The Top 5 Things You Can Do With Mocha Pro

hello everybody this is Evan Abrams freelance of motion graphics and VFX artist here to show you the top five things you can do with mocha from boris FX brought to you by a v3 software and those five things are number one you can easily track things onto surfaces looking at playing our surfaces and you can add things into the scene really easily with the data MOCA provides the second thing if adding things is cool well you're gonna love removing things because mocha can seamlessly remove elements from a scene the third really interesting feature is not only planar tracking but organic shape tracking these are your soft curves your human parts your all sorts of great things you need to mask out mocha makes it super easy we're gonna show you how to do that number for the classic screen replace replacing the contents of iPhones iPads TV screens super easy with mocha splain our technology and the fifth and final thing we want to talk about adding 3d elements into a scene plane our tracking solution is pretty great very reliable and chrism rock-solid track I think you're gonna enjoy it so skip ahead if you're really interested in one of those specifically or follow along for the whole bunch brought to you by AV 3 software comm your place professional plugins and post-production programs with it further ado thing number one that you can do is put stuff in the scenes so this is a plane our tracker at its core mocha Trax planes that means you can select a patch of a scene and it'll give you position scale and rotation of that patch tracking it like a plane like a flat surface maybe it's the side of a building side of a truck street sign you can get very reliable tracking data for that very easily now After Effects has built in point trackers but the convenience of a plane our tracker and the stability and flexibility of this kind of thing it's really amazing let me show you what I'm talking about here in After Effects I've already got the completed example for you to look at this wonderful truck and going through the wilderness with a nice sign on it now originally there was no sign on it it's just a blank truck and we want to put something on it so what we can do is just track that plane the plane of the side of the truck and use that data to insert things so if you're starting over from scratch you'll want to start with some footage import that footage and then drag it on to make a new composition with that footage the next thing to do is trim it down to just the area you're interested in working with so for me I'm gonna just cap it here five seconds just so we're showing this off so I'd hit an and trim the cop to the work area so this also trims the layer so the layer has been trimmed down you can see right over here on the corner it's been trimmed down to just this size now we want to trim out anything we're not interested in tracking so when we go into mocha we're not giving it way too much stuff to work with we really just want to focus on what's important what we want to track what we're gonna use we're using the mocha 5 plug-in version for After Effects so we can just apply mocha Pro to the footage as an effect so you can see here mocha Pro now in effect applied to that layer and we can launch mocha Pro just by clicking up here on the mocha button and that will launch mocha Pro 5 and we just hit start and we're good to go so now we're in the mocha Pro plugin interface and we can scrub through on the timeline you can see this timeline is exactly as long as the footage we're working with and we kind of want to pick a spot here in the middle I like to start tracking from the middle outwards in either direction so we have a nice average and we're just gonna draw a shape around the thing we want to track we do that simply by just clicking on the X line up here so we just click once twice three times four times and then right click to end the shape and we just want to make sure that our X plane is going outside its beyond and capturing all inside of it all of the shape that we want to track all of the plane that we're interested in tracking and we're not putting it precisely on the corners of the thing we want to track we're just showing mocha what we're interested in it tracking which I think it'll agree is very nice then we can just hit track backwards and to make sure that all of are sort of tracked tab properties are all where we want them so they're looking at the clip the layer below which is great we could specify which clip we want it to look at we're looking at the luminance channel so it's saying how dark our light pixels are and we're saying we're going to use about 90% of the pixels which is fairly high this can be lower but I like to be fairly exact and then the motion we're tracking is the translation scale rotation and shear we can add perspective in as well if we want to track all the possible ways something can move and there is a little bit of perspective based tilting as this moves away from us so we might want to have that on and then we're gonna just choose large motion because it is going from one side of the screen to the other and I think we are ready to go so we just hit the old track backwards and see how it does and it looks like it did a pretty good job it is staying right on the truck pretty good so now we can just go ahead and track forwards track forwards from that point and we've got this thing staying on the side of the truck which is great but like I said the spline isn't all the story what we want to do is show a plane our grid and then be able to adjust that grid so we can say okay where is the side of the truck really and this is where we want to be a little bit accurate moving these points into position on the edges of the truck