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You may keyframe the spline shape so that it tracks only the planar region of a shape by adjusting the shape and hitting Add Key in the keyframe controls menu. Keep in mind that no initial keyframe is set until you first hit Add Key or move a point with Auto-Key turned on. The spline should be tracked in addition to the clip being cached to RAM.

You can play it back and get an idea as to how the track went. F eel free to change the playback mode in the transport controls to loop or ping-pong your track. Turning on Stabilize will lock the tracked item in place, moving the image to compensate. In the track module, stabilize view is a preview mode to check your track.

Actual stabilization output is handled by the Stabilize Module, explained in the Stabilize Overview chapter. You can check the accuracy of your planar track by turning on the Surface the dark blue rectangle and Grid overlay in the Essentials panel or the toolbar:.

If you play the clip, you should see the surface or grid line up perfectly with the plane you tracked. When you turn on the surface you will see the blue box that represents the 4 points of the corner-pin. Right now you will see that it is not lined up with the screen. As described above, by selecting each corner one at a time you can adjust the surface area to cover the area of the screen, or you can use the middle points to scale and the outer corners to rotate.

You can change the density of the grid by adjusting the X and Y grid values in View Viewer Preferences:. The Trace feature allows you to see the position of the planar corners over time. Skip allows you to work with only every nth frame, useful on particularly long roto shots where the movement is predictable.

To monitor what the tracker "sees" as a tracking area, select the Track Matte button in the view control. There may be instances where you have already created mattes for one or more objects in the shot, for example using a keyer or another roto tool that would help you isolate areas to track. You can import such mattes by creating a new layer and then using the Matte Clip setting under Layer Properties to assign it to the layer.

When starting a new project, go through your footage a few times to see what your best options are for tracking. You will save yourself a lot of time by making note of obstructions and possible problem areas in advance. When tracking surfaces you will usually get a much better track if you include the edges and not just the interior of an object.

This is because Mocha can define the difference between the background and the foreground and lock on better. For example, if you are tracking a greenscreen, it is better to draw your shape around the entire screen rather than just the internal tracking markers. In some cases this means you can avoid tracking markers altogether and save time on cleanup later. The processing can be slower, but you will usually get a much more solid track. Remember you are not limited to one shape in a layer.

Use a combination of shapes to add further areas or cut holes in existing areas to maximize your search. If necessary, make an additional layer to track and mask out foreground obstructions before tracking the object you need.

This way you can stop your track early to fix any issues and spend less time trying to find them later. In order for Mocha to keep the best possible track, it is usually best to scrub through the timeline and find the largest and clearest area to begin tracking from, draw your shape there, then use backwards and forward tracking from that point.

For example, if you have a shot of sign coming toward you down a freeway, it is usually better to start at the end of the clip where the sign is largest, draw your shape and track backwards, rather than start from the beginning of the clip. We have a Planar Tracker which specifically tracks planes of motion, but this is not limited to tables, walls and other flat objects. Distant background is considered flat by the camera where there is no parallax.

Faces can be tracked very successfully around the eyes and bridge of the nose. Rocky ground, rumpled cushions, clumps of bushes, human torsos and curved car bodies are all good candidates.

The key is low parallax or no obvious moving depth. When in doubt, try quickly tracking an area to see if it will work, as you can quite often trick the planar tracker into thinking something is planar. Mocha is a very flexible tracker and will save a lot of time, but you will eventually run into a piece of footage that just will not track. Large or continuous obstructions, extreme blur, low contrast details and sudden flashes can all cause drift or untrackable situations.

You can often get a lot more done fixing shots by hand or using AdjustTrack in Mocha rather than trying to tweak your shapes and parameters over and over again to get everything done automatically. Tracking in Stereo is very similar to tracking in Mono.

Draw your shape as you would normally in mono mode See Mocha User Guide for an introduction to mono Mocha tracking techniques.

If you now switch between Left and Right views you will see the Right view has automatically been tracked and offset from the Left view. If you would prefer to only track and work with the Hero view initially then offset your data manually, you can also do this using the Stereo Offset tab in Track.

Make sure the "Track in all views" button on the right side of the tracking buttons is switched off. This will only track the current view you are on. If you switch to the other view you will see the layer still moves with the track, but is not offset like when you do an all-views track. If you decide later that you want to track the non-hero view, you can do so by selecting the non-tracked view then track as normal.

You have the following options in the Stereo Offset tab see above when tracking another view based on the hero view:. Track from other views: This will reference the existing track to help track and correctly offset the current view. Track this view: This will reference the current view to get the tracking information. Note that by default these are both selected to give best results.

If you only use Track this view and not Track from other views , the current view will be tracked independently of the hero view and will not offset.

You can also open existing mono projects that have additional views and track them without having to manually offset. Just set the mono project to Multiview in the Project Settings and add the additional footage streams to the clip. For simpler tracks, you can also do a technique called "Offset Frame Tracking" which is a combined stereo track and hero track.

Turn OFF the the "Operate in all views" button on the right side of the tracking buttons. If your initial stereo track was offset correctly, that offset will then carry onwards through the rest of the track. Keep in mind that things like convergence and disparity in the moving stereo image may not work accurately in this scenario, but it will increase performance of the process because you only have to track one eye. You can also then apply additional manual stereo offsets as described in the manual offset section above.

There will be times when tracks can drift due to lack of detail or introduction of small obstructions. When this occurs, manual refinements can be made by using the AdjustTrack tool. AdjustTrack is primarily used for eradicating drift by adjusting reference points to generate keyframable data to compensate.

It is generally not practical to use it to remove jitter. To achieve an adjusted track you would ideally line up the surface area where you want to place your insert or lock down your roto.

The Transform AdjustTrack is designed to be an easier user experience from the Classic AdjustTrack see below by removing the need to use the surface as your alignment tool. In Transform AdjustTrack you can adjust based on specific transforms with as many reference points as you require.

You can set reference points either as a template for the kind of adjustment you want, or add them yourself as needed. After you have chosen the type, click 'Set points' to create the points. You can then adjust the reference points see below. You can add more points to your adjustment as required. Each point contributes to the adjustment of the plane based on the position of the other points.

