordinates. Well, once I start
moving those coordinates around what's going
to happen to our constraints, well, SynthEyes is
pretty smart about that. So we're going to go
into this viewport with the whole button selected
and we're going to rotate. And I'm going to rotate right
around the center and we can see, hey, look. And if we look at the constraint points view, all of those
coordinates get transformed, which is very cool. So they're good. Now our horizon line is at least level. It's probably too high. So let's make this
top view the left view. And now we've got a new custom one. So I've got my two
perspectives and I've got a new custom one, but that's okay. You can make all of
these different layouts. So we're going to rotate
our camera around this viewport. So we're going to drop the
horizon line a little bit there. And then we're going
to just scrub the playhead and make sure that
we're our horizon line stays pretty good. It's hard to see. It's there. It's right there. We got our horizon
line right, but the ground is not really at the
bottom of the canyon floor. So I just want to
make that quick adjustment. Let's turn off hole
here, scrub back to the beginning. Now I want to select all my trackers. So you can do that
very easily with the keyboard. Just hit command or
control A if you're on a PC. Command A selects all my trackers. So I'm going to go over to my toolbars. I'm going to select mesh
and bring up the mesh tool bar. And I'm going to say convert to mesh. There we go. So now we see all these vertices. So it converted all of my point
cloud, every point in my point cloud, all those little triangles
facing downward into vertices in a mesh. Where is that? Let's go to the
floating hierarchy view. So let's close up our trackers
and we're going to look at track mesh one. That's the mesh. I'm going to change its color so
that it contrasts with our orange background. I'm going to make it kind of this
really light green, bright green color, which is almost
the color of our trackers. All right. So I'm going to
start decluttering our viewport because it's really
hard to see what's going on in here. So I'm going to G on my keyboard. That's going to get rid of the grid. The next thing I'm going to do
is go to edit, edit scene settings. And I'm going to say
tracker size, which is 10 right now. So 10 meters. I'm going to make it two. There, that's better. Makes it easier to
see, but they're still there. Also the camera
right now is 140 meters. It's a gigantic camera. Let's make that 20, maybe 30. I want to be able to see it, but
we don't want it to be a gigantic camera. So I'm going to hit OK on that. There. Now it's a little easier to
see what's going on in our scene. I don't think... I think we might
need to do a little bit more scaling our
scene with the whole button on. So let's scale it up a little bit so that our top point
of that rock formation... All right. Let's move this over a little bit. There we go. I'm going to close this
floating constraint points view. We don't need that anymore. We've now got our scene
correctly scaled and positioned. I've got no
trackers selected, which is good. I'm going to hit the
eight key, eight key, eight key. Now we need to start
preparing the scene to be delivered. We could deliver it right now as it is. We really want to make this point cloud and all these
vertices into some geometry. Converting vertices into
geometry really does need its own tutorial. And that is what we'll be discussing in the next
installment of this tutorial series. Thanks for
watching this SynthEyes tutorial. Subscribe to this channel to
be the first to see future videos. And to learn more about SynthEyes,
go to the Boris FX website at borisfx.com.