and the truck is a nice even rectangle it's very good for examples and we're just gonna drag this down so now you can see the grid has reformatted and it looks like it's stuck right on the side of the truck so now if we scrub through you can see how that grid is moving in relation to the truck and that looks very accurate to me so I think we've got a good solve on here now to apply this to things all we do is save so we just save our work ctrl s then we just close down out of here and we're going to apply the tracking data from that mocha solve we just did to a layer so what we should do is bring on some stuff and in our example we used the av3 logo so we can just put this out here kind of scale it down and we're just gonna pre compose this so we're going to pre compose this we're gonna call it truck side logo which looks pretty good and what we'll do is we will move all the attributes into the new composition so that the truck side logo is a 1920 by 1080 sixteen by nine ratio kind of thing because we're going to apply the corner pin effect and it works a lot better if the thing you're applying it to is of the same ratio and size as the frame that you're applying it in so what we'll do is we'll just go to the truck layer here go to the effects controls and we're going to use the export option of corner pin and we're gonna create some track data we click the little gear on here for that layer to the layer that we made inside of mocha and it's gonna populate the data out here so you can see the corners right on the corners of the truck right where we left them and we're going to export that to the truck side logo and we're going to apply the exports there it is stuck right on the side of the truck so now we can play through this you can see how that looks now it does look a little bit weird and stretched out which is because we're using the corner pin which is deforming it down basically taking the corners and sticking them down on these corners so what we'll do we'll apply a transform the transform effect above the corner pin turn off uniform scaling and what we'll do is we'll just scale the width in so that this looks a little natural maybe needs to be higher and it like this and I think that's looking pretty natural good so now we just apply the motion blur put motion blur on for the composition so it just blends a little better and you can blend this up and your specific blending problems will be your own but we just went from having some pretty difficult stuff to stick things on to having a solve that is very rock solid and just going on down the road which is why one of the first things that amazes me about mocha is how easy it is to just put stuff on things thing number two you can remove things from scenes so if adding things to the scene was interesting well removing them is really gonna blow your mind this is you've got footage and let's say there are things you captured in the footage you don't want there you didn't clean up the set enough you've got a Cola can that shouldn't be next to the interviewee you've got a boom mic in the shot whatever it is you can select it and mocha will remove it which is pretty mind-blowing when you think about it so here's an example we've got this lovely footage of a dam you know it's it's a fine Dam it's amazing however as we're running our drone over it or as the drone operator was doing things that day they didn't notice that there happened to be a car also driving in the shot or lots of things can happen when you're trying to capture footage thankfully we can use the power of technology to just remove that car it's very simple and I think it may blow your mind so we're gonna be doing the most basic form of what this is capable of but let me tell you MOCA can handle some really intense removal of objects and it is quite frankly a little bit mind-blowing but here's the most basic one and I think you'll dig it so you start with your footage you've got it imported so we've got this car over dam footage we're going to throw it into a composition and we're gonna trim the composition to just the section we're interested in so again we're gonna hit the beginning here and maybe the end is around here and we trim the composition just so we're only dealing with the footage that we want to deal with so let's go from when that other car has left and there we are and trim the comp like this what we have is the footage isolated beginning and ending we're good to go so we're just going to apply to this the mocha Pro plug-in we apply that to the footage and then we launch mocha Pro you just click up there and we launch it so here we have the footage loaded up into the mocha interface now the thing we want to do is select and tell mocha what we want removed so to do that I'm gonna just use the X spline and we're just gonna draw around the thing we want removed fairly loosely so we can use these handles here to kind of loosen that up just smooth out the X spline that we're putting in here fairly small we just want to make it make sure we've got all the pixels of the car of the shadow what it might be interfering with everything we want to take away what we want to get removed out of here and then we can just track this into the shot we can track this thing in there so that the spline is following the thing we want removed I was pretty good tracked forward and then we can track backwards make sure we've got all the stuff that we want taken out of here good so it looks pretty covered that looks great so we'll just click this gear off so that we're not worrying about this anymore and we're gonna call this call this the remove this is the thing we want removed now we have to say where do we want it removed from or where should you search to find the pixels to replace that thing so