Once you are happy with the points positions and have set a reference frame, you can start moving back and forth on the timeline adjusting the points for drift. Each point adjustment sets a key frame for every other point in the shot to avoid unwanted distortions. You can see the original reference frame for the selected point in the zoom window in the upper left of the viewer and the current frame in the window below that.

This is helpful if you are ultimately planning on using the surface as your export area and want to make sure it is still lining up. Nudging is used to adjust the track by pixel increments. This helps when adjustments are too subtle to be done by mouse movement. Each arrow nudges in the indicated direction. You can either click and hold the button or use the shortcut keys to nudge. The 'Auto' button in the middle of the direction grid tries to guess where the point needs to be.

It can be useful to start with 'Auto' to attempt to place the reference point first, then adjust manually. Auto Nudge takes the 'Auto' action above and lets you use it space adjustments over the whole shot. If you set 'Auto Step' and define a frame step you can then 'Track' the Auto Nudge using the tracking buttons in the timeline.

Auto Nudge will then nudge the selected reference points at the frame step interval set. The Search fields define how far Auto and Auto Nudge look for the area the point needs to adjust to. You can export adjusted tracks as normal via the file menu or via the Track module just like any regular track. This version of AdjustTrack is primarily used for eradicating drift by utilizing the four-corner surface area to generate keyframable data to compensate.

When you have the Surface where you want it to stay locked and are ready to refine the track, flip over into the AdjustTrack module by hitting the AdjustTrack tab.

As you play though the sequence you will be able to manually adjust the position of each point as drift occurs. If your track is spot on, these reference points should line up properly throughout the shot. If you see a Reference Point drifting, that will indicate the track is drifting. Find the frame where the drift is worst and move the Reference Point back to the position it had in the Master Frame and the track will automatically be adjusted based on your correction.

When you perform an adjust track and you begin to move a newly created reference point, you will notice the dashed lines which connect all of the reference points.

These lines change in color to represent the quality of positioning of any given reference point. For best results keep reference points away from one another. When adjusting the track try to always get at least yellow but shoot for green for a more solid adjust track.

Often there are times where your reference points are either obscured or exit frame. In AdjustTrack you have the ability to create multiple reference points per surface corner that can be positioned in alternate locations to handle these situations. Simply click the New Ref button to create a new reference point for the selected corner.

You cannot keyframe the Surface — only the Reference Points. The original track and any refinements you make in AdjustTrack cause the Surface to move however. Every so often a shot will come along that is easier to track backwards than forwards. This is fairly simple when running the tracker backwards, but introduces some rather obtuse concepts when keyframing is involved.

For example, if you decide to create a new backwards reference point at frame 20, a new master reference will be created at frame Others who do a lot of tracking and find themselves working backwards often may find the backwards-thinking New Ref button helpful. Every Reference Point has one frame in which its initial placement is determined without causing any adjustment to the track. This is called the Master Reference Point; if you step forward or backward in time you will notice the red X change to a red dot.

The red X indicates that this particular frame is the starting point for calculating adjustments. Step forward a frame and move the same point - this time the surface will move because you are now adjusting the track. By default, the frame in which you create a Reference Point is its Master Reference frame. This Master Reference can occur on a different frame for each reference point.

The next button simply cycles through the active reference points for that frame. More fine-grained control of reference points can be obtained through the Nudge control panel, described below.

Deleting Reference Points is done by selecting the point you wish to remove and hitting the delete key. If there are multiple Reference points on a particular corner, the preceding Reference Point will be extended through your time line until a new Reference point is encountered.

The Nudge section allows you to move Reference points in 0. You can easily select any active Reference Point by selecting one of the corner buttons in the Nudge section. If you hit the Auto button, a tracker will attempt to line up the selected Reference Point based on its position in the Master Reference frame. You can quickly select any corner by using the Corner selector buttons in the Nudge control panel. In the image below, the user is selecting the upper right corner in preparation for nudging operations.

Deselecting the Inactive Traces button will cause the display to hide the traces of the inactive Reference Points. This is helpful if you have a corner with numerous Reference Points offsetting it. When you see a drift, carefully cycle through the timeline and look for where the motion starts to change direction.

A frame before this, adjust your drift, then go halfway between your master frame and the adjusted frame to check for any further drift. If you keep working by checking halfway between each keyframe you set, you will reduce the amount of keyframes required.

If you end up with adjustment keyframes on a large amount of frames it may be better retry the track. AdjustTrack is aimed to help reduce small anomalies and fix drift when a tracked corner has become obscured.

If you are fixing every second keyframe it means you have more than a simple drift. Good rotoscoping artists often think like animators, reverse engineering the movements, the easing in and outs, the holds and overshoots of objects, and set their keyframes accordingly. In general, the fewer the keyframes, the better your mattes will look. Too many keyframes will cause the edges to 'chatter' and move unnaturally.

Too few keyframes will cause the shapes to drift and lose definition. Finding the right number and placement of keyframes often comes with experience but there are a few things to keep in mind when rotoscoping.

There is no such thing as a perfect matte. Rotoscoping is an art form that takes into account the background image, the movement of the object, and the new elements to be composited in the background. Try to start your shape at its most complex point in time, where it will need the most control points. Break a complex shape into multiple simple shapes. If you are rotoscoping a humanoid form and an arm becomes visible, consider rotoscoping the arm as its own element, rather than adding extra points on the body that will serve no purpose when the arm is obscured.

Imagine you are the animator who created the shot. What would your dope sheet look like? No matter the medium, whether CG, live action or otherwise, most movements are rarely linear. They normally move in arcs; they normally accelerate in and out of stopped positions. Try and understand the mechanics behind how things are moving in your shot.

This will help you to minimize keyframes. Watch and study the shot before you start working. Where are the changes in directions? These will normally have keyframes. Where are the starts and stops? Are there camera moves that can be stabilized to make your work easier? Beginning roto artists often make the mistake of trying to fix a flawed approach by adding more and more keyframes. Experienced roto artists learn to quickly identify an inferior approach and are unashamed to trash their work and start over, often many, many times.

