The Power Mesh tracker is INSANE! - Mocha Pro 2021

not cool man not cool actually it is pretty cool because it's all fake this is mocha pro [Music] how's it going everyone david from dod media a bit of times past since i made that the old hair's gotten a bit longer but never mind i'm going to show you how i made that shot now using the new power mesh tool in the brand new mocha pro 2021 now i want to start off by saying this video is sponsored by boris fx who make mocha pro they're not paying me anything but they are providing me with a free license for the software which would otherwise cost me about 700 bucks for a one-off license or 300 bucks per year for an annual subscription so in that regard i do consider this to be sponsored even though i'm not being paid to say any of it and if this video makes you want to get your own license to mock a pro well there's a 15 discount courtesy of boris effects in the description go check it out not too shabby okay so let's jump into after effects i've got my clip loaded up here which is the clip that i used in that initial sequence now i've selected an in point for the clip which is as neutral a face as i was pulling um and as dead on as i was to the camera because i then turned my head and articulate my neck and stuff um this was the most neutral face that i had to camera which is what you want to start with when you're applying like a clean slate that you want to apply any tracked effects or mattes or masks to so that is the very first frame of my clip which is going to make things a bit easier later on and then i've just cut it at about seven seconds because i figure that gives enough time to show the result without having to spend unnecessary time tracking the entire clip all right so i'm just going to click on my effects controls hit control spacebar which is going to bring up my effects controls by video copilot if you don't have that get it now it's a free plug-in by video copilot that will save you a ton of time instead of having to go up to your effects and presets and then scrolling through to try and find what you want i'll just come here and put in mocha pro bang and then i'm just going to launch maca now if you are used to mokka aecc it's exactly the same process for getting it loaded up and it oh an update lovely i'll update later okay so if you're used to opening up mocha aecc this is the view that you probably get greeted with right it's the essential view but if i change this to classic well a whole new range of options become available to you in the pro version but to get started we're going to do exactly what we would normally do which is to draw an x spline now in that first video i actually drew beyond the size of my face which i think slowed down the tracking considerably because it was tracking parts beyond there that were just it couldn't figure out how they fit into the parallax so instead what i'm going to do is i'm going to draw just within my face where i know that i'm going to need to put my bruise without having to add all of that extra distorted information for that goes beyond it so let's just let's just go for that now if you're in the track tab you can see here that there are your usual five tracking options you get your translation scale rotation shear perspective and there's a sixth option available to you called mesh which models a dynamic warping effect between images so i'm going to hit that mesh and it's going to create this kind of spider web on my face where it is looking for high contrast objects or items or zones in my face that it can use to track a change of perspective a a parallax if you will now boris effects have a fantastic video on their youtube channel where they explain the settings that you should be using for all of the different things that you might be tracking using the power mesh so whether it's skin whether it's a flag whether it's a texture on a newspaper whatever it is that is distorting there are different settings that you can use to get the optimum tracking for that thing that you're tracking now for skin it's better to use a uniform mesh instead of an automatic one now bear in mind whenever you're doing anything with the mesh parameters here you always have to regenerate your mesh to see the changes that have been made and now you can see that the mesh has turned into a uniform almost like a 2d plate in front of my face like those pin things that you push your face into and it makes the shape of them and this is why i said it's very helpful to have a frame where you're looking straight at the camera because it helps mocha figure out what is flat and therefore how it should distort using that parallax where my nose would move further in a in a horizontal distance than my ear would because it's closer to the camera so then the mesh size set to 32 again that's what they recommend for hd and 4k if i make that size bigger it will make the gaps between all those dots bigger if i make it smaller it'll make the gap smaller now obviously if there's a bigger gap it means there's a larger you know threshold for error and inversely if that mesh size is tiny well then your processor is going to melt when it's trying to track all of that so so in detail so i'm just going to follow their advice and stick with 32 but if you're shooting in 6k or 8k then you would certainly want to bump that mesh size up a little bit now vertices on spline this just means that it really pushes all of the little vertices that you have these little tracking dots um all the way on to the x blind that i've drawn instead of just fitting them in a kind of square pattern within that i want them to actually place themselves all the way onto the spline so i'm just going to add those on adaptive contrast is great if you have a scene that is not well lit and you need to try and boost the contrast in in your subject whatever it is you're tracking but because i lit this fairly well it's got a lot of information to work on so i'm not going to use adaptive contrast i'm going to let it do its own thing without having to create a you know a high contrast proxy for it to track from and then smooth and set 50 because it's 50 it's not too harsh not too smooth it's just right and when you put all those settings in you're ready to track now in the first video that i did while this is tracking i'm going to give you a bit of a bit of a backstory in the first video that i did in that beginning part i tracked beyond the size of my head right and i think that severely slowed down the tracking it was taking about about three or four seconds per frame whereas here it looks like it's going about depending on the frame it's going about one to two seconds per frame so it's it's almost twice as fast if not twice as fast as having it extend just beyond the edges of my head and i didn't need it to extend beyond the edges of my head because everything that i was doing was focused on my eye and my nose and a bit on my lip so if you know where you're going to be tracking just focus on that area don't include all of the crap that you don't need