it kind of drives from here from you know in between these two lamp posts and then it goes that way so what we can do is we can just select the area in between those posts so we will need to draw a new spline and it can go go here to do just like this so this should be enough stuff for it to to replace you want sort of the replacement area to be larger than the thing being replaced so the search area doesn't need to be larger so that it encompasses all the pixels so we'll call this the search area and the search area should go below the thing you want removed because we're moving a foreground object from a background so with that gear turned on let's see if we can track this into place here we go it's trying to track it in trying to make sure that that stays firm good it looks like it's staying staying where it needs to go and I'm gonna track forwards just tracking it in so that it remains locked right where it should be good so we've got the thing we want to remove and we've got the search area so I turn the gears on for those we're gonna select the remove the thing we want removed go into our remove tab and this is where the magic happens so we're gonna say say from frame zero to frame 678 it's the first and last frame of this process we want to process all those frames and then we need to say how many frames before and after the playhead should you be looking for replacement pixels and you know quite frankly it's set to 679 679 which means even if you're here on frame 0 it'll search all the frames all the way up to the last frame so that it can find something but I think that's a bit extreme I think at the most really in this piece you really only need to be looking or maybe 200 200 in either direction should get you there reducing this range will speed up the process a little bit and then the illumination model and the dissolve all that complex things we don't need to get into this is all very very basic stuff but what we're gonna do we're just gonna render here and see how well it does fixing this situation click on this gear here which should render the current frame so we hit that we render it and just like that the car has disappeared so that's pretty good and it's showing us sort of the area it's searched and what it found and it just disappeared so what you would do is you would render forward and backward so you would render all of the frames of this thing so you would see you can see it right now we're moving just removing that car from everything removing the remove area from the search area replacing it with pixels and that is pretty nice so you would do that forward and backwards rendering all of the frames so rendering everything so that it's all done and taken care of and the final step is going to be to get this out of out of mocha and put it back into After Effects so there we go we've got it all rendered the next thing to do is to export it from mocha so you can go make use of it and you just do that by going file and then you would export the rendered clip export the rendered clip and you could send it out as an image sequence or a quicktime movie choose the destination and then just hit okay and go through these things all your basic compression settings are in there and then you can composite it back over once you've done that you can then come back here and bring that footage back into After Effects and just be regular footage but it will have magically removed the thing you wanted removed so if we go back to our original example it is just a flawless removal of that object and this is the most basic form of it the deeper you get into this stuff the more amazed you will be as I've been amazed by this powerful technology finger three you can mask organic and complex things in your scene so before we were dealing with planar things talking flat objects but mocha is also able to deal with very complex splines so these are the contours of shapes like faces or body parts you're able to mask out hand parts it's terrific you're able to just select with splines and it'll give you mask data points in shapes in After Effects and then you're away at the races in this example look at this Kitty's beautiful eyes well couldn't they stand to be more beautiful more lustrous I know what you're saying cats are are as beautiful as they can get but if you have something like this and the eyes are kind of dull well then we need to isolate those and really punch them up so we're gonna need to mask them we might need to rotoscoped them going frame by frame but mocha does an amazing job of capturing these organic details and allowing us to isolate them so if we wanted to do that whoo crack up an After Effects who would import the clip would bring it into a new composition and just like we did before we would start by trimming we would start by trimming up the layer into the areas we're interested in so let's look at this squinting section where it squints and blinks that's a good end spot there get the squint eyes wide open and then looking around that's a good place to start so it would trim the composition to be just the just the pixels we're interested in just the frames we're interested in again we just apply the mocha Pro effect on to the onto the thing we're going to deal with and then we launch mocha Pro we're getting right into it and in mocha Pro we been using explains but now we're gonna use the Bezier layer tool where we can put in some Bezier layers which are great for formatting for tracking these organic shapes and isolating or removing them creating excellent mattes so let's zoom in using the zoom tool right here on these hypnotic eyes this cat has wonderful stuff and now we're just gonna pan over using the hand tool I'm gonna draw I'm just gonna draw in here using the Bezier path clicking