It is very difficult to get a good matte without a conscious effort to keep the keyframes to a minimum. While you can refine a shape you have tracked to do your rotoscoping, the recommended way is to do a rough shape to track something and then link your roto to that track. This reduces the amount of work required when you are dealing with complex shapes, as you will not have to track and refine each shape as you go.

Another reason is reducing the amount of data needed in your project file. It also helps to remember that your spline shape is linked to your tracking data and not the other way around. First of all you want to reduce as much manual work as possible by tracking. In the example below, the front and side plane of the car is being tracked For a more detailed coverage of tracking, see the Tracking Basics documentation. This means the tracked shape will not be confused with any roto shapes you are making.

Once you have a track for a layer we recommend that you add a new layer to use for the actual roto spline, rather than refining the spline you used for the actual track as you might need to do more tracking with it later.

You will see that a new layer is automatically created. Rename the new layer and link it to the movement of your already tracked layer by selecting it from the 'Link to Track' dropdown in the layer properties panel. Now you have linked the rotoscoping layer to a track, you need to go over the timeline and make sure the roto is correctly animated.

Often you will need to tweak your shape for it to fit correctly, adding new keyframes. Autokey is on by default, so you just need to move along the timeline and adjust your points where necessary keyframes turn up in the timeline as green dots. The tracking data will help for the majority of the motion.

You can also add additional shapes to the same layer using one of the "Add Spline to Layer" tools. This is useful for when you need to do minor adjustments across many points separately. Edges can be feathered either by dragging out feathers point by point using the edge pointer tools in the toolbar or by using the parameters in the Edge Properties panel.

A feathered edge will occur between the inner and outer spline points. For example, if you deselect all points by clicking anywhere on the canvas you can then use the Set button to apply the default 3 pixel edge width. Because no points are selected the value is applied to all points on the current layer. You can then tweak the position of all spline points to ensure that the inner red spline is inside the edge and the outer blue spline is outside the edge.

In many instances one track will not be enough. You may need to track more than one plane to drive different sets of roto. In the car example, we have to track the front and the side to get an accurate track for each planar region to assist the roto effectively.

In the case of organic shapes, like people, you will have to break your tracks down to handle the different movement between the torso and the arms etc. Use this tool with care, as it is not setting any keyframes per se, it is offsetting any and all keyframe data on the points you move while it is on.

Use with care. If you wish to make adjustments to a particular range, set the In and Out points to that range. You can translate, rotate and scale selected points as a group by using the corresponding tools listed in the toolbar. You can turn on and off individual points in a spline. When they are off, you can still see the points, they can still be animated, but they are not contributing mathematically to the spline.

This allows you to have a complex spline only when you need it, rather than having to deal with superfluous points in parts of the shot when they are not needed. You will see the curve change shapes, but the points will remain.

You can use the movement of the individual spline points to determine motion blur. You can control the amount of blur by changing the motion blur value in the Edge Properties panel. Angle simulates how long the shutter is open for if we were viewing through a real camera, so the range is between:. The reason we refer to angle as opposed to "amount" is that camera shutters used to open with a rotary action, so a smaller angle would let in less light, and thus reduce motion blur.

Because Phase is based on the shutter angle you can adjust between the range and i. The steps of motion blur you want to render. The lower the quality, the faster the render speed. The default is 0. Although not necessary in this example, note that you can change how mattes are blended in the Layer Properties panel. In the View Controls, several options are offered for viewing your mattes. The Matte drop down is has options to view all mattes, just the mattes you have selected or no mattes.

You may wish to rotoscope against a particular color. When you have your Mattes turned on, you may choose for the matte to be filled with a color instead of cutting out the object, using Colorize.

You can adjust the opacity of the color fill by changing the blend value to the right of the Colorize button. The color used by Colorize is derived from the Selected and Unselected properties of the Overlay Colors panel, which can be changed per layer. If you want to get a better view of your roto, you can get a better view by turning off some overlays.

This allows you to view the actual rendered mattes, which can be especially useful when tweaking motion blur. The motion blur you normally see in your canvas is an OpenGL preview and can differ slightly from the actual render.

Because you can choose specific layers for export when you render, a render pass is created for each layer. If you want to draw open splines, you can simply hold shift when you right-click to finish the spline. This will open the shape up. You can open an existing shape using the Open Spline shortcut key by default this is 'o'.

You can close an existing shape using the Close Spline shortcut key by default this is 'c'. Naming layers is very important to save yourself time later, especially if you are doing a heavy rotoscoping job. Get into the habit of labeling each layer with specific names. If you are working on a tight roto it can sometimes be easier to turn the spline off and just see the matte with the control points. To do this:.

If your other view options are at default settings you should now see the matte in the viewer with only the tangents and control points visible. The Magnetic Tool draws a pixel line that snaps to the nearest edge to where the cursor lies, tracing the shortest path from any previous click. Similarly, if you go off the edge of the frame, the magnetic tool will also switch to Freehand mode, so you can freely continue the shape. One you have completed a drawn line, you can either click back on the original point, or right-click.

X-Splines generated by the Magnetic and Freehand tools have a fairly high point count to match the subtle changes in the line. Finish drawing the line and right-click. This will automatically switch your cursor to the selection tool.

You can snap the control points of any spline to edges of an object by using the Edge Snapping tool. Keep in mind this will naturally try to find the most visible edge, so in some cases snap may not find the edge you want. In these cases it may need to be adjusted manually. Paint strokes that cross over an existing layer spline will intersect with that spline, or subtract from it if you are using the alt modifier key.

Once done, you can turn off Quick Mask if it is on or just release the mouse button and a spline will be generated. For finer control, the brush size will also change according to the set pressure sensitivity from a drawing tablet.

Quick Mask stops the Area Brush tool from generating a spline as soon as you release the mouse or lift the tablet pen Once you have painted what you need, you can turn Quick Mask off by pressing the button and the spline will be generated. The number in the field is a pixel diameter. Any gap in a closed painted area that is smaller than the number in the field will be filled. For example:. A large fill gap setting is useful for quickly circling an object with paint to make a filled spline.

