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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.

In stereo mode you will see 3 buttons in the View Controls next to the clip view drop down on the left:. Two buttons to show individual Left or Right views L and R. These button names change according to the abbreviation you assign them in Project Settings.

You can preview stereo work at any time by turning on the 3D button in the view controls. Clicking and holding on the 3D button will give you a range of stereo view options. Active : If you have an active shutter monitor available, you can view in this mode Note: Only tested on Windows.

Anaglyph : Probably the most common mode to view stereo work through. Difference : A difference mode of the views laid over each other. This view also has additional functionality explained below. Keyframe on All Views: Toggle this button in the timeline to maniuplate keyframes in both eyes. The Mocha Pro plugins are separate from the standalone Mocha and can be applied as an effect directly onto layers in host applications.

This reduces the need to swap out of your host application and streamlines getting data in and out of Mocha. The biggest advantage is you can set up layers and module settings in Mocha as normal, and then have the results render directly to the host timeline without having to export. In addition to the controls below, VR features also contain a separate area in the Module Renders section to control lens distortions without having to first open the Mocha Pro GUI:.

The Mocha Pro plugin supports different types of and Stereo footage via the "Views" drop down:. Stereo Separate eyes : This takes two separate footage streams. When chosen, the option to choose another source for the right eye is enabled. If you are using the 'Stereo' option, you will need to select the "Stereo Output" view Left or Right that you want to apply output to.

When used, Mocha will split the footage exactly in half horizontally and use the Top and Bottom halves for each eye. The output to the host will automatically double up to the split views.

When used, Mocha will split the footage exactly in half vertically and use the Left and Right halves for each eye. The output to the hosr will automatically double up to the split views. Choosing one of the options automatically sets your Mocha project to be Equirectangular This will enable VR features:. If you have separate left and right eye sources, apply a "Join Views" node to combined them and feed the output into the Source input of the Mocha node. Vegas Pro: Vegas Pro also has native stereo support.

You will only see two options: Mono and Stereo. As you go through the user guide, you will see sections on how to apply Mocha techniques to your stereo footage where relevant. Simply apply the effect to the layer you want to work with. Launch Mocha. This will load a full version of the Mocha interface that you can use just like the standalone version. Use Mocha as required and then close and save.

No rendering is required inside Mocha unless you want to. Choose whether you want to use mattes, renders or any other data from Mocha back in the plugin interface. Once you have applied the Mocha Pro effect, you can click on the Mocha button to launch the main interface.

This then becomes exactly like working in the standalone version of Mocha, with a few exceptions. The source layer is automatically loaded and ready to track in the view. You just close and save the Mocha view when done and the project is saved inside the Effect like any other Adobe effect. By default, the starting timeline frame will always be zero, which will not affect your data generation back in After Effects. For users using timecodes instead of frame numbers in After Effects, the correct timecode offset will display inside the Mocha GUI.

Once you have tracked layers in Mocha, you can then control the mattes for these layers back in the plugin interface. View Matte: Show the black and white matte from the Mocha layers chosen. This is very useful if you want to just see any problems with the matte, or you want to use the output as a track matte.

Visible Layers: This button launches the Visible Layers dialog so you can select the layers you want visible as mattes. You can also edit the Layer names in this window. Shape: This drop down lets you switch between All Visible and All mattes.

All Visible mattes are controlled by the Visible Layers dialog. Feather: Applies a blur to the matte. This feathering is independent of the feathering of the individual layers inside Mocha. This function is only available in After Effects. If you are using the 'Stereo' option in After Effects, you will need to select the "Stereo Output" view Left or Right that you want to apply output to.

Once you have set up layers in Mocha, you can then control the renders for each module back in the plugin interface. Note that you do need to have set up and tracked the correct layers in order for a render to work back in the host.

Module: The module render you want to see. It controls the render quality of the warp. See the Warp Mapping section of the stabilize module. Insert Layer: For any inserts you want to apply to a layer surface and render back to the host. There are also parameters for controlling the view in Lens:Distortion rendering for VR footage.

Pick the layer you want to use as an insert from the 'Insert Layer' drown down in the Mocha Pro effect. If you have a tracked layer in Mocha you can see the output of its surface back in the After Effects interface. Each point in the Tracking Data section is a point from the layer surface that automatically updates when you modify it inside Mocha.

To choose a layer to create tracking data from, click the 'Create Track Data' button in the Tracking Data section of the plugin. Then choose ether the name or the cog of the layer you want to read tracking data from in the dialog that appears.