to alternatively because mocha is a planar tracker which means that it will focus on different levels of planes that you are tracking what you can do is create some exclusion layers so you can create another layer with the x spline and place it over my ear or over this ear and track those without using a mesh and then place them above this face track and mocha will actually exclude those so it uses them as a sort of a mask to ignore and that's one of the ways that planar trackers are so much more powerful than a conventional point tracker is that you can really you can really control what they see what they don't see what they focus on what they don't focus on yeah i mean this is just whizzing through it compared to the first time i did this okay let's go ahead and stop it there now if i scrub through this i mean that's just that in itself just looks so cool i wish i could use that as like an effect looks insane and as you can see it's it's done an incredible job of tracking the surface of my face the depth of my face like a displacement map okay so once the tracking is done we need to prepare that tracking data to send back to after effects so we go back to our frame our first frame our reference frame we go to stabilize and we check mesh warp and you can see it's like completely distorted my face and you know warped it um so what we need to do is actually expand the planar surface to the full frame instead of just that focused area so that mocha knows that the full frame is actually the correct warping that we want but it needs to track that information in my face instead of just tracking and warping my face you'll see you just come up here and this button here expand the planar surfaces there we go now it looks normal again because it's warping it to the whole frame not just what's within there okay and then we're going to set our render quality to high and now we just save it ctrl s command s or come up to file and save and then we're good to close mocha we don't need to do anything else in here okay so the next step now that we're back in after effects is to export that frame as a slate that we can bring into photoshop and apply whatever it is whether it's tattoos whether it's makeup whether it's bruising whether it's cuts bleeding whatever to apply that in photoshop and bringing it back as a transparent photoshop layer so i'm going to select my composition hit control and spacebar yet again i'm just going to copy this to my clipboard i love that tool seriously then i'm going to open up photoshop and you can see right there my clipboard already has the right size for my thing for my slate and i'm just going to paste that in all right now ideally i would have color graded this before but i didn't so i'm just going to add a quick little s curve adjustment to this okay that'll do next up i'm going to create a new layer with command control shift i'm going to select my brush i'm going to bring the flow down to maybe 10 i'm going to make sure my hardness is set to nothing bring my brush size up a bit and let's maybe zoom in a little bit on that face look at that face i'm just going to go ahead and add some black underneath my eye so i'm just going to come along here and change this to multiply and i'm just going to drop the opacity a bit so that it's not completely black because i'm using completely black on this layer all right so then i can get back to drawing on my bruise let's go ahead and make another layer this one we're going to add some color in so i'll select that kind of teal that i had for my bruise all right for argument's sake that's as good as the first time i did it so now what we're going to do is just shy out those two elements so that we have just this transparent screen i'm going to save this as a photoshop file which i'm going to import as footage so with merge layers and if i drag that onto my composition copy my mocha pro effect from my tracked layer apply it to my bruise layer let's just change that blending mode to multiply because it looks crazy and let's just go ahead and add a very quick lut to this footage okay using my summer hlg lut in the description if you want to buy it then all we have to do is go into our module renderers hit render bring that down to warp stabilize open up our mat apply the matte people chatting out there it's got a voice that carries it's probably a singer speaks from the diaphragm good it's a good voice to have all right now that would be everything that the boris effects youtube tutorial says you need to do however if i just click along you see that doesn't move and i don't know if it's a glitch if it's because i need to update that version of mocha pro or not um but i've actually found that it needs to be aligned to the time code of the clip you can't just say this layer needs to be starting at the same time as the clip it needs to be aligned to the source of the clip using the time code of the clip i'm assuming which means that if we just go to the end of this clip minus one frame and then hit our end bracket to move this layer to the very end then the time code of that layer should align with the time code of our entire source clip and now my bruise is tracking so let's drop the opacity of this down a little bit because it looks a little bit too harsh really i'm showing you how to track it not how to make a good-looking bruise that's where a makeup artist comes in but if i go ahead and ram preview this okay let's just hit end so i can loop it i mean is that cool or is that cool that just blows my mind it's insane that's insane is it gonna replace a makeup artist no is it gonna allow you to do some catch-up shots if you need to reshoot without having to bring your entire makeup makeup artist crew in uh yeah yeah i think potentially yeah nuts i think the limits of what this can do are pretty much set by your imagination to be honest and how you shoot it as well you need to you need to think ahead always plan for post-production when you're shooting if you know that you're going to be doing post-production on it it's my two cents for you okay i hope you enjoyed this video i'm sorry it was a little bit all over the place but if you watched it and you think you know what i might give marco pro a go there's a discount code in the description as i said which is for 15 across all boris effects plugins which is pretty great all right thumbs up subscribe bell cheers [Music] now you can see here now if now if you know if you're in the tr now if you're in the track now if you're in the track tab you can see here that there are your usual five tracking options

Channel: DOD Media

Views: 32,540

Keywords: dodmedia, dod media, mocha pro, boris fx, after effects tutorial, planar tracking, mesh tracker, visual effects, mocha pro power mesh, mocha advanced tracking, planar tracker, mesh warp, mocha tutorial, mocha pro tracking tutorial, mocha tracking, boris fx mocha pro, tracking mocha pro, tracking in mocha, boris fx mocha tutorials, planar tracking mocha

Id: 9bS048B1BVI

Length: 15min 32sec (932 seconds)

Published: Tue Feb 16 2021