and dragging the path out around the eye the thing that we want to isolate so just try to be as specific as possible getting it around here and well with with the splines and tracking with those we didn't have to be very exact in this case we are selecting the exact shape the very specific shape that we want it to stick to so that looks to be in place so once we've got that done we've selected a point right here in the middle we're just gonna track forward and backwards I'm using the same kind of tracking idea that we were using with the explains we're still using the luminance channel we're still tracking translation scale all this stuff but what we're gonna do is we are just going to click track back and it's gonna figure out a lot of this stuff for us so look it's sticking very nicely into that shape right in there very good so a few subtle motions but it's still resizing and sticking these points right where it needs to be so now let's track forward into that eye closing that winking motion and look at that I just stopped it just so you can see that it's resizing to keep this stuff together and you can just reach Ange some of these things you can just warp some of the handles a little bit just to make it exact just to get it exactly where it needs to be just like that and then continue tracking we're just gonna continue tracking and it's gonna spring back and then the eye closes pretty good that is pretty good stuff because what you might need to do is just refine it a little bit just to bring these points together push this down you're setting a new keyframe when you do that now we scrub through so this is where it needs to be a little bit more accurate like that scrub into here and that's good okay this needs to just be updated a little bit like this and it's just that easy so in just a few little key frames we now have a very nice very reliable track of this shape so now let's just name that layer or something we'll know like right I awesome then we'll save save this thing we'll close this now we want to get that thing be made from mocha into After Effects so we can twirl down into the mat here and we can say view the mat it'll show visible layers it'll show that right eye in this menu and we can see the shape that we've created so that's cool we could apply the mask which will just cut out they'll cut out that eye for us just pretty great pretty nice and accurate but we can also do is create a íí masks create After Effects masks and I'm gonna create that and click that button and what it does is it puts the mask on the layer with keyframes for every frame so it's keyframed every frame and it's got the mask on there now I'm doing that because specifically what we wanted to do was apply an effect to only that area and the effect I wanted to apply was perhaps a curves adjustment so I'm gonna apply a curves we go into that effect we go into the curves and we add in it's compositing options we're just gonna add a mask reference so that that curves is only being applied to the area of that mask all right that's pretty nice so what that means is we now have individual control of that space of that area so that means we could sort of increase the contrast in that eye we could do that we could go into the blues and just remove some of the Blues making a little bit more yellow kind of like that it might be more blue you want like kind of a weird wizard cat thing going on so that's fun but what we're just gonna do is gonna punch it up like that I think that's pretty nice so now you can see the contrast between the two and if we wanted to do the other eye we would just repeat the process but that was so easy to have the computer take care of getting a reliable reliable kind of track around that I to get that organic shape masked perfectly and with so little effort on my part it's pretty great to be lazy in with mocha just taking care of all that hard work feel very good about myself think number four this one's pretty specific but you can replace the content of screens very easily so since mocha is a planar tracker you're really able to get a lock on like a TV screen and iPhone and iPad a pad of some kind but whatever it is generally what you do on set is you cover the screen in green and then you have to remove that well it's hard to get a track when someone is also waving their hands in front of it it's not very easy but with a planar tracker you don't need access to all the points all the corners all the time so even if someone's waving their hands tapping a thing you've still got a very solid track on there which makes the rest of the process pretty simple so here's an example I'm sure many of you have had to deal with someone comes to you and you're gonna be working on the video for an app and instead of filming the app on a phone they've decided well we're gonna film some green screen or blue screen of a phone someone's finger waving in front of it just add it in post just add that in it's so simple well with mocha that is very simple it's as simple as a few clicks drawing a few shapes and then waiting for the track to be done and that's it so what we're not gonna deal with is using say key light to remove the screen I'm sure you know how to do this what I want to show off is how mocha Pro makes it really easy to attach points to the screen that you can make use of so what we'd do if we wanted to work with this clip here grab the clip import it trim it down to the size we're interested in and then apply that mocha Pro plug-in to the clip launch mocha Pro so this is very similar to the first amazing thing we did which was putting stuff on things so we're doing essentially the same thing we're putting stuff on this screen we want to put some stuff on this screen and it's very similar the big thing that's