Webinar: Difficult Tracking Challenges, A mocha project breakdown.

so welcome I am Mary poplin I am imaginer systems product specialist we're going to be going over some pretty difficult tracks Martin Brennan our product manager is going to answering questions and and hopefully bantering back and forth with me we're going to go over a little bit of rotoscoping characters we're going to do corner pins on screens with tracking data we're going to talk about the 3d solver for nuke and After Effects and we're going to talk about background on placements with green screens how to remove markers from a shot and we're going to do a final comp in After Effects and nuke so the software we're covering is mocha Pro but some of the techniques are going to be available in mocha for After Effects we're going to talk about After Effects mocha import plus and nuke so after that we'll just be doing a Q&A and let me go ahead and minimize this and let's get started so first thing I want to do is I want to show you what we're what we're doing today so we're going to be going over this shot now this shot is a it's a screen insert this is actually pretty hard to track because of all the reflections will talk about that inside of mocha but this is the final of what we're going to be doing let me just go ahead and fit this to the screen just so you can see so that is what we'll be doing what we're going to do is we're going to open mocha and let's talk about how mocha works alright so the first thing we're going to do is we are going to start a new project so the way that works is we're going to come in here and we're going to select our footage in this case it's going to be this girl girls wide pan shot we are going to make sure that we go over our settings here now what our settings do is they tell us a little bit about the final comp that we're going to do so we need to make sure when we start a file that our framerate is exactly the same as the as the comp will be we're also going to check our pixel aspect ratio and make sure that is correct and we're also going to if you're using interlace you can use separate fields we actually don't recommend that you use analyzed footage because if you use a nice foot äj-- what can actually happen is you can end up having a problem with removes and stuff like that later so I actually recommend that you dean a lace your footage and then reenter lace it when you're done out of mocha we're not doing a stereo project so you don't really need to worry about views but if this was a multi view project you would need to go ahead and hit that and then advanced is basically whether or not you want to cache and what your color space what colors place you'd like to use and if you're going to convert your clip at all other things that you need to know about starting the file is the fixed frame rate start framing timecode so we need to do a fixed frame as our offset you know as our starting point we needed just the normal start frame or we can do timecode I want to do a start frame and we're going to hit OK so with this shot this shot is slightly challenging and here's the challenging part about this shot the shot has tons of reflections so we actually have to do is we have to track sort of creatively here and I'll show you what I'm talking about if we come in here and we try to track this screen in the way that you would normally want to track it because a lot of times people are like oh well the top of a table is a plane so this is a plane right so if we try to track this you turn my surface and grid tool on if we try to track this what you'll notice is we're going to be tracking a bunch of other multiplanar data so this is not going to stick on as nicely as I would like for it to you can see we're going to start losing in here we've really started to lose the track here alright so how do we actually do this the correct way well what you want to do is you want to come in here and you want to actually track the parts of the shot that are useful to you so we're going to track the side of this edge here okay and we're going to come in here and we're going to use the ad X plane tool and we're going to anchor this with our tape that's on our surface of our table because those are not reflections so we're going to make sure that we've got this exactly the where we want it just come in here make this like a sliver all right and this is what we're going to use to drive our track so now I'm going to turn my surface to one I'm going to align my surface tool to the bottom hand just like this and now from here I'm going to turn my grid on we're going to track translation scale rotation shear and perspective and we're going to hit track backwards just like that you see we end up with a much much nicer track because we're avoiding these hands over here we're avoiding this reflection and we're avoiding these reflections that would normally turn our track into something that would be reflective of those moving pixels because what we're actually tracking is a pattern of pixels that moves brush it's just a fancy way of saying we're tracking a texture that moves in one direction so this is fairly nailed down but I actually want to nail it down even further because I can see we're slipping just a little bit so like we're drifting over time right so I want to make sure that we don't drift I want to grab as much as possible so I'm actually coming here and I'm going to grab this other tape marker and we're going to keep tracking backwards now you can add splines or take away splines at any time during the track and look at how nice that was that actually really helped us anchor that track okay we can change these settings at any time we can change these settings any time we can change the in settings at any time and we can change these settings many times so if you need to find something that's rotating more then you can increase your angle if you need to find something for you can crease your zoom if you need to find if you need to only track translation for a minute you can totally do that so don't feel like you're nailed down to the same exact thing over time because of the way mocha tracks mocha tracks from frame 1 to 2 2 to 3 3 to 4 4 to 5 ok because we're constantly re-evaluating the track it means that we can get a super accurate track now the downside to that is it also means that we are prey to a little bit of drift ok so we have to fix that drift now the way we fix that if tis actually in a just track so let's show you how that works a just track uses reference points so what I'm going to do is I'm going to find this edge here this corner because I can find that again I'm going to find this corner here what we're going to do is we're going to make it like a four corner pin correction over the top of our track so so in order to do that what we're going to do is we're going to find a couple of more areas to track and that's going to be right here so we're gonna all right so we're going to continue this by finding the next reference points in this case I'm going to grab probably this quarter and I'm going to come over here and I'm going to grab this corner here and we're going to use these as all four reference points I'm going to come over here and I'm going to hit set master all and what this is going to do is this is going to make these my reference points so now what we do is we look for where it's where it's starting to go off so let's look for the main arc of where it's going off so let's correct it here let's just hit auto here and here and now that's animated between our adjustments we're going to just auto adjust this here here let's just get this a little more close into place it's going to be right here okay we're going to nudge that into place and again we're going to take here to make sure that's in place we're going to nudge this right back into place where we're here look I have to do that broadcast is now starting all attendees are in listen-only mode so we're going to adjust that there and we're going to adjust this here all right so very quickly we've gotten an adjust tract over our entire solve here and let's just correct this because it's not quite right so here we're going to adjust this right there and we're going to adjust this right here and we can nudge it into place if we need to and here we're going to adjust this so that we have found the right place so we're going to just