Once you click 'OK', the plugin will generate keyframes to populate the tracking parameters in the plugin. You can then use this data to copy to other layers, or link via expressions.

The plugin interface also allows you to apply tracking data to other layers without needing to export from the Mocha GUI. Do do this, you generate the tracking data from a layer, as described above in Controlling Tracking Data. Corner Pin: Support Motion Blur : A corner pin distortion with separate scale, rotation and position. If you are generating from a vertex-heavy mesh, Mocha will show a progress bar while generating the nulls. Each Null will be created separately with its own keyframes.

Pick the video track you want to use as an insert from the 'Insert Layer' drown down in the Mocha Pro effect. You just close and save the Mocha view when done and the project is saved inside the Effect like any other AVX effect. Choose from the current layer or below the current video track. This will most commonly be "1st Below" the current layer with the effect applied. In many cases some functionality may be possible for unsupported hosts, but there is no guarantee of functionality or stability, so please take care when experimenting!

Once loaded into the flow graph, simply plug the image node you want to work with into the 'Source' input of the Mocha Pro effect node. Once loaded into the node graph, simply plug the image node you want to work with into the 'Source' input of the Mocha Pro effect node. Once loaded into the tree window, simply plug the image node you want to work with into the 'Source' input of the Mocha Pro effect node.

Silhouette includes Linear support for the Mocha plugin. When using EXR or Cineon images, this preference should remain off. Once loaded, you can begin with the 'Launch Mocha UI' button at the top of the effect panel. Mocha uses two sources from the timeline for inserting clips: The main background image source to track from and a secondary image source to insert into a tracked layer.

To use a secondary source input in Vegas for Insert clips you need to composite your tracks together:. Set the Insert clip you want to use as the parent layer and the plate you want the insert to be rendered over as the child. This will then load the secondary source into any layer Insert clip dropdown as a clip called 'Insert Layer'.

See Rendering Insert Layers below. Select any additional source you want to use as an insert in Mocha and plug it into the 'Insert' input See Rendering Insert Layers below. Launch the Mocha UI using the button at the top of the panel.

Choose whether you want to use mattes, renders or any other exported data from Mocha back in the plugin interface. Once you have applied the Mocha Pro effect, you can click on the 'Launch Mocha UI' button to launch the main interface. You just close and save the Mocha view when done and the project is saved inside the effect. Visible Layers Button: This button launches the Visible Layers dialog so you can select the layers you want visible as mattes. You can use secondary clips in the host application to render tracked inserts into your shots.

See the User Guide Chapter on the Insert Module for more details on manipulating and warping inserts. For node based compositors you can plug the insert image into the 'Insert' input on the the Mocha Pro effect node. In Vegas you need to make the insert image the parent in compositing mode. See Using the Insert Layer clip in Vegas for this method. In HitFilm, you select the insert image from one of your other layers in the comp listed in the "Insert" dropdown.

In cases where your input source has an alpha channel, you may wish to change the Alpha view inside the Mocha GUI. You can either turn Alpha off entirely by toggling off the button, or choose from one of the following options:. Auto alpha: Reads in alpha if it is not opaque or premultiplied. This is the default setting. When rendering back out to the host, there are cases where you may also need to premultiply the alpha using the premultiply options in the plugin interface.

If you are using the 'Stereo' option, make sure you are applying the effect to the Left eye footage and choose your right-eye source input. This includes:. To add Mocha, simply locate it in the Effects panel like any other effect and drag it onto your layer.

Once your layer is hooked up to your Mocha Effect, the general workflow for the Mocha Plugin is as follows:. If you are using Mocha Pro, choose the renders you wish to use from the "Module Renders" section and check "Render". Once you have applied the Mocha effect, you can click on the 'Launch Mocha UI' button to launch the main interface.

If you are using the Mocha Pro version of the plugin, controlling renders is exactly like the standard OFX rendering controls. This is because all Mocha VR features have been rolled into Mocha Pro and a Mocha VR plugin stub is kept to avoid breaking compatibility with your old projects. When you want to start a new VR project, we highly recommend using the Mocha Pro plugin rather than the legacy Mocha VR plugin, as this compatibility feature may be removed in future versions.

Mocha workflow is designed around a project structure. It is good practice to only work on one shot per project file to minimize layer management and to keep the work streamlined. When you start the application you are presented with an empty workspace.

No footage is loaded and most of the controls are consequently disabled. To begin working, you must open an existing project or start a new project. This will bring up a file browser, where you can select almost any industry standard file formats. Image sequences will show up as individual frames.

