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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. In the track module, stabilize view is a preview mode to check your track.
Actual stabilization output is handled by the Stabilize Module, explained in the Stabilize Overview chapter. You can check the accuracy of your planar track by turning on the Surface the dark blue rectangle and Grid overlay in the Essentials panel or the toolbar:. If you play the clip, you should see the surface or grid line up perfectly with the plane you tracked. When you turn on the surface you will see the blue box that represents the 4 points of the corner-pin.
Right now you will see that it is not lined up with the screen. As described above, by selecting each corner one at a time you can adjust the surface area to cover the area of the screen, or you can use the middle points to scale and the outer corners to rotate. You can change the density of the grid by adjusting the X and Y grid values in View Viewer Preferences:. The Trace feature allows you to see the position of the planar corners over time. Skip allows you to work with only every nth frame, useful on particularly long roto shots where the movement is predictable.
To monitor what the tracker "sees" as a tracking area, select the Track Matte button in the view control. There may be instances where you have already created mattes for one or more objects in the shot, for example using a keyer or another roto tool that would help you isolate areas to track.
You can import such mattes by creating a new layer and then using the Matte Clip setting under Layer Properties to assign it to the layer. When starting a new project, go through your footage a few times to see what your best options are for tracking. You will save yourself a lot of time by making note of obstructions and possible problem areas in advance. When tracking surfaces you will usually get a much better track if you include the edges and not just the interior of an object.
This is because Mocha can define the difference between the background and the foreground and lock on better. For example, if you are tracking a greenscreen, it is better to draw your shape around the entire screen rather than just the internal tracking markers. In some cases this means you can avoid tracking markers altogether and save time on cleanup later. The processing can be slower, but you will usually get a much more solid track.
Remember you are not limited to one shape in a layer. Use a combination of shapes to add further areas or cut holes in existing areas to maximize your search. If necessary, make an additional layer to track and mask out foreground obstructions before tracking the object you need.
This way you can stop your track early to fix any issues and spend less time trying to find them later. In order for Mocha to keep the best possible track, it is usually best to scrub through the timeline and find the largest and clearest area to begin tracking from, draw your shape there, then use backwards and forward tracking from that point.
For example, if you have a shot of sign coming toward you down a freeway, it is usually better to start at the end of the clip where the sign is largest, draw your shape and track backwards, rather than start from the beginning of the clip. We have a Planar Tracker which specifically tracks planes of motion, but this is not limited to tables, walls and other flat objects.
Distant background is considered flat by the camera where there is no parallax. Faces can be tracked very successfully around the eyes and bridge of the nose.
Rocky ground, rumpled cushions, clumps of bushes, human torsos and curved car bodies are all good candidates. The key is low parallax or no obvious moving depth. When in doubt, try quickly tracking an area to see if it will work, as you can quite often trick the planar tracker into thinking something is planar.
Mocha is a very flexible tracker and will save a lot of time, but you will eventually run into a piece of footage that just will not track. Large or continuous obstructions, extreme blur, low contrast details and sudden flashes can all cause drift or untrackable situations. You can often get a lot more done fixing shots by hand or using AdjustTrack in Mocha rather than trying to tweak your shapes and parameters over and over again to get everything done automatically.
Tracking in Stereo is very similar to tracking in Mono. Draw your shape as you would normally in mono mode See Mocha User Guide for an introduction to mono Mocha tracking techniques.
If you now switch between Left and Right views you will see the Right view has automatically been tracked and offset from the Left view. If you would prefer to only track and work with the Hero view initially then offset your data manually, you can also do this using the Stereo Offset tab in Track. Make sure the "Track in all views" button on the right side of the tracking buttons is switched off. This will only track the current view you are on. If you switch to the other view you will see the layer still moves with the track, but is not offset like when you do an all-views track.
If you decide later that you want to track the non-hero view, you can do so by selecting the non-tracked view then track as normal. You have the following options in the Stereo Offset tab see above when tracking another view based on the hero view:. Track from other views: This will reference the existing track to help track and correctly offset the current view. Track this view: This will reference the current view to get the tracking information.
Note that by default these are both selected to give best results. If you only use Track this view and not Track from other views , the current view will be tracked independently of the hero view and will not offset. You can also open existing mono projects that have additional views and track them without having to manually offset. Just set the mono project to Multiview in the Project Settings and add the additional footage streams to the clip.