nudge this until it gets right into that little groove there and same thing for here we're just going to make sure that we're exactly where we need to be so there we end up with some very nice tracks just using an overall corner pin correction over the top of our track all right now we've covered that so let's talk about how we cover the back wall I'm going to go ahead and open up my shot here that I've actually have finished so let's just go ahead and open that so I can continue to talk about the more advanced tracking techniques of this and we'll do that from scratch as well so let's turn off the hands let's turn off the back wall markers and let's start talking about how we do these sorts of tracks together well the cool thing about mocha is mocha doesn't really care about extraneous data like data that it doesn't need so what you can do when you're tracking stuff like this back wall even though this back wall is really reflective let's just go ahead and turn my surface and grid tool off for a second we'll turn on that visibility off if I want to track this back wall too which I do need to track what we're going to do is we're just going to draw a shape right around the outside edges we're skipping the middle because the middle is full of reflections that we don't need and what mocha is going to do is mocha is going to look at all these edges and it's going to look for the data that is the most consistent because mocha is a planar tracker so what it's tracking is pixels that are moving relative to one another so what we mean by that is pixels that are moving in one direction so obviously fractal noise and boiling wouldn't work but because this is a plane and because it's moving in one direction is very easy to track so we're going to track translation scale rotation shear and perspective we're not going to adjust remember percent pixels used even though that's our accuracy we're going to take our grid and surface tool and we're going to align it to this edge and then we're going to start to sort of track backwards and forwards from here so I'm going to start tracking backwards and Lok is going to hang right onto that background and because we don't are not contaminating our track with a lot of these girls and their motion we're going to get a fairly rock-solid track because mocha ignores data that isn't relevant to the track so all of all of this hand motion over here mocha is not going to pay attention to which is kind of a power evoke it's a fairly intelligent tracker now that's again because it's actually looking so point trackers and feature trackers work in a very specific way you know they try to follow an X or or an area of pixels through the entire shot what MOCA does is it looks from frame 1 to 2 2 to 3 3 to 4 4 to 5 and it judges that distance over time so let's go ahead and turn our mats off and let's see what this track looks so I feel pretty happy with that track all right so that's one track that we need to do there's a couple other things that we have to do but let's first talk about how we get this into our shot so we have our table track here and we have our back wall track here that we've um that we've just made okay now let's take these and let's put them into After Effects so over in After Effects we're going to do some After Effects and we're going to show you how this all works in Nuuk later on so again this is what the final file is going to look like okay and what we're going to do is we're going to align these corner pins to this table so let's do that let's go ahead and make a new comp I'm just going to do new composition actually let's just do this let's duplicate our glory pre comp and let's rename this to like new web bar okay so we're going to open up new webinar and we're just going to take all of our old footage here and we're going to just delete it and we're going to make a new shot and let's talk about what we're going to do so the first thing we're going to do is we're going to come in here and we're going to put something on this table now I wanted to use this map on the table so we're going to just take this map and we are going to go ahead and go to this is important because of Cour pens in After Effects we're going to go to layer we're going to transform we're going to go to fit to comp so we're going to make this fit to the composition the reason we do that is so that we can then go to layer pre compose we're going to move all our attributes into the new composition okay and then we're going to hit OK from there what we do is we go back over to mocha and inside of mocha we select our table track with our corner pin now the surface tool is the representation of our corner pin okay so this surface tool wherever I put the surface tool is where my surface is going to end up so I'm going to go ahead and go to export tracking data we're going to export after FX Corp in right we're going to copy that to the clipboard and we're going to go right back over to After Effects make sure that we're on the first frame we're going to go to edit paste and now we end up with this map right here on the table okay so from here what we can do is I don't actually like obviously this is not a final of how that that needs to be so what we're going to do is we're going to come in here and we're going to color correct this so I'm going to go ahead and go to color correction and in color correction we're going to just do let's do color balance actually I hit the wrong thing go to effect color correction and we're going to do color balance and then in the shadows we're going to do we're going to up the blue a lot and then the highlights we're going to up the blue a lot and we're going to start to change the color of this so that we can blend this over the top now from here I'm going to take my blending mode and I'm going to turn this into like a soft light blend over the top I'm also going to come in here and I'm going to go to layer and I'm going to go to I'm sorry effect color correction and I'm going to just just do some brightness contrast I'm going to up the contrast and make it less bright so now we've got this nice overlay right that's dark that's going to move with our shot so if I hit play this moves 100% correctly with our shot now I'm going to do the same thing for this back wall so for the back wall I'm going to come in here and we're going to go to our back wall picture that we're using which is not the star field but it is this back map okay so from here we're going to do the same thing we're going to go to commonly a we're going to go to transform and we're going to go to fit to comp okay I'm going to do the same thing where we go to clay err pre-compose and again we move all attributes into the new composition I can't stress that enough hit OK because otherwise it defeats the purpose of pre comping it we're going to go back over to mocha we're going to select our back wall all and we're going to go to export tracking data we're going to do an after effects corner pin copy that right to the clipboard we're going to go right back over to After Effects and go to edit paste and again we end up with the same sort of thing so I'm going to go ahead and take my color balance and my brightness contrast and copy them I'm going to paste them right over the top of this and blend a nice soft light over that I think I'm actually going to adjust my brightness because I want it to match this more or less and we're going to go ahead from there and adjust some of this green and make this look make these look like they belong in the same world okay so from here what we might want to do is we want to adjust both of these is opacity so we're going to go to transform and take this down to about 40% take this down to about 40% because I don't want it so I don't want it so crisp that it that it distracts from the rest of the things that I'm trying to do on this map I also want it to feel like it fits in the color space so the next thing we're going to do is we're going to talk about how we solve this for 3d okay so let's very quickly go back over to our MOCA file and we'll talk about how fast this is so inside of mocha what we've done is we've tracked this back wall and we've tracked this table now inside of mocha what we need is we must have we must have two non coplanar planes in order to get a 3d solve and Martin are you still there and me yes I'm just being typing away answering