You can select any one of the frames and the application will automatically sequence the frames as a clip when importing. A project name will automatically be generated based on the filename of the imported footage, but you can change it by editing the Name field.

This is created in the same folder your clip is imported from. The range of frames to import. We recommend to only work with the frames you need, rather than importing very large clips or multiple shots edited together. This is set to the starting frame number or timecode by default.

You can also define a fixed frame You can set a default for the fixed frame in Preferences. You also have the option to view as Timecode or Frame numbers. If your clip has an embedded timecode offset and you switch to Timecode, the offset will be used in your project. If you need to adjust this value later, you can open Project Settings from the file menu. Normally this is automatically detected, but you have options to adjust if necessary.

Make sure you check the frame rate before you close the New Project dialog. If you are using interlaced footage, set your field separation here to Upper or Lower. Make sure you check your fields match your footage before you close the New Project dialog. If you wish the clip to be cached into memory, check the Cache clip checkbox here. Caching is recommended if you are working a computer that has fast local storage, but your shot is stored in a slow network location.

More often than not, you can leave this setting off. If working with log color space, set soft clip value here. Default is zero making falloff linear, rather than curved. Mocha Pro supports Equirectangular Footage. To set the project to be in mode, check the ' VR Footage' checkbox after you import your clip. When you start a New Project you are also presented with the option of creating a multiview project in the Views tab.

If you check Multiview project you are then presented with the view names and their abbreviated names. The abbreviated name is used in the interface for the view buttons, but is also used as the suffix for renders. You can also choose the hero view. By default this is the left. Defining a hero eye determines the tracking and roto order for working in the views.

If you want to define separate streams of footage for the stereo views, you can add additional footage streams view the Add button below the initial clip chooser. If you forget to set up Multiview when you start a new project, you can set it in the new Project Settings Dialog from the File menu. Once you are in Multiview mode, you will see a colored border around the viewer based on the current view you are in. This is to help artists to identify which view they are currently in without having to refer to the buttons.

You can switch between Views by pressing the corresponding L R buttons in the view controls, or using the default 1 and 2 keys on the keyboard. You can swap views or change the Split View mapping from the View Mapping subtab under the Clip module:. The Mocha Pro plugin has a slightly different project workflow to the stand alone Mocha applications. This action loads the footage from the host clip you applied the effect to. It automatically applies the correct frame rate and other clip settings, so there is no need for the standard new project dialog.

After you have done the usual work inside the Mocha Pro interface, you simply close and save the Mocha Pro GUI and then you can control the output from the effect editor interface. For setting up a new stereo project with the plugin, see Plugin Stereo Workflow. The plugin has a slightly different project workflow to the stand alone Mocha applications. If you will only be working on a section of the shot you can use the In and Out points to set the range on the timeline. You can zoom the timeline to only show you the part between you In and Out points by clicking the Zoom Timeline button.

Frame offsets are important to get right in Mocha so that they export correctly to your target program. Project Frame Offset: This frame offset sets the starting frame for keys in your timeline. For example if you have imported a sequence of frames and you need the index of frames to start at , you can change this under the Project Settings in the file menu. Clip Frame Offset: This frame offset is to offset the actual clip frames to slide the starting point of the clip back and forth.

You can adjust clip frame offset under the Display tab in the Clip module. For the vast majority of cases the Project Frame Offset is the value you want to adjust for working with data. The frame offset is usually already set correctly at the New Project dialog stage, but there may be cases where offsets change, such as adding new clip frames.

Working with very long files can be time consuming for the artist and can slow down the tracking as it searches for more frames. Try to only use what you need, and work on individual shots, rather than multiple shots in one piece of footage. Make sure these values match the settings in your compositor or editor, otherwise tracking and shape data will not match when you export it.

If you are unsure which field your interlaced footage is in, import it and check. If you quickly start your project with a guessed field order, you can check to make sure it is correct by using the right arrow key to step through the footage. Interlaced footage is painful to work with.

For your own sanity, try not to use it unless you have to! If you are working on a large roto project you will sometimes need to have more than one person working on the same shot. When it comes time to export out mattes or do final tweaks you can use the Merge Project option to combine any files that have been used on the same piece of footage. Simply select the Merge Project option from the File menu, and select a project you wish to merge.

You can only merge projects that are the same dimensions, aspect ratio and frame length as the shot you are merging into. Open or create a project with matching footage and same dimensions as the Silhouette file. This is important. Your Silhouette project file will need to match the frame rate, dimensions and length of the Mocha project to correctly import.