For simpler tracks, you can also do a technique called "Offset Frame Tracking" which is a combined stereo track and hero track. Turn OFF the the "Operate in all views" button on the right side of the tracking buttons.
If your initial stereo track was offset correctly, that offset will then carry onwards through the rest of the track. Keep in mind that things like convergence and disparity in the moving stereo image may not work accurately in this scenario, but it will increase performance of the process because you only have to track one eye. You can also then apply additional manual stereo offsets as described in the manual offset section above.
There will be times when tracks can drift due to lack of detail or introduction of small obstructions. When this occurs, manual refinements can be made by using the AdjustTrack tool. AdjustTrack is primarily used for eradicating drift by adjusting reference points to generate keyframable data to compensate. It is generally not practical to use it to remove jitter.
To achieve an adjusted track you would ideally line up the surface area where you want to place your insert or lock down your roto. The Transform AdjustTrack is designed to be an easier user experience from the Classic AdjustTrack see below by removing the need to use the surface as your alignment tool. In Transform AdjustTrack you can adjust based on specific transforms with as many reference points as you require. You can set reference points either as a template for the kind of adjustment you want, or add them yourself as needed.
After you have chosen the type, click 'Set points' to create the points. You can then adjust the reference points see below. You can add more points to your adjustment as required. Each point contributes to the adjustment of the plane based on the position of the other points.
Once you are happy with the points positions and have set a reference frame, you can start moving back and forth on the timeline adjusting the points for drift. Each point adjustment sets a key frame for every other point in the shot to avoid unwanted distortions.
You can see the original reference frame for the selected point in the zoom window in the upper left of the viewer and the current frame in the window below that. This is helpful if you are ultimately planning on using the surface as your export area and want to make sure it is still lining up. Nudging is used to adjust the track by pixel increments. This helps when adjustments are too subtle to be done by mouse movement. Each arrow nudges in the indicated direction. You can either click and hold the button or use the shortcut keys to nudge.
The 'Auto' button in the middle of the direction grid tries to guess where the point needs to be. It can be useful to start with 'Auto' to attempt to place the reference point first, then adjust manually.
Auto Nudge takes the 'Auto' action above and lets you use it space adjustments over the whole shot. If you set 'Auto Step' and define a frame step you can then 'Track' the Auto Nudge using the tracking buttons in the timeline. Auto Nudge will then nudge the selected reference points at the frame step interval set.
The Search fields define how far Auto and Auto Nudge look for the area the point needs to adjust to. You can export adjusted tracks as normal via the file menu or via the Track module just like any regular track. This version of AdjustTrack is primarily used for eradicating drift by utilizing the four-corner surface area to generate keyframable data to compensate. When you have the Surface where you want it to stay locked and are ready to refine the track, flip over into the AdjustTrack module by hitting the AdjustTrack tab.
As you play though the sequence you will be able to manually adjust the position of each point as drift occurs. If your track is spot on, these reference points should line up properly throughout the shot.
If you see a Reference Point drifting, that will indicate the track is drifting. Find the frame where the drift is worst and move the Reference Point back to the position it had in the Master Frame and the track will automatically be adjusted based on your correction. When you perform an adjust track and you begin to move a newly created reference point, you will notice the dashed lines which connect all of the reference points.
These lines change in color to represent the quality of positioning of any given reference point. For best results keep reference points away from one another. When adjusting the track try to always get at least yellow but shoot for green for a more solid adjust track. Often there are times where your reference points are either obscured or exit frame. In AdjustTrack you have the ability to create multiple reference points per surface corner that can be positioned in alternate locations to handle these situations.
Simply click the New Ref button to create a new reference point for the selected corner. You cannot keyframe the Surface — only the Reference Points. The original track and any refinements you make in AdjustTrack cause the Surface to move however.
Every so often a shot will come along that is easier to track backwards than forwards. This is fairly simple when running the tracker backwards, but introduces some rather obtuse concepts when keyframing is involved. For example, if you decide to create a new backwards reference point at frame 20, a new master reference will be created at frame Others who do a lot of tracking and find themselves working backwards often may find the backwards-thinking New Ref button helpful.