different is you always have some ones sort of finger poking into the middle being very agitate being an annoying would make most trackers just fall apart trying to get around this finger if you're using like point trackers and stuff like that so using a planar tracker though we're gonna be taking a holistic look at this shape here and we'll be able to say well look at this but don't look at this finger for example so do look at the phone don't look at the finger don't look at the reflection on the screen all that is confusing so what we're gonna do is use the explains here to just draw around the thing we're interested in looking at in this case it's the entire the entire face of the phone that we're interested in looking at making sure we've got all of that face just inside the spline just like that and this is the space we're interested in seeing we're then gonna use the ad shape so we're gonna add inside this a space we're not interested in seeing we're gonna say I'm not interested in seeing this middle part and we just close that out and see we probably want to make this a little bit more more defined about where we don't want to see exactly so we can we can do that with these handles just like that so we're just go making these nice rigid handles like that so boom we've got the outside and the inside what we can do is can go view and you can look at Matt's and we can look at the Matt's you can see okay this white area is the area we're interested in tracking and this will be ignored so that's gonna be pretty good so then we just track forward and backwards like we did in the original example we're going to increase our pixels used up to 90 we're still using the luminance channel and we can just track away so we just track backwards see how it goes it seems to be holding pretty firm on there looking good and now the dangerous parts where the finger is in the way and see how it does how it fares with that track oh it's looking pretty solid on there and pretty solid good okay so we've got the track on there and what we're gonna do is again put the grid on I have these squares and there is this nice blue rectangle for us to line up this sort of grid on here this this perspective panel that allows us to say well is this looking correct are these lines lining up with the universe as we perceive it and then we can just scrub through and see oh yeah that is kind of lining up with the universe that is working out that looks like a pretty reliable track to me so then we will save we just save this here we close it down and then here in the mocha Pro module would go into the tracking data and we want to make a new null object in here just for something that will hold the tracking data so we're making that no I'll go to the phone screen and we're saying we're gonna export not the corner pin but the transformed data we're going to export it to null - and we want to create tracking data for layer 1 ok it's gonna populate that in and you could use the corner pin data if you would like it's perfectly good so what we do is we apply the export and it's going to apply it to the null object and you can see that it's gonna hold it's gonna hold with the screen very nicely not being confused at all because the data is ignoring the weird finger and then what we want to do is just throw some content down I'm gonna throw that content down and it's gonna go under that hole so using key light to punch a hole with very minimal changing of the settings you really just use the eyedropper and you're good to go you take that phone content you're going to parent it to the null object you might need to rotate it a little bit so I'm gonna rotate about 90 degrees and then we just scale it down a little bit so that it fits in and look at that it looks like that is on the screen that's doing very well so the ability to track this plane this screen plane and ignore this finger so it doesn't matter if it's in the way you could wave your hand you can do whatever and we don't care about it we're able to say look at this don't look at that and it gives us amazingly accurate position rotation scale perspective it's terrific I highly recommend think number 5 you can insert 3d things into your scenes so wow this is a plane our tracker this is also a software that's able you take a look at two planes and give you reliable camera tracking data from that so it can solve your 3d scene using planar tracking now Adobe After Effects comes with a built in 3d camera solver but doesn't work all the time and sometimes it fails and there's really nothing you can do to get it back on track the scene is just too complex there's too much motion but as soon as that fails I go right into mocha and as long as I have to non coplanar our surfaces that I'm able to get a reliable track out of it if there isn't a lot in the scene to kind of track anything on - if it's a nebulous void then there aren't many trackers that can help you out but by doing a little bit of manual work and using the much more powerful tools of mocha then you're able to solve a lot of problems that automatic trackers kind of fall down on so how do we get a plane our tracker to give us 3d information well in mocha Pro all we need to do is give mocha two planes of information two planes that are different so when we talk about non coplanar our planes we're talking about how the top of the table and the side of the table are not parallel but are perpendicular to each other and even though the top of the table and the floor are parallel to each other they're not on the same plane so movement of the camera will be apparent because they're not on the same plane so we need kind of a parallax move or some kind of zooming or something in the shot to show us the differences between these planes and