The tool is under the main Area Brush icon. Just press and hold the toolbar icon to select the brush from the list:. Once done, you can turn off Quick Mask if it is on or just release the mouse button and the resulting spline intersect with the existing layer splines:. If Quick Mask mode is off, this will erase the existing spline if you are using the Add Area Brush tool.

Just paint as normal holding down the modifier key:. Draw a new basic shape and track the object you want to rotoscope as outlined above in "Stereo Tracking". Click the "Link to track" drop down in Layer Properties and choose the previously tracked layer. When you switch to the non-Hero view the rotoscoping will be offset by the tracking data.

While this will not completely refine the result, it will save you a lot of time. Whenever you manipulate a control point in the Hero view it will offset that control point in the non-Hero view.

When you start to tweak the non-Hero view it will also generate new keyframes for that view only and will not affect the Hero view. You can see these keyframes represented in the timeline by split left and right keys.

If you wish to directly modify the control point in both views when working in either view, you can turn on the "Apply Keyframe Changes to All Views" button at the very end of the timeline controls to the right. If you need to offset your tracking or roto manually see below , you can use the Difference 3D view to help align the layer. Turn on Difference mode.

Offset X and Y until the screen gets as close to blank middle grey as possible. You can optionally also adjust the other Stereo parameters. The corner pin data records and exports the 4 point x, y information from either the adjusted track or the raw track.

There are three different types of corner pin exports — two for recent After Effects versions and one for CS3 and older versions of After Effects. The Power pin data is very much like corner pin, but the exported effect gives you more control over the results in After Effects.

The transform data exports x and x positions as well as the scale and rotation for the whole surface. If you click Save , this will display a file browser for saving the tracking data for use later.

If you are saving to file you will need to open the text file you saved with the data, select the entire body of text and copy it. Select the item on the timeline that is the insert object. Paste the data to the selected layer. If you are pasting transform data rather than corner pin data then you will need to delete the anchor point keyframes to see a result. We export both position and anchor point keyframes so that stabilization or tracking can be achieved.

See below. If your insert is not the same size as the dimensions of the composition in After Effects, you will need to take a few further steps to make sure your corner pin data fits correctly. The reason for this is that tracking data is basing itself on the relative size and aspect ratio of the footage, whereas After Effects treats the corner pin data relative to the size of the layer you are applying it to.

To get around this, you can take the following steps to modify the insert layer in After Effects:. Open the Precomp you just made and fit the layer to the composition dimensions Layer Transform Fit to Comp. Apply a manual corner pin to your insert layer in After Effects and place it in the desired position for any frame. In Mocha, go to the same frame in the footage you applied the corner pin to in After Effects and select the track.

On this frame, turn on your surface and click "Align Surface" in the Layer Properties panel. This will apply the tracking data relative to the full dimensions of the footage instead. If you need to adjust the insert, just open the precomposed layer and tweak the manual corner pin you made. Track your footage as normal, then turn on the Surface button and center the surface box on the area you wish to use as the stabilize center. Export the tracking data in the After Effects Transform format.

Select the Invert checkbox option. Switch to After Effects, select the layer you wish to apply the stabilize data to and paste it to that layer. Alternatively you can also use the After Effect Corner Pin export using Invert in the same way to get a correctly warped stabilized image. This section explains how to export tracking data in a format readable to Silhouette Tracker nodes, how to import the data into Silhouette and how to use it for match move tasks.

Track an object in the usual way, and use AdjustTrack to correct for any drift if necessary. The exported tracking points will be the four corner points of the Surface, so you should position these appropriately. You can then use a 'Composite' or 'Math Composite' to combine the corner pinned image over the top of the background image:. This example illustrates how to export Basic Motion data to Final Cut Pro or Final Cut Express, and use it to matchmove one clip to another, with translation, rotation and scale.

The exported tracking points will be the four corner points of the Surface, so you should position these appropriately before export. The distort option exports the 4 point x, y information from either the adjusted track or the raw track.

The points exported are the four corners of the surface. The basic motion option exports x and y positions as well as the scale and rotation for the whole surface. The position exported is the center of the surface. Now click Save. This will display a file browser; you need to select a filename and directory for the files to be saved. Now open the Final Cut project where you want to use the tracking data.

If your original footage was a QuickTime file, then the new clip in Final Cut will point to this footage. If it was an image sequence, the clip will be connected to the first frame of the sequence, stretched to the duration of the whole clip. In most situations, you want to apply the tracking data to a different clip in your timeline. To do this, you can copy and paste the data from the imported clip onto any other.

Drop your imported clip into the timeline, then select it and press Cmd-C to copy it to the clipboard. Now select the clip you want to apply the tracking data to and press Opt-V Paste Attributes. You will see a dialog asking you to choose which data to paste. Depending on the kind of data you exported, tick either 'Basic Motion' or 'Distort' and untick all the other boxes.

To use our tracking data for stabilization in Final Cut, follow the same procedure as for a basic motion export, but tick the Invert checkbox in the export dialog. You can also copy the stabilized data onto another clip using Copy and Paste Attributes as before.

Many issues of track misalignment can be corrected by choosing the right film type, frame rate and interlacing settings in our software. These controls are on the Clip page in the Film, Interlaced and Time tabs.

In Final Cut, check the sequence settings to confirm the correct PAR for the clip, then use the equivalent setting when tracking in our software. If you have already tracked with the wrong film type setting, you will need to re-track after changing it. This is usually caused by a frame rate mismatch. Check that the frame rate and interlacing settings match between final Cut and our software. This can be caused by a mismatch in the Final Cut Anamorphic setting. If you are working with anamorphic footage, ensure that you have the 'Anamorphic' setting checked in your Final Cut sequence settings, and in the clip properties.

You also need to use one of the anamorphic film types when tracking: any of the film types with 'Anamorphic' in the name should give correct results when importing the data into Final Cut.

Next, choose 'Motion basic transform. Inside Motion, you can either choose to open the exported file as a new project or drag it into an existing project. You will see a Group containing the footage you tracked as well as a blue solid called "Surface". If the surface layer does not automatically apply to the behavior, drag the surface layer onto the Match Move behavior.