Every Reference Point has one frame in which its initial placement is determined without causing any adjustment to the track. This is called the Master Reference Point; if you step forward or backward in time you will notice the red X change to a red dot. The red X indicates that this particular frame is the starting point for calculating adjustments. Step forward a frame and move the same point - this time the surface will move because you are now adjusting the track. By default, the frame in which you create a Reference Point is its Master Reference frame.
This Master Reference can occur on a different frame for each reference point. The next button simply cycles through the active reference points for that frame. More fine-grained control of reference points can be obtained through the Nudge control panel, described below. Deleting Reference Points is done by selecting the point you wish to remove and hitting the delete key. If there are multiple Reference points on a particular corner, the preceding Reference Point will be extended through your time line until a new Reference point is encountered.
The Nudge section allows you to move Reference points in 0. You can easily select any active Reference Point by selecting one of the corner buttons in the Nudge section. If you hit the Auto button, a tracker will attempt to line up the selected Reference Point based on its position in the Master Reference frame.
You can quickly select any corner by using the Corner selector buttons in the Nudge control panel. In the image below, the user is selecting the upper right corner in preparation for nudging operations.
Deselecting the Inactive Traces button will cause the display to hide the traces of the inactive Reference Points. This is helpful if you have a corner with numerous Reference Points offsetting it. When you see a drift, carefully cycle through the timeline and look for where the motion starts to change direction.
A frame before this, adjust your drift, then go halfway between your master frame and the adjusted frame to check for any further drift. If you keep working by checking halfway between each keyframe you set, you will reduce the amount of keyframes required.
If you end up with adjustment keyframes on a large amount of frames it may be better retry the track. AdjustTrack is aimed to help reduce small anomalies and fix drift when a tracked corner has become obscured. If you are fixing every second keyframe it means you have more than a simple drift. Good rotoscoping artists often think like animators, reverse engineering the movements, the easing in and outs, the holds and overshoots of objects, and set their keyframes accordingly.
In general, the fewer the keyframes, the better your mattes will look. Too many keyframes will cause the edges to 'chatter' and move unnaturally. Too few keyframes will cause the shapes to drift and lose definition. Finding the right number and placement of keyframes often comes with experience but there are a few things to keep in mind when rotoscoping.
There is no such thing as a perfect matte. Rotoscoping is an art form that takes into account the background image, the movement of the object, and the new elements to be composited in the background. Try to start your shape at its most complex point in time, where it will need the most control points. Break a complex shape into multiple simple shapes. If you are rotoscoping a humanoid form and an arm becomes visible, consider rotoscoping the arm as its own element, rather than adding extra points on the body that will serve no purpose when the arm is obscured.
Imagine you are the animator who created the shot. What would your dope sheet look like? No matter the medium, whether CG, live action or otherwise, most movements are rarely linear. They normally move in arcs; they normally accelerate in and out of stopped positions. Try and understand the mechanics behind how things are moving in your shot. This will help you to minimize keyframes. Watch and study the shot before you start working. Where are the changes in directions? These will normally have keyframes.
Where are the starts and stops? Are there camera moves that can be stabilized to make your work easier? Beginning roto artists often make the mistake of trying to fix a flawed approach by adding more and more keyframes. Experienced roto artists learn to quickly identify an inferior approach and are unashamed to trash their work and start over, often many, many times.
It is very difficult to get a good matte without a conscious effort to keep the keyframes to a minimum. While you can refine a shape you have tracked to do your rotoscoping, the recommended way is to do a rough shape to track something and then link your roto to that track.
This reduces the amount of work required when you are dealing with complex shapes, as you will not have to track and refine each shape as you go. Another reason is reducing the amount of data needed in your project file. It also helps to remember that your spline shape is linked to your tracking data and not the other way around.
First of all you want to reduce as much manual work as possible by tracking. In the example below, the front and side plane of the car is being tracked For a more detailed coverage of tracking, see the Tracking Basics documentation. This means the tracked shape will not be confused with any roto shapes you are making. Once you have a track for a layer we recommend that you add a new layer to use for the actual roto spline, rather than refining the spline you used for the actual track as you might need to do more tracking with it later.
You will see that a new layer is automatically created. Rename the new layer and link it to the movement of your already tracked layer by selecting it from the 'Link to Track' dropdown in the layer properties panel. Now you have linked the rotoscoping layer to a track, you need to go over the timeline and make sure the roto is correctly animated.