a lot of questions but yes okay wonderful so we're doing a three solve here so the way the 3d salts work is we need two non coplanar planes in order to get a solve and because we've already tracked this information what we're going to do is we are going to use our corner pins in order to generate a 3d solve so let's just go ahead and delete these and keep in mind too that this is probably the only section that is not relevant the Adobe micro users for the After Effects section yes the stuff that we're showing today can all be done in the After Effects bundled version and in mocha plus and mocha Pro you do get that camera silver as well to do this kind of work exactly so so from here what we're going to do is we've duplicated these back two layers and the reason I've done that is because what we're actually doing is we are comparing our surface tools so when our surface tools are this far away from our track it actually messes with the algorithm that we're using to solve so I'm going to make this surface tool much smaller and what you'll notice is that we'll get a much more accurate solve from a smaller surface tool because we're actually comparing the surface tool as if it were our feature set because you know a normal camera solvers work when normal camera trackers work by basically looking at the whole shot and giving you you know hundreds of points and features to try to compare to one another and that usually takes time and you could tell it what's good data and bad data is stuff like this reflections usually really throw it off so in mocha because we have that plaintiff tracker ready we can actually compare these to these two tracks and be done with it so I'm going to select both of these tracks right here I'm going to go to my camera solve and inside of my camera solver this is really easy we've made this we've made this so if you're even if you're not a match mover you can use this so pan tilt zoom you have to decide what kind of camera this is pan tilt zoom is going to be a camera that is on a tripod that's either panning tilting or zooming okay small parallax change is going to be a camera that's moving in z space it doesn't matter if it's on a gimbal or a you know um a crane or anything as long as it's a moving camera in any capacity awesome you need to use either small parallax or large parallax small parallax is gonna be your landscapes where your camera is far away from the objects you're filming okay and large parallax amira camera is closer so it's going to be medium to close-up shots in this case this is definitely a large parallax solves we select those two layers we hit large parallax solve and we go ahead and we decide what focal length this is I'm guessing this between 35 and 70 if I don't know I hit all three of these and if it's zooming I hit zoom so from here I'm just going to go ahead and hit Saul off so yeah I mean you can get mocha to guess this kind of stuff with the other thing it is a little bit slow because mocha will try and run the the gauntlet of all the different types of try and work out the best soul for you right if you've got one of those sort of handheld cameras where it's it's actually a little bit harder to tell whether or not you've got a pan tilt zoom or a small parallax shot mocha does a pretty good job of working out the type for you but America you talked about the surface sizes and all that kind of place I did talk about the surface sizes yes now eventually you know with our cameras over the surface size isn't going to matter but right now it does so as far as as far as the type goes it's pretty easy to pick what type of camera it is is it a close-up or medium shot it's a large parallax is it is it a landscape shot it's a small parallax is your camera like completely stationary and either panning tilting or zooming its pan tilt zoom it's not really that confusing so once you once you wrap your head around that very simple process but of course you can use auto from here we're going to go ahead and export our data so I'm going to select these two layers and I'm going to actually move this surface tool a little bit I'm going to move this to like here and I'm going to make sure that I selected these two layers I'm going to export my camera data we're going to use the After Effects 3d motion data so this this tool is available in mocha plus and mocha Pro so you don't have to go pro just to get the camera data but inside of pro you get the FBX that goes to that goes to Maya and like Autodesk and all that kind of stuff I'll just smoke and flame and then for nuke as well in mocha Pro you get the FBX data for nuke and then in mocha plus U and mocha Pro you get hit film composite shots we're going to do After Effects and we're going to copy it right at the clipboard let's just resolve that right quick sit set some nulls may have low accuracy okay export camera data copy to the clipboard and let's go back over to After Effects inside of After Effects we're going to make sure we're on the first frame as normal we're going to select any layer and we're going to go to edit paste mocha camera alright and now I'm going to basically get rid of my back wall tracks because I don't want them for 3d data I just want the center of the table so this is a just a sanity check where you make sure that you don't have a whole ton of data that you're not going to use inside of your shot and so the way this works we have our nice null that's anchored right in the center and from here what we're going to do is we're going to start putting some 3d data right into this shot so I'm going to go to my layer and I'm going to go to new and I'm going to make a new solid doesn't matter what color the solid is but we're going to call this our element layer okay and we're going to call this the top element layer and we're going to hit OK and apparently I had caps lock fun so this is our element so we're going to go to effect and we're going to go to Video Copilot now this is how you get 3d information into After Effects like true 3d information like models you can still you can do this with 3d text if you want and that's fine you can do it with 3d planes and that's fine instead of After Effects but in order to get 3d models in here you need to use element you're going to Video Copilot element and from here we're going to actually do a scene setup so we open our scene setup and I'm going to import a model so in this case we're going to import this Oddie model we're going to hit OK and I can also come in here and I can start to apply some preset textures to it so I'm going to come in here and I'm going to apply let's see shiny light to this okay and that's going to be my texture now inside of shiny light I'm going to come over here and I'm going to basically put this down to 50% occlusion so let's just go to 50% and hit OK and then from here what we're going to do is we're going to go ahead and just hit OK and now that will put our object into the scene now we have to adjust our object and make it live in our scene where we want it to live so I'm going to go into element here and I'm going to go into Group 1 and my particle replicator and you can see I have position X Y and position Z so inside of our transform for our null that we want to hook this up to we're going to make sure we're on our first frame and I'm going to go to position and I'm just going to copy that we're going to come over here to position X Y and now that's going to paste our X Y position in there and then position Z we're going to grab our Z position and we're going to put that right here all right and now from here what we can do is we can start to adjust our transform of our object so in this case let's see particle replica coded rotation we're going to start to adjust the rotation of our car inside of this shot so let's just mm-hmm that looks pretty good and then let's do a particle offset let's let's just go to just like alright and so now it's going to move along with our track very nicely inside of After Effects now I'm going to take this down in opacity just a little bit so we're going to go to our transform layer and I'm going to take this down to like mmm take it down to like 60% so now we have this sort of hologram of this car now the other cool thing we can do is we need to make sure that we have a reflection for this car so I'm going to duplicate this and I'm going to call this sorry I'm going to rename