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Mocha Pro is a world-renowned software and plugin for planar motion tracking, rotoscoping, object removal, image stabilization, and new PowerMesh tracking. Read about Dune.

Imagineer systems mocha pro 5 free improved Insert Module features warped surface читать больше driven by PowerMesh tracking for a new streamlined workflow. Now mesh tracking can be rendered with motion imaigneer Finish simple match moves in one AE effect without precomps! Watch Insert with PowerMesh Video. RGB channel tracking and RGB viewer controls Multi-link layers and link mesh tracking to existing planar track layers Quick stabilize now works by selected layer for improved roto workflow Improved dope sheet for keyframe editing, sliding, and navigation Improved roto exports for Nuke and Silhouette with split track and spline keyframes New Exports: PowerMesh to Nuke Tracker and PowerMesh to Alembic transforms.

Explore Mocha Pro documentation. Rock solid planar tracking is at the heart of all Mocha Pro modules. VFX artists turn to Mocha for its ease imaginewr 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 imagineer systems mocha pro 5 free warped surfaces and organic objects, making it even more powerful for match moves and digital imagineer systems mocha pro 5 free shots.

Sgstems 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.

Imaginfer 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 fre fixes.

Original motion is адрес страницы propagated back prl the original. For general editing, a smooth option with selectable anchor frames helps reduce high frequency jitters while maintaining original imagineer systems mocha pro 5 free motion. Center, scale or crop stabilized footage based on user-driven tracking.

View all Stabilize Module tutorials. The Imagineer systems mocha pro 5 free Module provides a simple and easy-to-use interface to calibrate the distortion introduced by camera lenses. Remove unwanted lens distortion mochw 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 imagineer systems mocha pro 5 free based camera tracking, Mocha solves the 3D camera based on user-selected planar imagineer systems mocha pro 5 free. This fast and easy-to-use solution is ideal for set extensions, 3D text, and particle tracking. Additionally the 3D solver can be omagineer 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 adobe illustrator cc 2014 32 crack. 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 /68989.txt and assets. For hundreds of acdsee pro 3 mac problems free Mocha training videos, visit Mocha TV.

Read about Dune New systms 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 imagineer systems mocha pro 5 free 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 вот ссылка layers Quick stabilize now fred by больше информации 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. Читать статью Objects and Wires Remove unwanted elements, wires, rigs, tracking marks, and cameras. Screen Inserts and Match Moves Render читать полностью 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 systema based on select tracking layers. Updated Lens Calibration Tools Imagineer systems mocha pro 5 free Lens Module provides a simple and easy-to-use interface imagineer systems mocha pro 5 free calibrate the distortion introduced by camera lenses.

Stereoscopic Workflow Stereo 3D planar tracking, masking, and object removal workflow. Now improved in Mocha Pro Product: Release Number: Mocha Pro Imagineer systems mocha pro 5 free Pro What’s New. Over 4 hours of training videos to help you get up and running quickly. Read More. Tracking, Splines, 3D 1Lens 2. Advanced paint tools with AutoPaint and detail separation.

 
 

 

– Boris FX | Mocha Pro

 

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

Viewer Preferences: Adjustments dialog for parameters such as grid lines and trace frames. Also controls for viewer OCIO colourspaces. Reset In-Point: Set the in-point back to the start of the clip. Current Frame: The frame the playhead is currently on. Enter a new value to jump to that frame.

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

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

Delete All Keyframes: Deletes all keyframes on the timeline for the selected layer. Autokey: Toggles automatic key insertion when moving points or adjusting parameters. Align Selected Surfaces: Aligns the selected layer surfaces to the dimensions of the footage at the current frame. Toggle Active at current frame: Activates or Deactivates the layer on the current frame. Group Layer: Groups the currently selected layers.

If no layers are selected, creates an empty group. Blend mode: Dropdown to add or subtract your spline to the current layer. Invert flips this. Insert Clip: Insert a demo clip to preview your track. You can use one of the defaults or import your own. For preview purposes only.

Can also be set to None. In Mocha v5 we introduced manual cache clearing to allow you to clear the Mocha cache at the project, render or global level. Some interface elements change when using Stereo footage. This section covers what new icons appear and how to interact with them. 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. 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. 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. The improved Insert Module features warped surface compositing driven by PowerMesh tracking for a new streamlined workflow. Now mesh tracking can be rendered with motion blur!

Finish simple match moves in one AE effect without precomps! Watch Insert with PowerMesh Video. RGB channel tracking and RGB viewer controls Multi-link layers and link mesh tracking to existing planar track layers Quick stabilize now works by selected layer for improved roto workflow Improved dope sheet for keyframe editing, sliding, and navigation Improved roto exports for Nuke and Silhouette with split track and spline keyframes New Exports: PowerMesh to Nuke Tracker and PowerMesh to Alembic transforms.