Often you will need to tweak your shape for it to fit correctly, adding new keyframes. Autokey is on by default, so you just need to move along the timeline and adjust your points where necessary keyframes turn up in the timeline as green dots.
The tracking data will help for the majority of the motion. You can also add additional shapes to the same layer using one of the "Add Spline to Layer" tools. This is useful for when you need to do minor adjustments across many points separately.
Edges can be feathered either by dragging out feathers point by point using the edge pointer tools in the toolbar or by using the parameters in the Edge Properties panel. A feathered edge will occur between the inner and outer spline points. For example, if you deselect all points by clicking anywhere on the canvas you can then use the Set button to apply the default 3 pixel edge width. Because no points are selected the value is applied to all points on the current layer.
You can then tweak the position of all spline points to ensure that the inner red spline is inside the edge and the outer blue spline is outside the edge. In many instances one track will not be enough. You may need to track more than one plane to drive different sets of roto. In the car example, we have to track the front and the side to get an accurate track for each planar region to assist the roto effectively.
In the case of organic shapes, like people, you will have to break your tracks down to handle the different movement between the torso and the arms etc. Use this tool with care, as it is not setting any keyframes per se, it is offsetting any and all keyframe data on the points you move while it is on.
Use with care. If you wish to make adjustments to a particular range, set the In and Out points to that range. You can translate, rotate and scale selected points as a group by using the corresponding tools listed in the toolbar. You can turn on and off individual points in a spline.
When they are off, you can still see the points, they can still be animated, but they are not contributing mathematically to the spline. This allows you to have a complex spline only when you need it, rather than having to deal with superfluous points in parts of the shot when they are not needed. You will see the curve change shapes, but the points will remain. You can use the movement of the individual spline points to determine motion blur.
You can control the amount of blur by changing the motion blur value in the Edge Properties panel. Angle simulates how long the shutter is open for if we were viewing through a real camera, so the range is between:.
The reason we refer to angle as opposed to "amount" is that camera shutters used to open with a rotary action, so a smaller angle would let in less light, and thus reduce motion blur. Because Phase is based on the shutter angle you can adjust between the range and i.
The steps of motion blur you want to render. The lower the quality, the faster the render speed. The default is 0. Although not necessary in this example, note that you can change how mattes are blended in the Layer Properties panel. In the View Controls, several options are offered for viewing your mattes. The Matte drop down is has options to view all mattes, just the mattes you have selected or no mattes.
You may wish to rotoscope against a particular color. When you have your Mattes turned on, you may choose for the matte to be filled with a color instead of cutting out the object, using Colorize. You can adjust the opacity of the color fill by changing the blend value to the right of the Colorize button. The color used by Colorize is derived from the Selected and Unselected properties of the Overlay Colors panel, which can be changed per layer.
If you want to get a better view of your roto, you can get a better view by turning off some overlays. This allows you to view the actual rendered mattes, which can be especially useful when tweaking motion blur. The motion blur you normally see in your canvas is an OpenGL preview and can differ slightly from the actual render. Because you can choose specific layers for export when you render, a render pass is created for each layer. If you want to draw open splines, you can simply hold shift when you right-click to finish the spline.
This will open the shape up. You can open an existing shape using the Open Spline shortcut key by default this is 'o'. You can close an existing shape using the Close Spline shortcut key by default this is 'c'. Naming layers is very important to save yourself time later, especially if you are doing a heavy rotoscoping job. Get into the habit of labeling each layer with specific names. If you are working on a tight roto it can sometimes be easier to turn the spline off and just see the matte with the control points.
To do this:. If your other view options are at default settings you should now see the matte in the viewer with only the tangents and control points visible. The Magnetic Tool draws a pixel line that snaps to the nearest edge to where the cursor lies, tracing the shortest path from any previous click. Similarly, if you go off the edge of the frame, the magnetic tool will also switch to Freehand mode, so you can freely continue the shape. One you have completed a drawn line, you can either click back on the original point, or right-click.
X-Splines generated by the Magnetic and Freehand tools have a fairly high point count to match the subtle changes in the line. Finish drawing the line and right-click. This will automatically switch your cursor to the selection tool. You can snap the control points of any spline to edges of an object by using the Edge Snapping tool.