If you are just using transform, Match Move defaults to this option and you can set transform, scale and rotation. If you are using corner pin, select the 'Four Corners' option from the 'Type' drop down.

Check that the frame rate settings match between Motion and Mocha. This is normally due to the layer you are inserting not being the same frame size as your project media.

You can fix this by either changing the insert to fit the dimensions, or scaling the insert inside motion to match the dimensions. If you are going to scale the layer to fit, you should do this step before you apply Match Move. This section explains how to export tracking data in a format readable by Apple Shake, how to import the data into Shake and how to use it for match move, corner pinning and stabilization tasks. To load the tracking data in a file into an existing Shake Script follow these steps:.

At this point you have successfully imported your tracking data from Mocha into Shake. But what exactly did you import? The MatchMoveLayer is used to apply the tracking data to a foreground element that you wish to matchmove to a background. It consists of two inputs, the background and the foreground. The foreground element will be the element you wish to apply the match moving data to. The foreground is connected to the left side input of the node while the original tracked background element goes into the right hand side.

The next node is the CornerPinLayer node. This node has a single input and works just like the left input of the MatchMoveNode. It takes your foreground element and applies the scaling, rotation, and translation data to it and prepares it for compositing into your next layer.

The last exported node is the Stabilizer Node. Just as the name implies, it takes all of the exported tracking data and uses that data to stabilize your input clip. With this node, for example, you may apply this data to the background element you tracked to make for an easier composite.

Now that you have successfully exported and imported your data into Shake you are ready to continue working on your project. This section explains how to export tracking data in a format readable by Nuke, how to import the data into Nuke and how to use it for match move, corner pinning and stabilization tasks. In Nuke, append a tracker to the background clip, e. On the import Ascii dialog, press the folder button next to the file name, browse to the file you exported, select it, click 'Open' and then click 'OK'.

If you choose Copy to Clipboard you can immediately switch over to Nuke and Paste the data. Alternatively you can import your saved Nuke Script from the File menu.

You can export a Corner Pin straight to the clipboard or to a. If you choose Copy to Clipboard you can immediately switch over to Nuke, select the node you wish to apply the corner pin to and Paste the data.

This section explains how to export tracking data in a format readable by Fusion, how to import the data into Fusion and how to use it for match move, corner pinning and stabilization tasks. Now import the clip that you want composited onto the background and tie the output of the clip to the input of the tracker node.

In the settings of the tracker node, select the 'Operation' tab and select either 'Corner Positioning' or 'Match Move' to composite the insert clip on top of the background. Notice that you can switch 'Position', 'Rotation' and 'Scaling' on and off for different effects.

This section explains how to export tracking data in a format readable by Autodesk Inferno, Flame, Flint, Smoke and Combustion. Select 'Autodesk Flame Axis. In Combustion, create a layer with the foreground graphic and set the layer shape to 'Four-Corner'. Now select all four corners of your layer, enable the 'Tracker' tab and select 'Import Tracking Data.

Activate the insert layer visibility and you will see that the insert layer is now tracked to the background element, even though the image is not sized correctly yet. Select all trackers and set the mode to 'Absolute' to resolve this. If you prefer to import your data one point at a time you can instead select one track point and import the Ascii file with the corresponding tracking data. Remember to switch to 'Absolute' mode once all data has been imported. Firstly, we will set-up a corner-pin composite in the Action module, to reproduce the basic compositing operation.

Create a new Bilinear Surface. Go to Surface then click the S button next to Track. You should now be in the familiar stabilizer module. For this example we are doing a corner-pin so we will need to use all four trackers.

Now browse to the corresponding file, e. The files correspond to trackers as shown below. Repeat the process for the other three trackers, making sure that you use the correct files as shown in above. You should also mark each tracker as Active if it is not already.

An alternative use for the tracking data is for stabilization. You can use the Stabilizer module to do 1-, 2-, 3- or 4-point stabilization. In this example, we will do a 1-point stabilization to stabilize for position only, using the center point.

You should now see the key-frames loaded and be able to process. If you want to use more points to stabilize zoom, rotation, affine and perspective moves, just load the corner tracks as described in the Corner Pin section. Create a scaffold with a the image you want to insert Make it a bicubic since you want a 4-corner pin deformation. You can save the data as a text file and import it. On your DS v Now right-click "R1 Tracker Y" and select "Import tracking coordinates". HitFilm will then load the Composite Shot with the footage you tracked in Mocha and layers with either a Quad Warp for corner pin or the layer with transform animation applied for Transform.

You can then either relink the media in the composite file to the desired insert, or copy the Effect or Keyframes to the desired media in your existing composite. In the Quantel system, select the TrackImport plug-in, and use the plug-ins file browser interface to select the tracking data file to import.

Then click 'Settings' and choose 'Tracker' in the settings window and click 'Save'. The tracking data can now be used in a manner identical to tracking data generated within the Quantel system. To import the tracking data into the plugin, you start by selecting an available Data slot and then either paste from the clipboard or open the exported file:. Once imported, you can then adjust your scene to fit the data.

It is important to make sure you check the warnings and correct any relevant items before setting up your rig:. If there is a warning about format mismatch, click the green "Import Format" link in the MochaBlend window.

If there is a warning about no camera rig, click the green "Create Rig" or "Set Active Rig" according to your needs. Finally make sure that you click the "Set Timeline to Data" if your project timeline is different from the frame range you tracked in Mocha.

You can then go ahead and tweak individual settings in the MochaBlend plugin. See MochaBlend documentation for further information on working with tracking data in the plugin.

Exporting stereo Track data from Mocha is the same as exporting in mono mode, however when you are in multiview mode you can choose the view you want to export. Select the view you want to export or check "Export all views" if it is available for that export format.

Click "Copy to Clipboard" or "Save" depending on your preference. Note that some exports only allow you to save the data. Mocha exports a flat mesh with X and Y coordinates for each mesh vertex generated via the Mesh parameter in the Track module. The export also includes a camera to make sure the mesh is projected correctly to the original footage dimensions. Alembic meshes also contain UV mapping so you can easily warp a texture to the mesh without needing to set them up yourself.