Choose a Silhouette sfx project file. If you are in OS X, you may need to navigate inside the sfx package to find the actual project file. The Silhouette project will then convert any Bezier and X-splines to native Mocha splines and appear in the project.

If there are any B-Spline layers in the project, these will not be imported as they are currently not supported. The key to getting the most out of the Planar Tracker is to learn to find planes of movement in your shot which coincide with the object that you want to track or roto. Sometimes it will be obvious - other times you may have to break your object into different planes of movement. For instance if you were tracking a tabletop, you would want to draw the spline to avoid the flower arrangement in the center of the table — it is not on the same plane and will make your track less accurate.

To select a plane you simply draw a spline around it. In general X-Splines work better for tracking, especially with perspective motion. We recommend using these splines where possible. The GPU option allows you to select any supported graphics card on your system to take on the brunt of the tracking process.

The resulting speed improvement is especially noticeable on high resolution footage or when tracking large areas.

One of the most important concepts to understand with the Mocha planar tracking system is that the spline movement is not the tracking data.

By default, any spline you draw is linked to the tracking data of the layer it is currently in. In hierarchical terms, the spline is the child of the track, even if there is no tracking data. When you begin to track a layer, the area of detail contained within the spline s you have drawn will be searched for in the next frame.

If the planar tracker finds the same area in a following frame, it will tell the tracker to move to that point.

Because the spline is linked to the track by default, it will also move along with it and the search begins again for the next frame. Scrub the timeline and you will see that the grid and surface move with the spline. Now select all the points of your spline and move it around the viewer. This is because the spline is linked to the track, but the track is not linked to the spline. The spline is merely a search area to tell the track where to go next.

It is a common misconception that moving the spline while tracking is affecting the movement of the tracking data. It is not. Moving the spline is only telling the tracker to look in a different place and will not directly affect the motion of the tracking. This makes the tracker very powerful, as you can move and manipulate your spline area around while tracking to avoid problem areas or add more detail for the search. With the Planar Tracker you simply draw a spline around something, as shown with the screen below.

Select one of the spline tools to create a shape around the outside edge of the area you wish to track. When drawing splines it is best to keep the shape not tight on the edge, but actually give a little space to allow for the high contrast edges to show through, as these provide good tracking data. If you are using the X-Spline tool you can adjust the handles at each point by pulling them out to create a straight cornered edge, or pull them in to make them more curved.

Right clicking a handle will adjust all the handles in the spline at once. In some cases there are parts of an image that can interfere with the effectiveness of the Planar Tracker. To handle this, you can create an exclusion zone in the area you are tracking.

For instance, in the phone example we are using, there are frames where there are strong reflections on the screen. These reflections can make the track jump. So we need to isolate that area so the tracker ignores it. Select the add shape tool to add an additional shape to the current layer, which selects the area you want the tracker to ignore.

Draw this second shape inside the original shape. Note that both splines have the same color, which is an indication that they belong to the same layer. Also you will notice in the Layer Controls panel that you only have a single layer. You can also add as many entirely new layers on top of your tracking layer to mask out the layers below.

On the left hand side of the Track tab, you will see two sections: Motion and Search Area. Understanding the parameters section of the Track parameters is vitally important for obtaining good tracks. Here we provide a breakdown of each parameter and how to use it effectively. When tracking, Mocha looks at contrast for detail. The input channel determines where to look for that contrast.

Luminance looks for contrast in the light and dark of the image. Auto Channel looks for contrast in one of the color channels. By default, Luminance does a good job. If you have low-luminance footage or you are not getting a good track, try Auto Channel.

By default, the minimum percentage of pixels used is dynamic. When you draw a shape, Mocha tries to determine the optimal amount of pixels to look for in order to speed up tracking. If you draw a very large shape, the percentage will be low. If you draw a small shape, the percentage will be high.

Shear is defined as the object warping in only two corners, whereas perspective is most often needed where the object is rotating away from the viewer significantly in space. As an example, if someone is walking towards you, their torso would be showing shear as it rotates slightly back and forth from your point of view. The front of a truck turning a corner in front of you would be showing significant perspective change. Large Motion: This is the default.

It searches for motion and optimizes the track as it goes. Small Motion is also applied when you choose Large Motion. Small Motion: This only optimizes. You would use Small Motion if there were very subtle changes in the movement of the object you are tracking. Manual Tracking: This is only necessary to use when the object you are tracking is completely obscured or becomes untrackable. Usually used when you need to make some adjustments to complete the rest of the automated tracking successfully.

