Tip:
Highlight text to annotate it
X
Xin chào
welcome to make project my ben Brown from curious turtle
and I'm could be taking you through the the next few hours
of training in mocha and showing you
how to get the best use out at the software
both in terms of tracking difficult footage
and in terms all for achieving some real-world projects
in different hosts of way so the basic structure is gonna be
that will be looking at the project first in mocha and getting as much work
done
im ok which we can before we transfer over in two different
host applications so in that way you can then focus
on whichever host application is most applicable to you
know which party will be looking at different challenges and will be looking
at different features within
mocha and various host applications about how we meet those challenges
and it excites which can be getting a bit of a of
housekeeping out of the way to be looking at the interface little bit
exploring the idea of what term plane attract me is because really that's the
fundamental strength
all mocha is the the plane a tracker
solely exploring those sort of things are rediscovering the basic idea is
first
so let's get to it and let's look at the interface now
you might notice that I'm working in MacPro Topman
but the basic interface and the way the you work with mocha
is the same regardless of what you work a mocha pro mocha
almoco for After Effects so we look at the interface for mocha a 5.5
you see that actually it looks exactly the same
as a smoke pro it's just the MacBook Pro has as a few different
extra features and a few extra taps down here there are a couple of other
differences between mocha
and Mo K obviously I'm okay is designed for
working with aftereffects exclusively so we don't have somebody
exporting functions that we have in mocha or Mike probe
so who exporting out from oklahoma
pro we have a whole host old different export choices
over a month he we actually have fewer export options
if work in the version that is bundled with cs5 what is 5.5
we actually can only come out to after affect tracking data
or export out shape data
for of to fix it now working on the full version mccray
we can also go out to Final Cut Pro and motion
as well this of course goes on any the other small differences
the comes up I will be a will be mentioning student how particular better
functionality
it's probably cuz you not working on abyss of whether supported
Bible we mention that as we go along and were possibly be using the universal
functions
we often application specific ones let's actually talk about playing a tracking
I'm because this is the the biggest difference between mocha and
everything else around and loans the route
all everything that we can be doing in the schools such as pop into of perfect
for second just to
to show you the difference is we've got some
the most common track a that you'll be facing is
the point tracking so the the trustee point racket been around for
ever I am really what it does
is it tracks I'm a small little feature he
iTraxx that feature in a a large box
and moves frame by frame and tries to find that feature in
the next frames here so
detente fifty-point trackers that he's very fast to
to calculate and two work two different different points
some the big problems are I'm and depending on which application will
actually work
in these problems are worse or better but some of them are you know they they
can sometimes not be
the most accurate track in the world if we
zoom in just a little bit He and look through that
X is bouncing around just a little bit to share motion path there is no
exactly smooth and so they can bounce around a little bit
but jaime Hammer hurricane that regard am
it also becomes very difficult if you need to to offset this
so for example say that this area here had been
obscured by something else all the the lighting changes in it or you've got a
particularly
noisy but a footage that can be quite tricky for the
for point racket track and it can be quite tricky to
offset this in a way that the the track itself will continue on
once we've lost Irish new point
the other difficult bits come where if we need
a bit more information say we need to scan rotation
you know we have to then be fighting not just one
Traci Mon tracking point we also have to find
place for another track so we need
at least
to tracking points generally within the same solve area he
to to be outperform I scale
over rotation track and all that same problems we had with the
the sort of sometimes the bounciness up no tracking to Norway's
within one point tracker we've now got that doubled
with two-point trackers so it can be you know actually more than twice is a
as tricky to get a completely accurate track in this footage is actually not
too bad obviously because because
nicely well exposed footage with good tracking marks a poof if you don't need
any tracking before you know the you know the issues will have
and if we want to do things like on a pending we've got even more issues
because
that point there we start have to work with focal point trackers
so we don't have for good tracking marks
for the tracking point you know we end up in
he did not be in today probably oren quite assumes
series jam mo get away from that but I am
actually not tracking pointed toe eat tracks
shapes so israeli tracking text is instead of points
so who wants the same things we just saw in in After Effects I want
track the scan rotation this back
area here setting up to point tracks
I would destroy shape around this area here don't worry about how I do that
shape because we'll be going into that
in very great details in so I just be during a
shape around the whole areas in which track that plane there
and then i distract forward so I said just tracking those two point
we now have this entire shape it in time an area he
that it's going to be a going to be tracking so this is actually much more
robust
way of working especially if we have no witty footage
things with motion blur all that so stop
CC that's come in with no problem and
I'm easily able to extract either positioned a turnabout
all position and scale data and rotation tater
and even creating a four-point
corner paid here as well I can take all the time now
just with a single
called a play
and I
who shape around a particular plane he it's probably worth taking a
a few moments out to really describe a playmate now
a plane really is just a flat
two-dimensional shape has no depth to it just
actually like the the solid lines are in
after-effects here so just like the sole it when I can do is I can
scan them up and down and still remains playing
I can rotate around either Justin
two-day or we can started store things up
in 3d as well went to third image
and C
now I have my 2d shape here
describing the side
have this car here so this
area here this site here this is a plane I
other examples it plain he would be the wind the back cover
back at the car here other side of the building pretty much
everywhere we look we're gonna be I'm finding planes that we can start to come
in
and track we can distort
also the plane not just by scaling rotation
and translation but we can also come in
and with the help about rustic on a pain
we can also distort things
either by sharing all
moving things in perspective so we can get some quite
interesting little shapes described just with a single plane here
and discourse goes on obviously we'll be talking about
you know where we can find planes in in places where you