Track a layer using PowerMesh by selecting the "Mesh" parameter and generating a mesh. See the PowerMesh section for more details on Mesh tracking. Choose "Alembic Mesh Data.

By default the number in the field is the frame you generated the mesh on. You can use the ReadGeo in combination with the Scanline Renderer node to composite warped textures over the top of the original footage:.

If you view the node, the mesh should now be correctly projected over the top. Add an image or material to the 'img' input of the ReadGeo node.

This will then project the texture onto the Mesh. You can use the ABC node in combination with the Renderer3D node to composite warped textures over the top of the original footage:.

Merge the Renderer3D node over the top of your source footage node. If you view the Merge node, the mesh should now be correctly projected over the top. Add an image or material to the input of the mesh node that is the same as your mocha layer name. The render dialog will give you options to choose either the currently selected layer, all visible layers or all the layers in the project.

Index Start: The number to start the exported sequence from. By default this is the first frame in the timeline. This currently only supports ProRes. The render dialog also allows you to render to single footage streams or a combined stream via EXR. All Visible: Only the layers that have visibility turned on in the layer controls.

By matte color: The same as Grayscale, only the mattes are colored according to what you defined each layer matte color to be in the Layer Controls.

To single footage stream: Renders all views to a single file. If you have chosen to render the current view or separate footage streams, the view abbreviation will be suffixed to the rendered export automatically, so there is no need to define this in the file name. The 'plane' that was generated by the Planar Tracker. This defines the overall movement of the shape s. When you are ready to export, select Export Shape Data button. On the dialog that opens, choose if to export the selected layer, all visible layers or all layers.

When you have made the right selection, click Copy to Clipboard , then switch to After Effects. In After Effects, import the same footage and ensure that the frame rate and pixel aspect ratio are the same as those used when generating the shape. Bring the footage into a composition, then select Edit Paste to add the shape effects to the composition.

Each shape exported will come across as its own plug-in effect. You can choose to change the blend mode from the one assigned to the shape by selecting Multiply, Add or Subtract from the dropdown menu.

If you have created the shape with feathered edges but wish to switch these off, untick this parameter. Note that if you have not created feathered edges this will have no effect.

This setting allows you to choose between various render effects. The default is the 'Shape cutout' which uses the matte to cut out the corresponding area in the background footage.

Note that the Opacity setting affects this color fill, allowing you to blend it with the background footage. Defines the color of the color fill applied when selecting the 'Color composite' render type. Defines the opacity of the color fill applied when selecting the 'Color composite' render type. You can also apply the masks to most effects, by adding the effect to your clip, selecting the effect in the Effects panel and pasting.

When you have made the right selection, click Save and select a destination to save the XML file to, then switch to Final Cut. To use the shape to composite the rotoscoped object over a new background, simply place the Mocha shape sequence in a video track above the background sequence.

If you want access to the actual matte, individual layers of the matte or control that affect the appearance of the matte, double click on the Mocha shape sequence to reveal the two main sequences it consists of - the original sequence and the ContourSequence. Double clicking the ContourSequence will reveal the individual layers that the ContourSequence consists of. Dragging a layer into the viewer and selecting 'Controls' will give you access to controls of that layer, as shown below.

This makes it easier to change the mask data in Flame or attach other nodes to the Axis tracking data. Flame Tracer [Basic]. Flame Gmask Script. A dialog will show with a drop-down containing 3 different saving options. Choose the target application and hit Save. The data going into the file is not binary, and is shown in the dialog so that you may copy and paste it directly into a text editor if you prefer to work that way.

Because of differences in the way Splines are handled in the application, maintaining accurate keyframe interpolation between our software and the other applications requires that the exported shapes have a keyframe on every frame.

HitFilm will then load the Composite Shot with the footage you tracked in Mocha and layers with shape masks. If you choose Copy to Clipboard you can immediately switch over to Nuke, select the node you wish to apply the shape data to and Paste the data.

You have the option of exporting Basic Roto data which bakes the keyframes, or Transform and Shape data which separates the tracking data from the manual keyframes. The SplineWarp node exports each layer as a joined set of splines with the spline keyframes separate from the tracked data which is set in each curves transform. For example if you only have 1 tracked layer to export, Mocha will export that layer to SplineWarp as two joined splines in A.

To import the shape data into Fusion, either paste directly into the Fusion Flow View or open the comp file from the file menu. The Mocha layers will come in as separate nodes into the Flow View. To import the shape data into the plugin, you start by selecting an available slot in MochaBlend and then either paste or open the data file:.

You can then go ahead and create the splines under the Objects settings. See MochaBlend documentation for further information on working with shape data in the plugin. Exporting stereo Shape data from Mocha is the same as exporting in mono mode, however now you can choose the view you want to export.

If you would prefer the nodes to be separate, export using the different views instead of checking the all views option. The range of frames you wish to export. If you choose to export the full range but have not rendered all your frames, the next drop down, "Revert to clip" will be used.

Choose how to export frames that have not been rendered. If you choose None or the current clip to export, black frames will be exported for non-rendered frames. By default, this will just export the flattened render Color , but if your render has alpha you can choose this also.

To single stream: Renders all views to a single file. This is particularly useful if you cannot get a good track on the plane you need, as you can track other planes in the shot and use them to give you track in 3D space instead. As we are dealing with 3D calculations rather than 2D planar projections, the workflow is slightly different to a usual planar track.

In order to get a good camera solve you must first identify what type of track it is. Mocha recognizes three types of camera situations:. Pan, tilt. PTZ cameras are looking for overall movement in the camera plane, rather than changes in the physical planes within your scene.

Small Parallax is where the camera is not fixed to one point in space and has a lot of mid-ground planes that can be tracked. Large Parallax is where the camera is not fixed to one point in space and has trackable planes very close to the camera. It is referred to as Large Parallax because closer objects move at much greater perspective and distance to the camera than objects further away.

PTZ solves are a little different from perspective solves in that they only need to look for how the camera is behaving when fixed, such as on a tripod. Locate a large area in the shot that can be tracked. If your track pans around more than around 60 degrees, stop the track and create another shape to continue tracking.