This is set to Auto by default. Angle: If you have a fast rotating object, like a wheel, you can set an angle of rotation to help the tracker to lock onto the detail correctly.

Zoom: If you have a fast zoom, you can add a percentage value here to help the tracker. Again, the tracker will still handle a small amount of zoom with this set to zero. PowerMesh is designed to help track non-planar surfaces. This is for both rigid and non-rigid surfaces that would otherwise be impossible to track with a regular planar tracker.

Rather than taking an optical flow approach which can be slow to render and produce cumbersome files , we use a subsurface planar approach which is much faster to generate and track. Draw a layer around the area you want to track. Automatic: This determines the best mesh to use based on image information contained in the layer. Uniform: Generates a uniform square mesh insead of building based on the existing image.

This means that the smaller the Mesh Size, the more potential mesh faces you will have. The larger the Mesh Size, the larger the faces and the less faces you will have. This option makes sure the PowerMesh is generated to the boundaries of your layer spline, rather than just over the most interesting detail within it. Adaptive Contrast boosts details in the underlying image to help the Automatic mesh generate the most useful vertices.

Use with care! The Mesh tracker first uses the standard planar tracking per frame and then applies the sub-planar track with the mesh. Any mesh faces that fall outside of the spline or the image boundary are ignored. Those mesh faces become rigid and try to follow along with the existing mesh. Turning this on tells Mocha to guess the amount of smoothness to apply to the Mesh track. A high smoothness is like applying starch to your Mesh.

It will follow the planar track more rigidly and not distort as much. A low smoothness will follow the subsurface movement more directly and distort the mesh more. As a general guideline, we recommend setting a lower smoothness for very warped or wobbly movement and a higher smoothness for more rigid objects that still have some distortion.

Faces: This varies, but a smoothness of 50 is about the right amount to balance facial muscles vs general face planes. This option deforms the spline shape to match the movement of the Mesh while tracking. As an added bonus, this also means it greatly reduces the keyframes needed to rotoscope an organic object. Selecting this turns on subselection in your mesh and you can move or delete vertices either before or after you have tracked the mesh. After Tracking, You can animate the tracked mesh manually to fix points or make your preferred adjustments.

Animated meshes are keyframed for the whole set of vertices, rather than individual points. This makes it easier to keyframe states over time, similar to the spline default animation mode. This tool appears when in Edit Mesh mode. When Add Vertex is on, click any Mesh edge to add a new vertex. A new edge will appear joining the created vertex and the vertex opposite. Use this section to create nulls from selected layers.

See Creating PowerMesh Nulls for more details. Alembic tracking data as a mesh: The exports from the "Tracking Data" export options. Alembic is supported across many hosts. The data format includes the PowerMesh and a camera that fits to the source footage. See Exporting to Alembic for more details. When tracking, if one of your mesh faces turns blue, this means the face has become flipped, normally because the area you are tracking has turned away from the camera.

You can use more than one contour to cut holes in the mesh generation. This is helpful if you want to ignore details in a surface, such as teeth in a mouth region or a tattoo that is taking up too much of the mesh detail.

Track the plane selected by pressing the Track Forwards button on the right- hand side of the transport controls section. 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.

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.

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.

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.

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.

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. Watch Video. Unlike feature based camera tracking, Mocha solves the 3D camera based on user-selected planar data.

This fast and easy-to-use solution is ideal for set extensions, 3D text, and particle tracking. Additionally the 3D solver can be used to assist other 3D tracking applications on difficult shots with low detail or significant foreground occlusions. Work across seams with less pre-comps, nesting, or rendering.

Check out the Continuum VR Unit. Nodelocked or cross-platform, floating license.

Boris FX | Mocha Pro .

Once loaded, you can begin with the 'Launch Mocha UI' button at the top of the effect panel. Mocha uses two sources from the timeline for inserting clips: The main background image source to track from and a secondary image source to insert into a tracked layer. To use a secondary source input in Vegas for Insert clips you need to composite your tracks together:. Set the Insert clip you want to use as the parent layer and the plate you want the insert to be rendered over as the child.

This will then load the secondary source into any layer Insert clip dropdown as a clip called 'Insert Layer'. See Rendering Insert Layers below.

Select any additional source you want to use as an insert in Mocha and plug it into the 'Insert' input See Rendering Insert Layers below. Launch the Mocha UI using the button at the top of the panel.