Keep in mind this will naturally try to find the most visible edge, so in some cases snap may not find the edge you want. In these cases it may need to be adjusted manually. Paint strokes that cross over an existing layer spline will intersect with that spline, or subtract from it if you are using the alt modifier key. Once done, you can turn off Quick Mask if it is on or just release the mouse button and a spline will be generated.
For finer control, the brush size will also change according to the set pressure sensitivity from a drawing tablet. Quick Mask stops the Area Brush tool from generating a spline as soon as you release the mouse or lift the tablet pen Once you have painted what you need, you can turn Quick Mask off by pressing the button and the spline will be generated.
The number in the field is a pixel diameter. Any gap in a closed painted area that is smaller than the number in the field will be filled. For example:. A large fill gap setting is useful for quickly circling an object with paint to make a filled spline.
The tool is under the main Area Brush icon. Just press and hold the toolbar icon to select the brush from the list:. Once done, you can turn off Quick Mask if it is on or just release the mouse button and the resulting spline intersect with the existing layer splines:.
If Quick Mask mode is off, this will erase the existing spline if you are using the Add Area Brush tool. Just paint as normal holding down the modifier key:. Draw a new basic shape and track the object you want to rotoscope as outlined above in "Stereo Tracking". Click the "Link to track" drop down in Layer Properties and choose the previously tracked layer.
When you switch to the non-Hero view the rotoscoping will be offset by the tracking data. While this will not completely refine the result, it will save you a lot of time. Whenever you manipulate a control point in the Hero view it will offset that control point in the non-Hero view. When you start to tweak the non-Hero view it will also generate new keyframes for that view only and will not affect the Hero view.
You can see these keyframes represented in the timeline by split left and right keys. If you wish to directly modify the control point in both views when working in either view, you can turn on the "Apply Keyframe Changes to All Views" button at the very end of the timeline controls to the right. If you need to offset your tracking or roto manually see below , you can use the Difference 3D view to help align the layer. Turn on Difference mode.
Offset X and Y until the screen gets as close to blank middle grey as possible. You can optionally also adjust the other Stereo parameters. The corner pin data records and exports the 4 point x, y information from either the adjusted track or the raw track. There are three different types of corner pin exports — two for recent After Effects versions and one for CS3 and older versions of After Effects. The Power pin data is very much like corner pin, but the exported effect gives you more control over the results in After Effects.
The transform data exports x and x positions as well as the scale and rotation for the whole surface. If you click Save , this will display a file browser for saving the tracking data for use later. If you are saving to file you will need to open the text file you saved with the data, select the entire body of text and copy it.
Select the item on the timeline that is the insert object. Paste the data to the selected layer. If you are pasting transform data rather than corner pin data then you will need to delete the anchor point keyframes to see a result. We export both position and anchor point keyframes so that stabilization or tracking can be achieved.
See below. If your insert is not the same size as the dimensions of the composition in After Effects, you will need to take a few further steps to make sure your corner pin data fits correctly. The reason for this is that tracking data is basing itself on the relative size and aspect ratio of the footage, whereas After Effects treats the corner pin data relative to the size of the layer you are applying it to.
To get around this, you can take the following steps to modify the insert layer in After Effects:. Open the Precomp you just made and fit the layer to the composition dimensions Layer Transform Fit to Comp.
Apply a manual corner pin to your insert layer in After Effects and place it in the desired position for any frame. In Mocha, go to the same frame in the footage you applied the corner pin to in After Effects and select the track. On this frame, turn on your surface and click "Align Surface" in the Layer Properties panel. This will apply the tracking data relative to the full dimensions of the footage instead.
If you need to adjust the insert, just open the precomposed layer and tweak the manual corner pin you made. Track your footage as normal, then turn on the Surface button and center the surface box on the area you wish to use as the stabilize center. Export the tracking data in the After Effects Transform format. Select the Invert checkbox option. Switch to After Effects, select the layer you wish to apply the stabilize data to and paste it to that layer. Alternatively you can also use the After Effect Corner Pin export using Invert in the same way to get a correctly warped stabilized image.