this to element layer bottom what we're going to do is we're gonna hope coming here to our rotation and we are going to rotate this completely under the car and move it underneath our car and we're going to just make sure that we've got the rotation 100% the way we want it just like that I just realizing my typing was getting in the way the order oh yeah that's the other typing sort of um sort of pretty loud um again no worries um so so anyway yeah that's pretty much how you do a 3d object with a 3d reflection on a plane that you've tracked inside of MOCA and you get true 3d tracking now if you want to add any sort of motion graphics to this you can if you want to add any sort of interface you can like for here what we did is we did this let's see go to my we added a sort of heads-up display kind of thing to this table here so again we did the same sort of pre comps so I'm going to go to layer new solid and I'm going to make a black solid I'm going to put this under our little display here I'm going to just go ahead and rotate this display a little bit and then from here what I'm going to do is I'm going to select both of these I'm going to go to edit I'm sorry layer precompose and we're going to call this hood heads-up display all right and I'm going to go ahead and go back to mocha and outside of mocha I'm going to take that same table track we're going to go back to our track we're going to export tracking data after-effects corner pin and go back to after-effects and then do the same thing we're just going to take this and go to edit and we're going to go to paste and our heads-up display will be on the table and we can move it however we want depending on what it's doing inside of the pre-comp so in this case if I move it over here I can go back to my webinar see where I've moved it so in this case excuse me in this case what we actually want to do is we want to move it something like let's see rotation something like that so now our heads up display is underneath and animating under our car so we're going to go ahead and change this to like a screen and so now we get this nice animation underneath our car looks like makes it look like something's going on in there okay now something else we need to do is we need to go ahead and we need to replace this background so that becomes kind of kind of a pain but we can actually use our moko tracking data to replace this background as well so what I'm going to do is I'm going to pull a green screen on this back area so we're going to go ahead and click on our glory last man standing girl wide pan shot and that's our background the layer is always actually asking of the 3d camera in relation to the sinawe plugin you know you can pretty much use any of the camera stuff from any of the plugins that go straight into After Effects so if you want to do say like the borås 3d plugin if you want to do islamic from the cinema 4d and use the camera porter over to cinema 4d that will all work correctly alternatively if you're working with mocha Pro you can actually bring the FBX data straight into cinema 4d and use the cameras and nulls right inside cinema4d and then port that to AE as well so there's different ways you can work you don't need to necessarily just paste the camera data straight into objects you can go via cinema 4d Maya whatever you need to do and then put that back over to a depending on which way you want to export that back out right I think I probably misspoke earlier when I was saying this is like one of the only ways to get 3d data into After Effects it's not one of the only ways but it is certainly one of the easiest ways so but cinema4d and after-effects are round-trip now so you should be able to use the same data now let's go over to our original plate and let's actually pull a key so I'm going to go to effect and I'm going to go to mean you could roto this if you wanted to but I'm very lazy so I'm going to go to keying and I'm going to go to key light and I'm going to select this back area and we're going to basically adjust our we're going to adjust our shot many people are asking about the back wall reflection in the tabletop yep talking about that a little the black reflection on the back there yeah you just talk a little bit how there you go about tracking it um track this back reflection yeah um I wouldn't what I like because what I'm going to do is I'm going to just put I'm just going to pull the green and I'm going to put the motion behind it and I'm going to get away with it um without having to track it backwards however they need I mean the back screen oh this area yeah oh this back screen we already tracked this back screen do you mean this and the reflection at the bottom of the back spring oh here yeah okay yeah if you wanted if I were going to do that all I would do is I would if I wanted to continue that reflection from the heads-up display I actually wouldn't even track the back screen I would continue I would use my table track and let's turn this back on and I would actually just extend my corner pin I mean because that will still move in a similar way and I can get my very nice adjustments and one seven you can just flip that with the same data and you can do the same for the reflection for the vertical back wall as well couldn't you yeah exactly so if I want to do that for the back wall again I could do the same thing I could just hook this up to the back wall and even if I even if it's a slightly different angle because the camera I can come in here adjust this to here and now that moves with my backtrack and if I needed to I would just use an ax just track and like duplicate the layer or I would probably just use an adjust track to fix it actually because it's it's moving similarly enough that just an adjust track would fix it and you'd still get the motion or what I could do if I were feeling extremely froggy I would come in here which is very technical term froggy I could come in here and I could try to grab this edge grab this and then we could just go ahead and track that and that would work too I mean there's a million ways you can do it but what you have to do is you have to make sure that you're only tracking the parts that you need and I want to make sure that this doesn't screw my track up and it doesn't so there you go so there's there's mocha paying attention to things that like you know are there most the time so we start to lose it there a little bit so I would probably change what I'm tracking this wall over here is actually screwing my track up so I would actually just come in here I would delete those points and I would just switch to like translation only and track that the rest the way off-screen so you can change these settings at any time like any time and you can change your shape at any time it won't adjust it won't destroy the track so you see how that's tracking even though I delete this points and I would still probably use a just track to try to like line up this point this point this point in this point and make sure they were constant throughout the shot does that make sense it was good if anyone's going to further questions around the actual reflection stuff Lesnar and I'll try and answer it in the chat area okay I am um Karam yes no problem I'm actually not tracking those because I don't really know that they're I don't know that it's worth it for me to track those so because I don't I don't feel like I'm getting enough of a bang for my buck to actually put those in there now if you really want to do that you totally can but but I don't feel like it's helping me enough to do that let me just go ahead and adjust this until I get until I get something that looks good okay and then doo doo doo why are you changing color green screening is an art an art that I am NOT the best at okay so let's go ahead and just use that as a as a sort of base now what I'm going to do is I'm going to come in here and I'm going to put a star field back here so we're just going to grab the star field throw it back here this is way too bright so I'm going to go ahead and knock it down so I'm going to go to effect I'm going to go to color correction and I'm going to just go to let's see maybe brighten some contrasts just because it's easiest and fastest when just take the brightness down take the contrast down a little bit so what we end up with is like a sort of duller star field I'm going to arrange this