You can use secondary clips in the host application to render tracked inserts into your shots. See the User Guide Chapter on the Insert Module for more details on manipulating and warping inserts. For node based compositors you can plug the insert image into the 'Insert' input on the the Mocha Pro effect node. In Vegas you need to make the insert image the parent in compositing mode.

See Using the Insert Layer clip in Vegas for this method. In HitFilm, you select the insert image from one of your other layers in the comp listed in the "Insert" dropdown. In cases where your input source has an alpha channel, you may wish to change the Alpha view inside the Mocha GUI.

You can either turn Alpha off entirely by toggling off the button, or choose from one of the following options:. Auto alpha: Reads in alpha if it is not opaque or premultiplied. This is the default setting. When rendering back out to the host, there are cases where you may also need to premultiply the alpha using the premultiply options in the plugin interface. If you are using the 'Stereo' option, make sure you are applying the effect to the Left eye footage and choose your right-eye source input.

This includes:. To add Mocha, simply locate it in the Effects panel like any other effect and drag it onto your layer. Once your layer is hooked up to your Mocha Effect, the general workflow for the Mocha Plugin is as follows:. If you are using Mocha Pro, choose the renders you wish to use from the "Module Renders" section and check "Render".

Once you have applied the Mocha effect, you can click on the 'Launch Mocha UI' button to launch the main interface. If you are using the Mocha Pro version of the plugin, controlling renders is exactly like the standard OFX rendering controls. This is because all Mocha VR features have been rolled into Mocha Pro and a Mocha VR plugin stub is kept to avoid breaking compatibility with your old projects. When you want to start a new VR project, we highly recommend using the Mocha Pro plugin rather than the legacy Mocha VR plugin, as this compatibility feature may be removed in future versions.

Mocha workflow is designed around a project structure. It is good practice to only work on one shot per project file to minimize layer management and to keep the work streamlined.

When you start the application you are presented with an empty workspace. No footage is loaded and most of the controls are consequently disabled. To begin working, you must open an existing project or start a new project. This will bring up a file browser, where you can select almost any industry standard file formats.

Image sequences will show up as individual frames. You can select any one of the frames and the application will automatically sequence the frames as a clip when importing. A project name will automatically be generated based on the filename of the imported footage, but you can change it by editing the Name field. This is created in the same folder your clip is imported from.

The range of frames to import. We recommend to only work with the frames you need, rather than importing very large clips or multiple shots edited together. This is set to the starting frame number or timecode by default.

You can also define a fixed frame You can set a default for the fixed frame in Preferences. You also have the option to view as Timecode or Frame numbers.

If your clip has an embedded timecode offset and you switch to Timecode, the offset will be used in your project. If you need to adjust this value later, you can open Project Settings from the file menu. Normally this is automatically detected, but you have options to adjust if necessary. Make sure you check the frame rate before you close the New Project dialog. If you are using interlaced footage, set your field separation here to Upper or Lower. Make sure you check your fields match your footage before you close the New Project dialog.

If you wish the clip to be cached into memory, check the Cache clip checkbox here. Caching is recommended if you are working a computer that has fast local storage, but your shot is stored in a slow network location. More often than not, you can leave this setting off.

If working with log color space, set soft clip value here. Default is zero making falloff linear, rather than curved. Mocha Pro supports Equirectangular Footage.

To set the project to be in mode, check the ' VR Footage' checkbox after you import your clip. When you start a New Project you are also presented with the option of creating a multiview project in the Views tab.

You can also choose the hero view. By default this is the left. Defining a hero eye determines the tracking and roto order for working in the views. If you want to define separate streams of footage for the stereo views, you can add additional footage streams view the Add button below the initial clip chooser.

If you forget to set up Multiview when you start a new project, you can set it in the new Project Settings Dialog from the File menu.

Once you are in Multiview mode, you will see a colored border around the viewer based on the current view you are in. This is to help artists to identify which view they are currently in without having to refer to the buttons.

The Mocha Pro plugin has a slightly different project workflow to the stand alone Mocha applications. This action loads the footage from the host clip you applied the effect to. It automatically applies the correct frame rate and other clip settings, so there is no need for the standard new project dialog. After you have done the usual work inside the Mocha Pro interface, you simply close and save the Mocha Pro GUI and then you can control the output from the effect editor interface.

For setting up a new stereo project with the plugin, see Plugin Stereo Workflow. The plugin has a slightly different project workflow to the stand alone Mocha applications. If you will only be working on a section of the shot you can use the In and Out points to set the range on the timeline.