Explore Mocha Pro documentation. Rock solid planar tracking is at the heart of all Mocha Pro modules. VFX artists turn to Mocha for its ease of use and reliability when faced with the most difficult shots. Mocha is versatile, so use it the way you want Mocha Pro can export tracking, roto shapes, lens calibration and 3D data in a wide variety of formats, or render to file or back to your host. PowerMesh enables a powerful sub-planar tracking process for visual effects and rotoscoping.

Now Mocha Pro can track warped surfaces and organic objects, making it even more powerful for match moves and digital makeup shots.

Use PowerMesh to to drive roto shapes with less keyframes. Export or render roto to most popular host applications. X-Splines and Bezier splines with magnetic edge-snapping assistance and Area Brush tool help create detailed mask shapes — without requiring drawing skills.

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

Generate clean plates for massive time-savings. The Remove Module is an amazing alternative to traditional clone techniques for removing objects.

It automatically detects temporal clean frames to blend and align pixels with little user input. It’s like Content Aware on steroids!

View Remove Module tutorials. Mega Clean Plates! Beyond object removal, this same technology can also be used to create a large, stitched image out of multiple frames.

Learn more about Mega Plates. Render accurate match moves and screen inserts with realistic motion blur or warped distortions. Retrieved April 19, June 13, Retrieved November 6, October 18, January 23, Retrieved January 23, April 3, Retrieved April 3, Retrieved October 26, October 15, December 11, Retrieved December 13, January 24, Retrieved February 19, May 19, Retrieved May 28, October 20, March 10, Retrieved March 10, October 16, Retrieved October 27, Retrieved Retrieved March 19, May 18, Adobe Creative Suite and Creative Cloud.

Adobe Inc. Category Commons. Digital compositing software. Motion graphics and animation software. Pivot Animator. Adobe Director Avid Elastic Reality. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file.

Download as PDF Printable version. Wikimedia Commons. Company of Science and Art. January ; 29 years ago Windows 10 x64 only v and later, macOS Visual effects , Motion graphics , Compositing , Computer animation. Trialware , software as a service SaaS. Time Layout window, image sequence support, motion blur, multi-machine rendering, frame blending, proxies. Power Macintosh version PPC [6]. File formats, multiprocessing; last Mac x0 version. Flowchart view, watch folder, 3D channel effects, collect files command, auto deinterlacing, sequence layers, save favorite effects.

 
 

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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. 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. Archived from the original on November 5, Digital Arts. Adobe Blog. Retrieved May 17, Retrieved April 15, September April June May Archived from the original on March 5, October December Retrieved January 12, January 27, January 19, Retrieved January 19, Retrieved April 19, June 13, Retrieved November 6, October 18, January 23, Retrieved January 23, April 3, Retrieved April 3, Retrieved October 26, October 15, December 11, Retrieved December 13, January 24, Retrieved February 19, May 19, Retrieved May 28, October 20, March 10, Retrieved March 10, October 16, Retrieved October 27, Retrieved Retrieved March 19, May 18, Adobe Creative Suite and Creative Cloud.

Adobe Inc. Category Commons. Digital compositing software. Motion graphics and animation software. Pivot Animator. Adobe Director Avid Elastic Reality. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Company of Science and Art. January ; 29 years ago Windows 10 x64 only v and later, macOS Visual effects , Motion graphics , Compositing , Computer animation.

Trialware , software as a service SaaS. Time Layout window, image sequence support, motion blur, multi-machine rendering, frame blending, proxies. Power Macintosh version PPC [6]. File formats, multiprocessing; last Mac x0 version. Flowchart view, watch folder, 3D channel effects, collect files command, auto deinterlacing, sequence layers, save favorite effects.

January 7, [9]. Advanced 3D renderer, multiple 3D views, import camera data, colored shadows, projection layers, effects palette, post render actions, advanced lightning, adjustment layer lights, smart mask, looping via expressions, RealMedia output, expression controllers, Zaxwerks 3D Invigorator Classic bundled; first OS X version.

Shape layers, puppet tool, brainstorm, clip notes, Photoshop vanishing point import, adaptive motion blur, per character 3D text animation, real-time audio playback, simultaneous multi-frame rendering, SWF vector import, bit linear blending, full color management; first Universal Binary Intel Mac version.

October 6, [11]. Fixes “locking existing frames” message delay at start of RAM preview, decreased performance due to Wacom driver conflict, aerender not shutting down background processes, and miscellaneous crashes especially on Mac OS X April 30, [12]. September 3, [14].

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