until I feel like I like what it's doing and I'm probably going to shrink it as well so we can go to transform and we can do a scale we can sort of knock that down some but I want to make sure that I still have it over my reflection so if I pull I hide all these you can see that I still have a reflection down here now we're going to do is I just want to show you right quick if we leave that with no tracking data that's kind of interesting what it looks like we're not moving at all and I sort of feel like this is a spaceship so I kind of want to have this move with us so I'm going to come in here and I'm going to make that move with the background so we're going to go to layer new and I'm going sorry layer new and I'm going to go to a null object and we're going to call this like BG driver um only spelled right and I'm going to make sure that I'm on my first frame we're going to go over here to mocha again I'm going to export my tracking data for the back wall I'm going to go to export tracking data actually I changed that didn't I yeah let me put that back where it's supposed to go because I was doing an earlier demonstration I moved my surface tool and I actually want my surface tool here so now I'm going to go to export tracking data and I'm instead of doing a corner pin I'm going to do after-effects transform data I'm going to copy this right to my clipboard I'm going to go over to after-effects I'm going to go to my BG driver make sure I'm on my first frame I'm going to go to edit paste okay and now I have this null that's moving along with my background so we're going to actually use that to drive my star fields I'm going to connect this to my BG driver and now my star field moves like now I actually don't like that my star field is rotating so I'm going to go to my BG driver and I'm going to go ahead and go to my first frame and I'm going to turn my rotation off and now I'm going to get this nice sort of star drift in the background cut it for free you know I don't really have to do I don't have to do any new tracks so what I want to point out about all of this work that I that I've done on here is all of this has been done with the same like two tracks okay so I use the table track and back wall track and I've gotten a corner pin for the table I've gotten a back wall I've gotten the 3d solve for my car and I've gotten a background replacement put in just by tracking this back wall and this tabletop okay now in order to finish this we need to do some roto so let's talk a little bit about that let's go over here to our MOCA file and inside I'm oka file I'm going to show you that I've done some roto but I'm going to show you how to do it I'm not going to make you sit through me doing all of the roto but but we will show you sort of what's going on here now what you can see is that I have split the hands into various pieces of rotor like this hand I don't need to do much rota for so it's one shape this hand obviously I don't need to do much rota for it's all one shape this hand again not much roto all one shape this hand has the thumb and forefinger coming out of the hand and it's just easier to roto these fingers and the hand as a whole and then track the arm where I need it which is only here I don't really need the arm anywhere but there and here so I'm you can see that I'm not I'm not going crazy I'm not over rowing if you're a perfectionist you know that kind of thing might bother you but for me it's not necessary for me to roto every single bit of that hand it's only necessary for me to row to it where it goes over the top so in this case thumb finger these and then the edges of our arm so and we use the tracking data to drive most of that so if you look at our keyframes that we have we have like one two three four five like six keyframes on that whole arm and then the same thing for you know her thumb it's less keyframes so let's talk about people asking just quickly about the stretching are on the table so the way you would handle stretching the thing like if you want to sort of like get a nice set piece for your long table it's some of it yeah it depends on which way you want to do it so the way we're doing here is the classic comp method that's sort of like doing a stabilized comp we but the insert for the screen and then it stretches to match the table according to the surface there is another way to do it you can actually that's just a making as quickly sure that track one more time yes so we just turn on that surface and we can see here the how that's locked there if you actually go to the beginning of a shot where you actually want to line up your shot you can sort of set up your own thing inside something like After Effects or need and then use something called the line surface tool so that's available over here on the bottom here what Mary's pointing and what this will do is it will stretch your surface corners out to the full size of that comm and that means what you can do then is actually paint exactly or call it in exactly where you want it inside After Effects from that and then use the full surface yes flannel aligning it right exactly on this shot though I would probably start my painting like right here where it's the most parallel because that way you'll know what you're doing the most and then it will tilt properly so if you're going to do that I would align my surface right here and then you see how it changes over time what you do is that will apply to your corner pin or your paint or whatever you've done to align it to that section that make sense all right for you especially what's going on wrong answers they can ask alright so um let me go back to what I was doing what was I doing roto okay so roto sort so wrote over this hand so what you can do to row to this hand you can row two hands in a couple of different ways you turn my grid service tool off if I want to roto this girl's hand back here it's going to be just a simple matter of let me hide this it's going to be a simple matter of coming over here finding a good section where I can see her hands really well um in this case actually it's going to be the beginning of the shot because I can see her hand better in the beginning the shot I'm going to come in here and draw my X blind shape right around her hands we're going to soften which is to say we're going to relax the corners using the X blinds by by releasing the pulley a little bit that's going to give us a nice round shape and from here I want to do a translation scale rotation shear and I can even do perspective but I actually prefer to just use shear on roto and track that forward and you can see that book is doing a pretty good job hanging on but it's not perfect so what we have to do is we zoom in here and we're going to adjust it where it needs adjusting so in this case we're going to just adjust here I'm going to pull these back this is the this is the nice part about the transform tool it allows you to very quickly move your points around without having to do any large amount of work so we're going to take all of that okay and now that's going to animate between these two places okay let's just make sure that that is tight and nice so from here what we can do is we can use this tool called the auto pan tool or the stabilized tool and it's not stabilizing at all what it does is it stabilizes around the shape so you can see where your shape is the most off so from here I'm going to look for where the shape starts to get the most off in this case right here alright so just like let's see we're going to shrink this down just like that okay because her hand is rotating we going to account for that rotation all right and now we're going to look for where it's the most off here so in this case we're going to pull this out and what I think is varies in the zone I'll just what you meri bed we're about an hour in oh yeah I'm very quickly gonna have to finish the shot and poke over to new so and what we'll just basically show the same sorts of things instead of nuke and then we'll do 15 minutes for Q and a so what we're going to do here is I'm using the add points to spline tool and I'm actually just going to add some points back into my spline so now watch they'll animate between what I had done so that's kind of a cool trick so from here we're just going to adjust where we need to adjust just like this and you can see that we end up with something