The second shape will need to start further back in time than where the first one stopped tracking, so their tracking information overlaps on the timeline. This will help the solver blend together the tracking information of multiple shapes. Turn on the process cog for all tracked layers you wish to use for the solve. Do NOT select layers that track moving objects: The camera movement is determined by static objects. See Exporting Camera Solves for details on how to export moving objects to 3D after a solve.

If you select Pan, Tilt, Zoom , set the focal length. Most commonly this will be mm. You can choose more than one if the focal length changes. Also choose Zooming if the is any camera zoom in the shot. Once Mocha finishes solving the shot, you can then export the solved scene.

See Exporting Camera Solves for further details. Small Parallax shots require at least 2 non-coplanar tracks to solve the scene. Non-coplanar means not on the same plane as each other. Examples of non-coplanar areas include:. Two camera-facing areas at noticeably different distances from the camera, such as one building in front of another. Locate planar areas in the mid-ground of the shot that can be tracked.

These objects should not be moving in the shot, so choose areas like walls, ground, tree trunks etc. Planes too close or too far away from the camera may not help a Small Parallax solve. Turn on the grid so you can see how the planes are moving.

Adjust the surface to fit the planar perspective if you need to see this movement more accurately. If you lose the track due to obstructions or the object moving off screen, stop the track and create another shape to continue tracking. Choose either Auto to let Mocha guess the right solve, or choose Small Parallax from the drop-down. If you select Small Parallax , set the focal length. Like Small Parallax, Large Parallax shots also require at least 2 non-coplanar tracks to solve the scene. See examples of non-coplanar areas above.

Locate planar areas in the shot that can be tracked. Choose either Auto to let Mocha guess the right solve, or choose Large Parallax from the drop-down. If you select Large Parallax , set the focal length. When a solve is complete, the Solve Quality bar will tell you how accurate the solve has been. If you get a poor percentage check to make sure your tracks are locked on accurately, add additional layers to help the solver or try a different solve type or focal distance.

Camera solves also work with Multiview footage. Like with tracking, a stereo camera solve is designed to be as similar to the Mono process as possible.

Read about Dune. The improved Insert Module features warped surface compositing driven by PowerMesh tracking for a new streamlined workflow. Now mesh tracking can be rendered with motion blur! Finish simple match moves in one AE effect without precomps! Watch Insert with PowerMesh Video. RGB channel tracking and RGB viewer controls Multi-link layers and link mesh tracking to existing planar track layers Quick stabilize now works by selected layer for improved roto workflow Improved dope sheet for keyframe editing, sliding, and navigation Improved roto exports for Nuke and Silhouette with split track and spline keyframes New Exports: PowerMesh to Nuke Tracker and PowerMesh to Alembic transforms.

Explore Mocha Pro documentation. Rock solid planar tracking is at the heart of all Mocha Pro modules. VFX artists turn to Mocha for its ease of use and reliability when faced with the most difficult shots.

Mocha is versatile, so use it the way you want Mocha Pro can export tracking, roto shapes, lens calibration and 3D data in a wide variety of formats, or render to file or back to your host. PowerMesh enables a powerful sub-planar tracking process for visual effects and rotoscoping.

Now Mocha Pro can track warped surfaces and organic objects, making it even more powerful for match moves and digital makeup shots. Use PowerMesh to to drive roto shapes with less keyframes. Export or render roto to most popular host applications. X-Splines and Bezier splines with magnetic edge-snapping assistance and Area Brush tool help create detailed mask shapes — without requiring drawing skills.

PowerMesh warped splines deliver even more accurate results when masking organic moving objects like musculature, skin, fabrics, and more. Learn some Mocha masking tips. Launch Mocha Pro from within your favorite hosts:. The plugin can be purchased by host. A multi-host plugin license is included with standalone application and Boris FX Suite.

Remove unwanted elements, wires, rigs, tracking marks, and cameras. Generate clean plates for massive time-savings. The Remove Module is an amazing alternative to traditional clone techniques for removing objects. It automatically detects temporal clean frames to blend and align pixels with little user input. It's like Content Aware on steroids! View Remove Module tutorials. Mega Clean Plates!

Beyond object removal, this same technology can also be used to create a large, stitched image out of multiple frames. Learn more about Mega Plates. Render accurate match moves and screen inserts with realistic motion blur or warped distortions.

The Insert Module can now be driven by PowerMesh and has improved compositing with higher quality sub-sampling and blend modes. Use the redesigned Grid Warp tool to bend and deform insert elements to match curved and distorted surfaces.

View Insert Module tutorials. The Stabilize Module can lock down camera motion or stabilize based on select tracking layers.

Export stabilized tracking data or render a stabilized clip. With PowerMesh tracking enabled, the Stabilize Module can produce an inverse-warped flattened surface for paint fixes. Original motion is easily propagated back to the original. For general editing, a smooth option with selectable anchor frames helps reduce high frequency jitters while maintaining original camera motion. Center, scale or crop stabilized footage based on user-driven tracking. View all Stabilize Module tutorials.

The Lens Module provides a simple and easy-to-use interface to calibrate the distortion introduced by camera lenses. Remove unwanted lens distortion or match it to composite realistically.

Now faster with spline-based calibration and the ability to save calibrations settings for lenses. View all Lens Module tutorials.

 

- Boris FX | Mocha Pro

 

Welcome to Mocha, tracking and rotoscoping tools that make your tracking and rotoscoping work much easier. Our tools are based on our proprietary Planar Tracking technology, an awesome approach to 2D tracking which will help you to generate accurate corner-pins and track and transform your roto splines in a powerful way.

Tracking and rotoscoping are part of almost any visual effects project. For 2D tracking, point trackers are most commonly used, but to get good point tracks requires a mix of experience and luck. If the point being tracked exits frame, you get into offset tracking, which presents its own set of challenges. If it all fails, you are into hand tracking, which is time consuming and very hard to get accurate.

Mocha is a 2D tracker that requires less experience and luck to be successful with, does not require the image to be primed and is less likely to require a lot of tricks or hand tracking on difficult shots. In Mocha splines are used for both tracking and rotoscoping.