You can zoom the timeline to only show you the part between you In and Out points by clicking the Zoom Timeline button. Frame offsets are important to get right in Mocha so that they export correctly to your target program. Project Frame Offset: This frame offset sets the starting frame for keys in your timeline. For example if you have imported a sequence of frames and you need the index of frames to start at , you can change this under the Project Settings in the file menu. Clip Frame Offset: This frame offset is to offset the actual clip frames to slide the starting point of the clip back and forth.

Try to only use what you need, and work on individual shots, rather than multiple shots in one piece of footage. Make sure these values match the settings in your compositor or editor, otherwise tracking and shape data will not match when you export it. If you are unsure which field your interlaced footage is in, import it and check. If you quickly start your project with a guessed field order, you can check to make sure it is correct by using the right arrow key to step through the footage.

Interlaced footage is painful to work with. For your own sanity, try not to use it unless you have to! If you are working on a large roto project you will sometimes need to have more than one person working on the same shot. When it comes time to export out mattes or do final tweaks you can use the Merge Project option to combine any files that have been used on the same piece of footage.

Simply select the Merge Project option from the File menu, and select a project you wish to merge. You can only merge projects that are the same dimensions, aspect ratio and frame length as the shot you are merging into.

Open or create a project with matching footage and same dimensions as the Silhouette file. This is important. Your Silhouette project file will need to match the frame rate, dimensions and length of the Mocha project to correctly import. Choose a Silhouette sfx project file. If you are in OS X, you may need to navigate inside the sfx package to find the actual project file. The Silhouette project will then convert any Bezier and X-splines to native Mocha splines and appear in the project.

The resulting speed improvement is especially noticeable on high resolution footage or when tracking large areas. One of the most important concepts to understand with the Mocha planar tracking system is that the spline movement is not the tracking data. By default, any spline you draw is linked to the tracking data of the layer it is currently in. In hierarchical terms, the spline is the child of the track, even if there is no tracking data.

When you begin to track a layer, the area of detail contained within the spline s you have drawn will be searched for in the next frame. If the planar tracker finds the same area in a following frame, it will tell the tracker to move to that point. Because the spline is linked to the track by default, it will also move along with it and the search begins again for the next frame.

Scrub the timeline and you will see that the grid and surface move with the spline. Now select all the points of your spline and move it around the viewer. This is because the spline is linked to the track, but the track is not linked to the spline. The spline is merely a search area to tell the track where to go next. It is a common misconception that moving the spline while tracking is affecting the movement of the tracking data.

It is not. Moving the spline is only telling the tracker to look in a different place and will not directly affect the motion of the tracking. This makes the tracker very powerful, as you can move and manipulate your spline area around while tracking to avoid problem areas or add more detail for the search. With the Planar Tracker you simply draw a spline around something, as shown with the screen below.

This is quite common when moving people, limbs, cars, badgers etc. In the Essentials layout , tracking Motion parameters are listed in the Essentials Panel:. In the Classic layout , detailed tracking parameters can be accessed by selecting the Track tab. On the left hand side of the Track tab, you will see two sections: Motion and Search Area. Understanding the parameters section of the Track parameters is vitally important for obtaining good tracks. Here we provide a breakdown of each parameter and how to use it effectively.

When tracking, Mocha looks at contrast for detail. The input channel determines where to look for that contrast. Luminance looks for contrast in the light and dark of the image. Auto Channel looks for contrast in one of the color channels. By default, Luminance does a good job. If you have low-luminance footage or you are not getting a good track, try Auto Channel. By default, the minimum percentage of pixels used is dynamic.

When you draw a shape, Mocha tries to determine the optimal amount of pixels to look for in order to speed up tracking. If you draw a very large shape, the percentage will be low. If you draw a small shape, the percentage will be high.

In many cases, the cause of a drifting or slipping track is a low percentage of pixels. Keep in mind however that a larger percentage of pixels can mean a slower track. This value blurs the input clip before it is tracked. This can be useful when there is a lot of severe noise in the clip. It is left at zero by default. The main difference between shear and perspective is the relative motion. Shear is defined as the object warping in only two corners, whereas perspective is most often needed where the object is rotating away from the viewer significantly in space.

As an example, if someone is walking towards you, their torso would be showing shear as it rotates slightly back and forth from your point of view. The front of a truck turning a corner in front of you would be showing significant perspective change. Large Motion: This is the default. It searches for motion and optimizes the track as it goes.