that looks fairly nice and is fairly quick now I'm not going to do a crazy amount of like nice roto for this because you're really not going to be able to tell but I am going to make sure that I have everything looking like more or less passable for me so to chew let's just go ahead and fix that all right and let's turn our pan back off and let's see how we like that hand roto so now what we end up with as we end up with this nice matte right around her hand that we can use as a hold up Matt so I'm going to go ahead I'm just going to take all of my hands that I've wrote out just like this and we're going to go to our track tab going to select one of my layers we're going to export shape data now in mocha Pro we can export shape data to just about everything new in version 4 we can export to premiere we can we can also we've always been able to export to combustion gmasks flame gmasks roto nodes and rotopaint nodes shake roto shapes mocha shape data for After Effects in mocha shape data for Final Cut we're going to use mugga shape data for After Effects so we're going to copy this to our clipboard and we're going to go right over to After Effects now inside of After Effects what I'm going to do is I'm going to just duplicate my background here and I'm going to go to edit and paste and that will excuse me I didn't go to all visible layers going to go to export shape data all visible layers copy to clipboard back over to After Effects and we're going to go to edit and we're going to go to either paste and paste effects on to our hands here where you can see there now over top of everything with effects or we can do is we can go to you just delete all those or we can go to edit we can go to pay smoke a mask and what that will do is make masks on those sections so from here we're just going to drag this right under the element layer and now we've got the hands on top of our reflections but still behind our car okay so that's sort of how we do that it's very quick and dirty roto but it ends up looking pretty nice so now from here what we're going to do if we need to like soften this at all we can come into our masks we can select all of them I can come in here to feather and I can like feather the edges you know however much I like and then from there we are pretty good to go so that's sort of how you get the shot setup inside of After Effects if you want to see my final shot after all color Corrections and stuff that's going to be this shot right here pretty easy to get this all done without doing a whole lot of work let's go over you have a question morning let's go say if you could send a quick a chance to talk about the Mafia playing oh oh yes I forgot um ok marker cleanup right so um because this is a lot of reflections I'm just going to hide this right quick because this is a lot of reflections actually the way that I do marker cleanup is a quick and dirty way so let's go into our our footage which is going to be this right here alright so marker cleanup for this kind of stuff can be kind of pain because the reflections because everything is sliding everywhere so what I do is I do a little bit of a blurry clean so I basically take my layer I go to effect I go to generate I'm sorry I go to Keane and I go to let's just do this let's go over here and go to hkey and we're going to go to remove this a color key right here I'm going to drag this onto this even though it's obsolete and I'm going to select the area that I want the key and hit like a tolerance of like 32 I'm going to duplicate this and we're going to select another key and from here what I do is I actually just try to fill this in using its own information so did you do pull some of that alright and we need to bring this down to about 20 I think because these are all pulling too much okay and let's do this again one more time all right so from here what I do is I try to offset them so I come in here and I duplicate this and like what I say this is quick and dirty I mean it's quick and dirty so we nudge this over and we do it again duplicate it nudge it over I tend to do a complete precomposed of these so I go to like layer pre-compose and call this like quick and dirty clean okay and from here I go to effect and I go to a blur going to go to like a box blur and then let's do like a 15 box blur and then from here I take a matte of my of my markers now you can do a matte of your markers pretty easily you can hook it up to the track of your background so like we've got this table track so let's come in here and let's do this let's make a bunch of markers I'm using the add to X blind tool eight and we're going to grab these as well and this one as well and I'm going to take these and I'm gonna cook this I'm going to call this back markers and we're going to link this to the table track and now that should move along with our table track so we're going to soften these a little bit all right and now I'm going to do the wall markers so we're going to draw some shapes around here use the add 2x line draw some shapes around their shapes here shapes here and then we're going to grab these as well just takes a second and then again and again and I'm going to hook these up to I'm going to call these wall markers and I'm going to hook these up to the wall track okay we're going to do any roto Corrections if we need to like on this table here and there all right now we're going to take all of these and I'm going to go to my tracker and I'm going to go to export shape data all we're going to actually hide the hand x4 shape data all visible layers copy that to the clipboard I'm going to go back over here to After Effects I'm going to go to layer new solid which is going to make like a white solid I'm going to make sure I'm on the first frame go to edit paste mocha mask and I have all these markers here I'm going to come in here select all of them do like a soft feather okay and then I'm going to use this as an alpha mat and we're going to drag this over our comp so now let's go ahead and turn off my white solid where's my where'd I put that okay see what in my layers is causing that right quick oh that's my mat so let's go back to right where's my mat do - there we go so we end up with is these patches and I would need to color correct this back down so in this case I have a somewhere on here I have a color correction so let's just take my pre comp and like if we were going to put those on there I would want to take my values down in order to get them to fit back in with the shot so that's what you end up with you end up with this like pretty easy patch on top of everything so quick and dirty clean in this case we're going to take our levels paste that right onto our quick and dirty cleanly layer levels and we're going to knock that down some so and that's what you end up with it's pretty pretty easy but uh URI was just asking about the additional explains in a layer so I have a quick chat about that and so you said the way it works is that when you add an exponent to a layer it just adds into that single layer you don't see it as a sub layer in the layer thing it just adds as the whole section of layer splines and if you need to delete them you just select one of them in the viewer and delete them so you can add and remove as many as you like you can even once you've done your track you could go back and delete all of the splines except one and just clean up your shot you don't need to keep your spline data after it's been tracked you just need to keep a single spline after it's done so you can go back and forth between adding and removing spines as you work but we don't actually list the additional sub splines under each land the whole layer just can contain and many splines in one right exactly um all right so it's it's a very quick and dirty process to get rid of sort of moving reflection paint you can paint it out in an in a true way if you want to like you can take the tracking data for the table and you can take the tracking data for the back wall and you can hook paint strokes up to that but I don't really feel like it's necessary for reflections I feel like you when we're doing this many layers are the top of reflections you'd have to worry about it as far as how this works in Nuuk let's talk about that for a second I'm not going to go ahead and I'm not going to redo this whole shot because I don't have time but I will show you how this works