This is a different method from standard 1-point or multi-point tracking tools. This is itself a difficult task, especially when tracking a shot that was not originally designed to be tracked.

If you wish to also track rotation, perspective and shear you need even more clear and consistent points to track. Even when using multi-point trackers to impart rotation and scale to the roto spline, the results are often unusable if there is any perspective change during the shot.

A plane is any flat surface having only two dimensions, such as a table top, a wall, or a television screen. Even as an object leaves and enters a frame, there is usually enough information for the Planar Tracker to maintain a solid track of the object.

When you work with the Mocha tools, you will need to look for planes in the clip. More specifically, you will need to look for planes that coincide with movements you want to track. If someone is waving goodbye, you can break their arm into two planes - the upper and lower limbs. Although not all of the points on the arm sections actually lie on the same two-dimensional surface, the apparent parallax will be minimal.

With the addition of PowerMesh, subplanar tracking is also possible, tracking warp and bending of objects that standard planar tracking would struggle to do alone. See the section on Exporting to Alembic for more details on how to use the format. This option is also available in the plug-in render options so you can easily unwarp an area, modify it, then rewarp with a copy of the original effect.

Out of Process Mocha Plug-In: The Mocha Plug-in now operates as a separate process, which allows far greater resource management and stability. See the separate Python Guide for more details. To quickly get familiar with Mocha before you dive into the rest of the manual, here is a breakdown of the interface and its controls.

Mocha begins in the Essentials layout, which provides a simplified interface for basic tracking and roto. The Essentials panel on the left side of the window combines everything you need for a basic track. To attach a spline layer to an existing track, or detach it from a track entirely. These buttons control viewing and expanding the surface. See Tracking Basics for how to use the surface effectively.

Show surface tracking data : Reveals the blue surface that represents the tracking data. Show grid: Reveals a useful grid for lining up the surface or monitoring for drift in a track. Align surface: Expands the surface to fit the dimensions of the footage on the current frame. Like the Essentials layout, this layout is optimized specifically for roto sessions where only the most necessary panels and tools are shown. If you want to reduce all clutter entirely, the Big Picture layout is very useful for previewing shots without any elements getting in the way.

These can either be access by right clicking the area of the interface and choosing a GUI element to show or hide, or selecting from the View menu. Any changes you make to a layout will not be saved unless you choose View Layout Save Current Layout. For example if you like the Essentials layout, but would like the Advanced toolbar from the Classic layout:. You can add, order or remove layouts from the Manage Custom Layouts dialog in the same sub-menu.

If you have made changes to a saved layout want to revert back to the saved version, just choose View Layout Revert to saved. If you want to revert back to the original default layout, just choose View Layout Revert to default. At the very top of the interface you have the tools that form the brunt of your time inside Mocha. Select: Selection tool for splines and points.

Hold the button to choose between Marquee selection and Lasso selection. Select Both: Selects both the Inner spline points and the edge points. Hold this button down to select further options See below.

Select Auto: Automatically selects between Inner and Edge points. Useful for lining up individual splines. Rotate: Rotate selection around the axis of the point you click in the viewer.

Transform Tool: Toggles the transform bounding box for manipulating selections. Show Planar Grid: Toggles a grid relative to the planar surface view.

You can adjust the number of grid lines under Viewer Preferences See below. Align Surface: Expands the layer surface to fit the dimensions of the footage at the current frame. All tracked data is made relative to this new alignment. Proxy Scale: Adjust the resolution of the footage for performance Mocha Standalone only. Show Layer Mattes: Toggle on or off to show the mattes.

Select from the dropdown to choose the type of matte. Color Layer Mattes: Fills matte with Color. Decreasing the value lessens the opacity. Overlays: Toggles all viewer overlays, including splines, tangents, surface and grid. Show Layer Outlines: Toggles all spline overlays, including splines, points and tangents. Show Spline Tangents: Toggles spline tangents view. Select from the dropdown to choose the type of view.

View Mesh: Toggles Mesh view. Select from the dropdown to choose either the mesh or just the vertices. Stabilize: Turns on stabilize view. This centers the footage around your tracked surface. Trace: Turns on the traced path of the tracked surface. You can adjust the amount of frames to trace under Viewer Preferences See below. Enable Brightness Scaling: Toggles brightness adjustment to work with low-contrast footage.

Viewer Preferences: Adjustments dialog for parameters such as grid lines and trace frames. Also controls for viewer OCIO colourspaces.

Reset In-Point: Set the in-point back to the start of the clip. Current Frame: The frame the playhead is currently on. Enter a new value to jump to that frame.

Reset Out Point: Set the out point back to the end of the clip. Zoom Timeline to full frame range: Resets the timeline scale to the full range of frames. Play Controls: Controls for playing back and forth and moving one frame at a time. Tracking Controls: Controls for tracking back and forth and tracking one frame at a time. Go to Previous Keyframe: Jump to the previous keyframe set in the timeline for that layer.

Go to Next Keyframe: Jump to the next keyframe set in the timeline for that layer. Add New Keyframe: Add a new keyframe at the current position for the selected layer. This only appears if you are not hovering over an existing keyframe. Delete New Keyframe: Deletes the keyframe at the current position for the selected layer. This only appears if you are hovering over a keyframe.

Delete All Keyframes: Deletes all keyframes on the timeline for the selected layer. Autokey: Toggles automatic key insertion when moving points or adjusting parameters. Align Selected Surfaces: Aligns the selected layer surfaces to the dimensions of the footage at the current frame. Toggle Active at current frame: Activates or Deactivates the layer on the current frame. Group Layer: Groups the currently selected layers. If no layers are selected, creates an empty group.

Blend mode: Dropdown to add or subtract your spline to the current layer. Invert flips this. Insert Clip: Insert a demo clip to preview your track. You can use one of the defaults or import your own.

For preview purposes only. Can also be set to None. In Mocha v5 we introduced manual cache clearing to allow you to clear the Mocha cache at the project, render or global level. Some interface elements change when using Stereo footage.

This section covers what new icons appear and how to interact with them.