This section explains how to export tracking data in a format readable to Silhouette Tracker nodes, how to import the data into Silhouette and how to use it for match move tasks. Track an object in the usual way, and use AdjustTrack to correct for any drift if necessary. The exported tracking points will be the four corner points of the Surface, so you should position these appropriately. You can then use a 'Composite' or 'Math Composite' to combine the corner pinned image over the top of the background image:.
This example illustrates how to export Basic Motion data to Final Cut Pro or Final Cut Express, and use it to matchmove one clip to another, with translation, rotation and scale.
The exported tracking points will be the four corner points of the Surface, so you should position these appropriately before export. The distort option exports the 4 point x, y information from either the adjusted track or the raw track. The points exported are the four corners of the surface. The basic motion option exports x and y positions as well as the scale and rotation for the whole surface.
The position exported is the center of the surface. Now click Save. This will display a file browser; you need to select a filename and directory for the files to be saved.
Now open the Final Cut project where you want to use the tracking data. If your original footage was a QuickTime file, then the new clip in Final Cut will point to this footage. If it was an image sequence, the clip will be connected to the first frame of the sequence, stretched to the duration of the whole clip. In most situations, you want to apply the tracking data to a different clip in your timeline. To do this, you can copy and paste the data from the imported clip onto any other.
Drop your imported clip into the timeline, then select it and press Cmd-C to copy it to the clipboard. Now select the clip you want to apply the tracking data to and press Opt-V Paste Attributes. You will see a dialog asking you to choose which data to paste. Depending on the kind of data you exported, tick either 'Basic Motion' or 'Distort' and untick all the other boxes.
To use our tracking data for stabilization in Final Cut, follow the same procedure as for a basic motion export, but tick the Invert checkbox in the export dialog.
You can also copy the stabilized data onto another clip using Copy and Paste Attributes as before. Many issues of track misalignment can be corrected by choosing the right film type, frame rate and interlacing settings in our software. These controls are on the Clip page in the Film, Interlaced and Time tabs. In Final Cut, check the sequence settings to confirm the correct PAR for the clip, then use the equivalent setting when tracking in our software. If you have already tracked with the wrong film type setting, you will need to re-track after changing it.
This is usually caused by a frame rate mismatch. Check that the frame rate and interlacing settings match between final Cut and our software.
This can be caused by a mismatch in the Final Cut Anamorphic setting. If you are working with anamorphic footage, ensure that you have the 'Anamorphic' setting checked in your Final Cut sequence settings, and in the clip properties. You also need to use one of the anamorphic film types when tracking: any of the film types with 'Anamorphic' in the name should give correct results when importing the data into Final Cut. Next, choose 'Motion basic transform.
Inside Motion, you can either choose to open the exported file as a new project or drag it into an existing project. You will see a Group containing the footage you tracked as well as a blue solid called "Surface". If the surface layer does not automatically apply to the behavior, drag the surface layer onto the Match Move behavior. If you are just using transform, Match Move defaults to this option and you can set transform, scale and rotation.
If you are using corner pin, select the 'Four Corners' option from the 'Type' drop down. Check that the frame rate settings match between Motion and Mocha. This is normally due to the layer you are inserting not being the same frame size as your project media.
You can fix this by either changing the insert to fit the dimensions, or scaling the insert inside motion to match the dimensions. If you are going to scale the layer to fit, you should do this step before you apply Match Move. This section explains how to export tracking data in a format readable by Apple Shake, how to import the data into Shake and how to use it for match move, corner pinning and stabilization tasks.
To load the tracking data in a file into an existing Shake Script follow these steps:. At this point you have successfully imported your tracking data from Mocha into Shake. But what exactly did you import? The MatchMoveLayer is used to apply the tracking data to a foreground element that you wish to matchmove to a background. It consists of two inputs, the background and the foreground. The foreground element will be the element you wish to apply the match moving data to. The foreground is connected to the left side input of the node while the original tracked background element goes into the right hand side.
The next node is the CornerPinLayer node. This node has a single input and works just like the left input of the MatchMoveNode. It takes your foreground element and applies the scaling, rotation, and translation data to it and prepares it for compositing into your next layer.
The last exported node is the Stabilizer Node. Just as the name implies, it takes all of the exported tracking data and uses that data to stabilize your input clip. With this node, for example, you may apply this data to the background element you tracked to make for an easier composite. Now that you have successfully exported and imported your data into Shake you are ready to continue working on your project.
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.
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