Small Motion is also applied when you choose Large Motion. Small Motion: This only optimizes. You would use Small Motion if there were very subtle changes in the movement of the object you are tracking.

Manual Tracking: This is only necessary to use when the object you are tracking is completely obscured or becomes untrackable.

Usually used when you need to make some adjustments to complete the rest of the automated tracking successfully. This is set to Auto by default. Angle: If you have a fast rotating object, like a wheel, you can set an angle of rotation to help the tracker to lock onto the detail correctly. Zoom: If you have a fast zoom, you can add a percentage value here to help the tracker. Again, the tracker will still handle a small amount of zoom with this set to zero.

PowerMesh is designed to help track non-planar surfaces. This is for both rigid and non-rigid surfaces that would otherwise be impossible to track with a regular planar tracker. Rather than taking an optical flow approach which can be slow to render and produce cumbersome files , we use a subsurface planar approach which is much faster to generate and track.

Draw a layer around the area you want to track. Automatic: This determines the best mesh to use based on image information contained in the layer. Uniform: Generates a uniform square mesh insead of building based on the existing image.

Adaptive Contrast boosts details in the underlying image to help the Automatic mesh generate the most useful vertices. Use with care! The Mesh tracker first uses the standard planar tracking per frame and then applies the sub-planar track with the mesh.

Any mesh faces that fall outside of the spline or the image boundary are ignored. Those mesh faces become rigid and try to follow along with the existing mesh. Turning this on tells Mocha to guess the amount of smoothness to apply to the Mesh track.

A high smoothness is like applying starch to your Mesh. It will follow the planar track more rigidly and not distort as much. A low smoothness will follow the subsurface movement more directly and distort the mesh more. As a general guideline, we recommend setting a lower smoothness for very warped or wobbly movement and a higher smoothness for more rigid objects that still have some distortion. Faces: This varies, but a smoothness of 50 is about the right amount to balance facial muscles vs general face planes.

This option deforms the spline shape to match the movement of the Mesh while tracking. As an added bonus, this also means it greatly reduces the keyframes needed to rotoscope an organic object. Selecting this turns on subselection in your mesh and you can move or delete vertices either before or after you have tracked the mesh. After Tracking, You can animate the tracked mesh manually to fix points or make your preferred adjustments.

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.

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.

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.

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.

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.

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.

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.

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.

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. 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.

Additionally the 3D solver can be used to assist other 3D tracking applications on difficult shots with low detail or significant foreground occlusions. Work across seams with less pre-comps, nesting, or rendering. Check out the Continuum VR Unit. Nodelocked or cross-platform, floating license. Purchase options include perpetual, annual and monthly subscriptions. For enterprise floating and render licenses, contact us. HitFilm Only.

Sapphire Only. Running as standalone application and plug-in, Mocha can render tracked composites, tracked inserts, masks, object removal, stabilization, reorientation and lens correction. Node-based compositing with color correction and image processing filters. Learn More. Mocha Pro: Compositing in Blackmagic Fusion. Stream it for free or purchase here for downloadable projects and assets.

For hundreds of more Mocha training videos, visit Mocha TV. Read about Dune New New point release includes tracking and interface improvements. Best Value!

Low Monthly Cost! New: Mocha Pro Select filtering options or remove flicker before tracking. Lens Module : Now updated with spline-based calibration. Remove or match lens distortion to improve tracking, roto, inserts, and removes. New Surface Controls : Right-click controls improves precision on placing the correct surface location.

Insert Module with PowerMesh The improved Insert Module features warped surface compositing driven by PowerMesh tracking for a new streamlined workflow. More Planar Tracking 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.

PowerMesh PowerMesh enables a powerful sub-planar tracking process for visual effects and rotoscoping. PowerMesh is simple to use and faster than most optical flow based techniques. Watch PowerMesh tutorials. Remove Objects and Wires Remove unwanted elements, wires, rigs, tracking marks, and cameras. Screen Inserts and Match Moves Render accurate match moves and screen inserts with realistic motion blur or warped distortions. New track preprocessing and right-click on surface improves general tracking challenges!

Stabilize Camera or Object Motion The Stabilize Module can lock down camera motion or stabilize based on select tracking layers. Updated Lens Calibration Tools The Lens Module provides a simple and easy-to-use interface to calibrate the distortion introduced by camera lenses. Stereoscopic Workflow Stereo 3D planar tracking, masking, and object removal workflow.

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