that will tell mocha everything needs to know so in order to make the process go we need to open mocha crack that open so you trim your clip you apply the effect you click the button and then this opens and what we need to do is pick two planes that we want to work with well I think we should work with the top of the table and the side of the table so we just draw our splines on here we just draw on here's the side of the table wonderful good job and then we'll just make a new one a new spline here for the top of the table very nice just drawn and drawn in these patches and we just draw them in so we can get a good track is very similar to putting stuff on things or it's similar to the screen replaced tracking the areas but the big thing that's different is we need to show the plane our surface and we need to line the plane our surface up so that it's accurate very accurate plane our surfaces are going to make this work so I'm cheating a little bit because I'm using a table that I know has fairly parallel lines on it which allows me to make this fairly accurate pretty easily so it's gonna line this up until it looks you know correct and we know it's correct when you know it seems parallel across many of these a lot there we go yeah that's lining up over there and I think this will do it that looks that looks accurate to me so that's one of them taken care of and so we can rename this perhaps we call this top this is the top layer and then on the side layer we have same kind of thing to do we need to line this up so that it is accurate to where we're at now that's kind of on the edge down there so lets you know that this is gonna be kind of close we go so that's looking pretty good there so we've got one plane we've got another plane that the gear turned on for both of them so we're going to track them both into the shot and we're going to accelerate this tracking so you don't have to sit here and wait for the program to do that so we can move on all right so we've got our two planes they look to be tracked in so now we go to the camera solved tab and we can say you know what kind of movement this was was that a large parallax with a small parallax change so we can say that we can say sort of what the focal length of the camera is and whether they're zooming or not so we set those parameters and then we say solve we say solve it up and from what we've told it it thinks it's got a quality of about a 99% which is pretty good then we can export the camera data we would like the after effects 3d motion data copy that to the clipboard we go back into After Effects closing this saving it putting our playhead at the start of the composition then we just go edit paste smoke a camera and we see some pasting going on and we have a camera and we can call up some properties of that keyframes on position rotation and zoom even though the zoom actually doesn't change you in a little bit and I think that's pretty good if you scrub through kind of see that these nulls appear to be attached to the surfaces so that is looking pretty promising so I think the next thing to do is to put something in there and see how it feels so let's use the a v3 logo and we'll just put that out there we'll make it 3d and we will parent it we'll parent it to one of these nulls out there so I think what we'll do is we'll parent it to this one over here the layer five top left all right so just hold down shift as we parent so that it goes right there and then we can kind of scale this down as we need move it up a bit and then we'll just move it back a little bit and then we'll rotate it a little and let's put it over here a little bit more rotation needed and there we go so now if we play that back it looks like this is in the scene and I'm just gonna move it a little bit so it's not doesn't feel like it's inside the table and there we go now it's kind of hovering over top of the table which is pretty fun you can you can duplicate that and you can parent it to the other logo we could make a little shadow out of it - 90 like this put it down down like so so it's touching sort of where we feel the top of the table might be to rotate things just a little bit so it's casting the shadow as we'd like and then we can just do something like like a Gaussian blur kind of blur it up blur it up a bunch then we can just play that back and you can see now we've got a little bit of a shadow on the table and it's that easy so what's great about the mocha 3d tracking is if you're able to define a couple of planes even if there's people kind of walking in the way sometimes or maybe it's a lot of movement in the camera or maybe there aren't a lot of high points of contrast whatever it is if the end Colonel after-effects tracker fails you can usually go into mocha find two planes to find them get them tracked in work with the track get that lockdown and then you've got pretty reliable 3d data coming out of it it is pretty great to have that backup to have the ability to solve problems when things start to fall apart so this has been the top five things you can do in mocha from Boris FX available now at a v3 software.com AV 3 software it's a place where you can manage all of your licenses in one place and enjoy great discounts on professional software so the links in the description take you to mocha 5 as a plug-in and standalone product and mocha VRS thank you so much for watching and head on over to AV 3 software calm today

Channel: AV3 Software

Views: 126,239

Keywords: mocha pro, tutorial, after effects, evan abrams, av3 software, guide, adobe, vfx software, remove object, add object, tracking, planar tracking, boris fx, replace screen, post production, video editing, vfx, plugin

Id: IC2Fa6Y9UMA

Length: 36min 22sec (2182 seconds)

Published: Tue Mar 06 2018