so let's uh let's take this and let's start talking about what that means let's um come in here and go to like frame let's see what we've done here so what we've done here in this shot is we have our original plate and that's our original plate and you can say I've just quick and dirty painted out the the background to cancel on this and we've done a color correction on it we've added our star field using a tracker and that's this is a tracker note so let's show you how this works we're going to make sure we're our first frame here so from here we're just going to I'm going to delete this tracker node and what we're going to do is we're going to go over to mocha and let's put that tracker node back in so I'm gonna go to my back wall track okay in my back wall track what I'm going to do is I'm going to go to export tracking data and new in version four we have this new tracker node okay so this is going to be the nuke seven tracker we're going to copy that the clipboard I'm going to head right over here and we're just going to paste that back in it's literally that simple and so now my background will be tracked right back in so when I look at my shot I have my tracker right back in my shot let's just play this forward any time you want to play there we go so you can see that just copies and pastes my tracker right back in as far as our corner pin corner pins the same sort of thing we work in Nuuk much the same way that we work inside of mocha so I've got my my read node here for my background I've reformatted it okay and now I've got my corner pin on my table to make it fit and emerge to make that fit over the top of everything this corner pin is just the exact same thing I'm going to delete this and show you and we go back over to mocha I'm going to take my table track we're going to go to export tracking data I'm going to take my new corner pin copy that the clipboard and literally back over to nuke take my reformat hit paste and now it's right back where it needs to be on top of my background same thing for our heads up display and same thing for our back wall as well so just a literal copy and paste and we end up with our data moving correctly inside of nuke now the 3d is a little bit more 3ds a little bit were complex than that but we'll talk about this the last thing I want to do is I want to talk to you about merging our our hands over the top of everything so what we do is we take our original plate we're going to delete our roto I'm going to come back over here to mocha again we have all of our hand roto done just like this I'm going to go to export my shape data and I'm going to actually do a nuke rotopaint so we're going to take our nuke rotopaint and I'm going to go to all visible layers copy that the clipboard it's just this easy I go back over to nuke select my read node and I go to you know just edit paste right and I end up with my roto in my roto I need to select output alpha pre-multiply RGB a and I end up with my hands back over the top of my shot very nice and simply so let's just make sure that we're playing that we end up with our hands right back over the shot so if this will come to frame 1 there we go so it lines up pretty nicely now the last thing we need to worry about is putting our car into this so let's just show you what that looks like we've got our lovely our lovely car right here over the top now this is pretty easy you have to do a regio for the Oddie and the shader as well so we've got this nice constant and obj like a regio is pretty easy you just go ahead and load in your your model and in this case we've just loaded in our model for the top and the bottom so this is our top model and this is our shadow underneath so we've got a constant shader on them so this is a constant gray blue and this is a constant black you can see the black shadows underneath and the blue is on the top this is inside of our scene now a lot of times setting up cameras inside of nuke can be kind of a pain but that's where the whole mocha import plus thing comes in so if I have my original footage here and I select it and I go to mocha import plus and I go to full camera rig what's nice is I'll end up let's go to my Desktop here and grab it right quick I have to go to my webinar and we're going to go to this and we're going to grab our camera open and moeka import plus we'll actually make a whole rig right here for us very simply and then we just merge that back over the top go to our write node and we highly highly recommend getting this set of tools like memo world booth Matias mole has made an amazing plugin to work with nuke it like takes our data and just makes everything awesome so it adds tracking data to a lot of the nodes that you're used to in nuke but adds the ability to either copy straight from a clipboard or import from a file just like the mocha plus input plus from after-effects does and but he's made it quite flexible inside Nick's developing full rings developing adding to the splinewarp tool as well and all these kind of things so it's really really versatile tool so check out Mamo WorldCom to check that one out absolutely now we have about 15 minutes left for for questions so I want to make sure that we cover all the questions so we don't get you know so we can go back and show something if somebody didn't quite get a concept or if you've got a specific question about any of these techniques or anything about the after effects file I'm happy to answer any of those questions sure so I was going to read through anyone who wants to type in additional questions I'm going to grab some straight from the bottom here so that's the sales questions area so we've still got the final twenty percent off sale going for upgrades just for the IBC special so the pro guys four three two can definitely upgrade just go to the website and check out the twin set operator um did you just looking down a list of what I haven't answered already no problem is look at your clock plus only for nuke no it is not my Chromebook plus is also available for After Effects it's true so American pulled on up there but the yeah bokor import plus was originally developed for our FX to just help really make the tour bus got an excellent tool called the stabilized pre-comp which helps just like lock off areas to do paintwork on it's a really really cool tool and they've got similar tools right in nuke for that bar but if you just expanded on those tools and you can use a little bit more flexible in being able to apply our mocha data I'm hangin I've got those two tools I'm having a like I guess an aneurysm like where's where is mocha import plus I just had it open me under the window time I believe yeah it should be not but it's not which means it's probably in my Creative Cloud and not in my Creative Cloud 14 but I can show that to you yeah sure so any other questions while Mary's looking at that could the markers have been placed better or did they need them at all in this particular shot with with mocha specifically you could have got away with just those edges and then a little bit of drifting but the those markings do help for some of that stuff so like especially for when we're doing those adjust tracking hmm study so that adjust track where we had to apply the reference points really really important to have those reference points when you don't have any sort of sort of specific features to look at when I exhausting a track otherwise the bridge is harder well yeah and I got to tell you I absolutely would have put those um I would have put those markers in there if I had to do this again but what I would do instead of white exes when they're wearing white shirts on a white background I would have made them like magenta or like blue you know because you've already got a good screen pull in the background as well so there's like yes they could have they they probably could have done with less of these X's like they probably only needed like one here and one here and probably only needed like one here and one here because this is enough data here to get everything but but I still would have made them a pole color because having them be white is atrocious in the scene so like just be thoughtful about the way that you set things up as far as um as aftereffects going to play nice with me today or not um we were getting them a window of death so I'm going to just look at I'm gonna let's at the set for