you probably wouldn't expect them to be so essentially
this is what mocha is going to be tracking is going to be tracking
plane so so long as things are Co plainer
long things reside on the same I geometric plane
we can track them quite happily and upset the track
and not lose to tracking data
for example here if I wanted to and maybe track
this sign here because all of this area
reside on the same plane I can just check the windows here
its detractors forward
mister
forward so I guess cents the to
you know we've now tracked these this plane up here
that's working out quite nicely
but if I take my
surface here which will talk about
obviously to crown a very soon I take that their
really what track
isn't just actually this I'm shape he
attract this entire play me so I can have the important
it i'm looking at which is that number plate
and offset that tracking data
without losing its fidelity without losing the
the accuracy a fat so will be doing that quite a bit
his book The want to track one thing but will be a
ashey tracking a completely different parted the same
so that can be quite fun a case before we go any further
let's take a quick look the interface
and work things laid out now in quite logical areas up
at the time we have out too well so we have a project of a new project open
projects a project
I'm undo/redo then we have a point nippy elation tools here
which will be using quite a lot so will be I never these
in late wreck sizes we have the
pan and zoom tools here and we have
shape creation tools here and the game will be taking a look at
what the differences between these to was actually are
we have also things like a attach liars and
looking tensions and then rotate scale
and translate keys up here taking a quick look down the left we have
now lay a list here I we can start to reorder things
over here and these layers all have batons for
disability with we're going to be tracking or not use in little cold
and with the labor is locked or not I will come down see you
actually what these doing a in later exercises course
I always have my lap properties where we see how long the lab
is actually lasting so the typeof Larry days
whether it's adding or subtracting to the overall Matt
I'm if we can put in a click inside to check the
to track is working as we expected today so we can choose between
some the preset ones in there all we can import
other material as well for ourselves so it's really useful
we can watch Mac clips as well so we have an alpha channel that imported out
want to exclude that from the
the tracking we can bring the end there I we conclude link multiple tracks
together which will be doing
on multiple occasions because it's such an important
better functionality we have a its properties down here
and these are we going to be getting a much
big a look at when we start to to look at the road scoping areas
a particular project and down he
we have our overlay colors but the biggest portion of the window that's
that's being shown he is being taken up by viewer
of course we also can change what we're looking at
in the fewer here I will be flicking back and forth between some these
as we going forward we cool so
step down the resolution so we can speed up processing work with
with proxy stuff here as with quickly go through this again with me to be looking
at the alpha channel
or the color channels on a clip we don't have now
channel Tash this clip yet so that's why it's not doing anything
and then moving on we can see what Matt's we're
we work with he so we can turn I'm at on of
with a single button click but we can also choose
what we can be showing so whether we don't see with Matt's
just a select mass or track mats
and trackpad are going to be exceedingly
exceedingly useful as we work for now the pingback: it shows whether we get
this
Ruby Lee overlay going on or whether we see the original
for teach just on its own he and if we do have the ruble is going on
we can choose how strong that is to spy
clicking and then track in that around we can turn all over lace on of
so the overlaid are of course
teach a class here which we can
to see the slick to che all
all layers that's very useful actually free I work in quite a a peak
roto project all approaches many liars that we can just take a look at the
the selected liar here in hyde the rest to them and yet still keep the map
overlay going on
swell but for now it's time to move on
we can just turn off the handles as well
with this one we can see how surfaced the surface is something be focusing on
a great deal because it's the the fundamental
an area that will be at be taking out with a calf tracking data
its always rely on the surface and we'll be seeing
you know that that difference between out tracking shape
and how surface playing
and we also have agreed on here just again
very useful way of checking to make sure that what we have
to find his *** surface actually lined up to to the surface is a home
really useful and funny for now we have a zoom window
come up here so if I click and track on any appointee
ASM window will come up and show me the exact pixel
dive Pena I've got select their with zoom window turned off
back to speed coming to hit what time line we can see
the link fine time shot so it's going from frame 1
I would frame 156 I have a 12
I can set a new range
going here using my in Elk Point here
so now my range now came from Frank 13 to Frank 62
I my current frame is Frank 35
at the UN the L are for upper and lower field work
so if we put in place footage is this footage actually is
we can work through on the individual fields as well
I for working with progressive footage we don't have this upper and lower
we just obviously have the frame number
swiftly moving on we now have how regular VTR controls
so we have play stop play backwards
one frame backwards and forwards go to the important
38-point I we also have
a different variety it's of how we do the playback at the moment
is playing back I'm doing a ping pong so plain backpack for
we can also loop it seconds from the end
my pet beginning orchid play once
now as personal preference might prefer to have it ping pong in back in there
ice find it much easier to to Ashley detect any problems especially the end
of the clips
if you've got the so rocking rolling back and forth
not ping pong just really helps out on that song the kidnapping
then over tryna right we then have the tracking
back and forth so these look almost exactly like the
the main feature controls here any different if they have a
T on them so this this within track
back for up track backwards track one from packwood's
on fring forwards which track forward and
finally we have how controls that all sorting
keyframes so if we have any key frames weekend flick quickly
back before toward some we can and remove keyframes we can to the old
and then we've got now or turkey frame and out lewke
again learning how to control these is going to be vital to getting the best
and a mocha so we will be looking at all this stuff
as a as we go through and local can hear the moment because this is the main
parameter
window here nothing as much better if we actually look at that
in terms all I real project to can finish the intro up here
and time when we come back look this footage again
in the context of an actual project so we're going to be
checking out the basics all how we I had to find planes
how we start to half *** tracks and how we deal
with object to start get obscured to join me in excise want
to get going with our first track