a minute um laptop to limit side so can you just waiting for that can you maybe just describe to the guys the difference between mocha Plus and mocha Pro and maybe they're from mocha IDE to make a plus to make a Pro sure so um so mocha for After Effects comes with the clip tap the track to happen you just track tab and it only exports to after-effects which means that you get your transform and your corner pins and your shape data for After Effects with the free version that comes with After Effects mocha plus is an upgrade to that it's a personal purchasable upgrade that you can get from us it has a couple of bonuses one of the bonuses is that it's on a more recent development cycle as as this we have to send our files to Adobe like way early so you'll get the latest and greatest technology if you upgrade to either mocha Pro or Plus which means bug fixes and codec readability and all that kind of stuff other than that you get the clip tab the lens tab the track tab just track and can't resolve so let's talk about the lens and cameras all the lens tool is something that automatically will judge the lens curve of your shot based on any straight lines that are warped in your shot so it will look at a curved line and they'll say what do I need to do to this curved line to make it straight and it judges the lens tool off of that so that you never have to go back and forth between having to do a hand lens correction still has to track and adjust track and the camera solver which we showed is what we use to put that car on top of everything the the track tab though inside of mocha import plus actually exports to final cut and hit film as well so it's not just After Effects mocha Pro has absolutely everything inside of this so it's got the camera solver and the lens tool the insert tool which is something that you can use to put either grid warped corner pins onto something or you can use normal corner pins and you cannot render them out with focus blur and motion blur based on the track the remove tool which basically allows you to take objects out of a scene as long as the data that's being behind them is planar you could technically use the remove tool on these markers but it would be such a pain in the butt that it's it's not really worth it because I would have to track this plane individually I would have to track this back wall individually track this wall over here individually and track these reflections individually in order to get a remove to work properly over this background so an offset honestly just works better for this shot you know if you match the grain and everything you shouldn't be able to tell no excuse me or hand-painting um the other thing that you want to do to note about mocha Pro is the stabilized tool which actually instead of instead of like this auto pan tool that we have that stabilizes around our track this actually stabilizes your shot based on your planar tracking data it's um it's a good way to get some cool artistic effects as well you can get like a pretty awesome Stanley Kubrick look if you track somebody's face as they're walking like if somebody holds their you know their iPhone out in front of them and walks through a city you can track their face and you'll get a nice Kubrick effect going on around them or you can do things like refocus a shot so like let's say we're filming this girl and this is handheld and it's bouncing everywhere I can I can track her and focus on her and take most of the smoothing out and it'll actually end up looking like handheld but like we're focused on her instead of like bouncing around the shot and not looking correctly or you can just use it to simply lock down your shot it just depends so that's um that's everything that's in mocha Pro Plus animus she was actually asking about the the adjust rack and whether or not you can actually just nudge using keys and the answer is we can we've just in v4 introduced a much much better keyboard shortcut customization tool right here so you know you can adjust your various modules so you can search for them through through the filter you can actually like you know just my throw-up down whatever you need you can also set them to a specific profile we already support a new profile and an After Effects profile and we're going to be adding some more as time goes on so if you're already working in After Effects are already working in you currently like that you can switch to that profile and the keys will pretty much match just depends on which one is using obviously that is like our from the read node and some of that because we load specific things but there are different ways they like if you're all used to using the arrow keys for nudging up and down a pixel you can do that way if you use the arrow key and smudging the timeline it will do that yes exactly um anything else like what slots I'm sure time we cover we have we have about five minutes so okay cool so let's have a look down all this here did you do they're just going down the list of things that we didn't cover or there's may I been typing away a lot but let's just have a look at what else lots of difference between plus and Pro type stuff right well we explain the difference feet yeah in every single case you can always upgrade from one to the other so if you have Pro you really don't need anything else because that's got all the things if you've got like a plus it you don't no longer need to be make a a eversion and so it goes down the scale so and you can upgrade to which one you can operate from locally to make a plus or like a pro and mocha plus Pro as well and there's different pricing for each of those sets of information if you need to know any more just contact sales imagine assistance calm or just go straight to the website and check out the comparison shirts we've got a nice little link there called through here and you can see all the differences between those versions we also actually ship one called mocha hitfilm which actually goes with the film ultimate package so if you're in hitfilm we definitely recommend using that because that's its main camera so birth I hit film right well also if you ever want to know more about our products you can go to our flag pages for those products so we have mocha Pro here and you can basically go down all these lovely videos that we made for you that explain what everything does and what's new down here at the bottom but you know this is mocha Pro is and then this is mocha plus and we explained what mocha pluses and these videos and you can go over everything in that um you can also go to our me the we've fixed finally the forums we've done for us we're down for a little bit yeah we had a little bit of problem there but if those who are used to the forums they are back and they're actually a lot better so they're prettier that's right yeah so you can Gary has a personal hand and actually making forms of Beth so yeah so you're able to do that now and we'll have that usual response back to you pretty quickly yes absolutely and you can always contact support if you ever run into any like questions that you think are easily answerable or answerable or common problems you can get our FAQ page and of course you can always always always go to our videos section where we literally have like hundreds of videos for you to peruse and they are free ok they are 100% free you can stream them right off our website you can even stream the fundamentals of mocha right off our website which you would otherwise have to buy so make sure that you take advantage of this amazing resource guys we're going to wrap this up it's been a wonderful webinar I'm so sorry we had some hiccups there at the beginning on the sound but I'm so glad we got that fixed hope you enjoyed it Martin has been our wonderful co-host he is our product manager I am Mary poplin I am our product specialist please go to our website if you have any other questions and we hope that you have a wonderful day and keep in mind too that we will be giving away a free copy of the software someone will be emailed after the webinars finish up so good luck with that as well absolutely bye guys thanks very much guys like

Channel: Boris FX Learn

Views: 37,386

Keywords: mocha Pro, webinar, tutorial, motion tracking, After Effects, NUKE, planar tracking, roto, 3D camera

Id: H46ancfNlOM

Length: 78min 56sec (4736 seconds)

Published: Mon Sep 29 2014