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

Tracking and rotoscoping are part of almost any visual effects project. For 2D tracking, point trackers are most commonly used, but to get good point tracks requires a mix of experience and luck.

If the point being tracked exits frame, you get into offset tracking, which presents its own set of challenges. If it all fails, you are into hand tracking, which is time consuming and very hard to get accurate. Mocha is a 2D tracker that requires less experience and luck to be successful with, does not require the image to be primed and is less likely to require a lot of tricks or hand tracking on difficult shots.

In Mocha splines are used for both tracking and rotoscoping. This is a different method from standard 1-point or multi-point tracking tools. This is itself a difficult task, especially when tracking a shot that was not originally designed to be tracked.

If you wish to also track rotation, perspective and shear you need even more clear and consistent points to track. Even when using multi-point trackers to impart rotation and scale to the roto spline, the results are often unusable if there is any perspective change during the shot. A plane is any flat surface having only two dimensions, such as a table top, a wall, or a television screen.

Even as an object leaves and enters a frame, there is usually enough information for the Planar Tracker to maintain a solid track of the object. When you work with the Mocha tools, you will need to look for planes in the clip. More specifically, you will need to look for planes that coincide with movements you want to track. If someone is waving goodbye, you can break their arm into two planes – the upper and lower limbs.

Although not all of the points on the arm sections actually lie on the same two-dimensional surface, the apparent parallax will be minimal. With the addition of PowerMesh, subplanar tracking is also possible, tracking warp and bending of objects that standard planar tracking would struggle to do alone. See the section on Exporting to Alembic for more details on how to use the format. This option is also available in the plug-in render options so you can easily unwarp an area, modify it, then rewarp with a copy of the original effect.

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

Mocha begins in the Essentials layout, which provides a simplified interface for basic tracking and roto. The Essentials panel on the left side of the window combines everything you need for a basic track. To attach a spline layer to an existing track, or detach it from a track entirely.

These buttons control viewing and expanding the surface. See Tracking Basics for how to use the surface effectively. Show surface tracking data : Reveals the blue surface that represents the tracking data. Show grid: Reveals a useful grid for lining up the surface or monitoring for drift in a track.

Align surface: Expands the surface to fit the dimensions of the footage on the current frame. Like the Essentials layout, this layout is optimized specifically for roto sessions where only the most necessary panels and tools are shown.

If you want to reduce all clutter entirely, the Big Picture layout is very useful for previewing shots without any elements getting in the way. These can either be access by right clicking the area of the interface and choosing a GUI element to show or hide, or selecting from the View menu.

Any changes you make to a layout will not be saved unless you choose View Layout Save Current Layout. For example if you like the Essentials layout, but would like the Advanced toolbar from the Classic layout:. You can add, order or remove layouts from the Manage Custom Layouts dialog in the same sub-menu. If you have made changes to a saved layout want to revert back to the saved version, just choose View Layout Revert to saved.

If you want to revert back to the original default layout, just choose View Layout Revert to default. At the very top of the interface you have the tools that form the brunt of your time inside Mocha. Select: Selection tool for splines and points. Hold the button to choose between Marquee selection and Lasso selection. Select Both: Selects both the Inner spline points and the edge points.

Hold this button down to select further options See below. Select Auto: Automatically selects between Inner and Edge points. Useful for lining up individual splines. Rotate: Rotate selection around the axis of the point you click in the viewer.

Transform Tool: Toggles the transform bounding box for manipulating selections. Show Planar Grid: Toggles a grid relative to the planar surface view. You can adjust the number of grid lines under Viewer Preferences See below. Align Surface: Expands the layer surface to fit the dimensions of the footage at the current frame.

All tracked data is made relative to this new alignment. Proxy Scale: Adjust the resolution of the footage for performance Mocha Standalone only. Show Layer Mattes: Toggle on or off to show the mattes. Select from the dropdown to choose the type of matte. Color Layer Mattes: Fills matte with Color. Decreasing the value lessens the opacity. Overlays: Toggles all viewer overlays, including splines, tangents, surface and grid.

Show Layer Outlines: Toggles all spline overlays, including splines, points and tangents. Show Spline Tangents: Toggles spline tangents view. Select from the dropdown to choose the type of view. View Mesh: Toggles Mesh view. Select from the dropdown to choose either the mesh or just the vertices. Stabilize: Turns on stabilize view. This centers the footage around your tracked surface. Trace: Turns on the traced path of the tracked surface.

You can adjust the amount of frames to trace under Viewer Preferences See below. Enable Brightness Scaling: Toggles brightness adjustment to work with low-contrast footage.

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

Reset In-Point: Set the in-point back to the start of the clip. Current Frame: The frame the playhead is currently on. Enter a new value to jump to that frame. Reset Out Point: Set the out point back to the end of the clip. Zoom Timeline to full frame range: Resets the timeline scale to the full range of frames. Play Controls: Controls for playing back and forth and moving one frame at a time. Tracking Controls: Controls for tracking back and forth and tracking one frame at a time.

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

This only appears if you are hovering over a keyframe. Delete All Keyframes: Deletes all keyframes on the timeline for the selected layer.

Autokey: Toggles automatic key insertion when moving points or adjusting parameters. Align Selected Surfaces: Aligns the selected layer surfaces to the dimensions of the footage at the current frame. Toggle Active at current frame: Activates or Deactivates the layer on the current frame. Group Layer: Groups the currently selected layers. If no layers are selected, creates an empty group. Blend mode: Dropdown to add or subtract your spline to the current layer.

Invert flips this. Insert Clip: Insert a demo clip to preview your track. You can use one of the defaults or import your own. For preview purposes only. Can also be set to None. In Mocha v5 we introduced manual cache clearing to allow you to clear the Mocha cache at the project, render or global level.

Some interface elements change when using Stereo footage. This section covers what new icons appear and how to interact with them.

 
 

 

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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. Pentair will evaluate the request for return and send a written authorization number RMA to the customer if the return is required.

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The GS1 Application Identifiers provide an open standard which can be used and understood by all companies in the trading chain, regardless of the company that originally issued the codes. The serial number for your EOS camera will generally be 12 digits long, however for some older models the serial number may be 6 or 10 digits long.

Please Note a Mark V can be either a , or a For ordering parts, you should indicate model and serial numbers of the heater. To find out if yours has been recalled, check the manufacturing date and model number against this list. It sets up user options, the Serial interface, and the protocol decoder.

The subject Product or Parts must be returned to the original point of shipment, freight prepaid, along with a letter stating the model number, serial number, if any, the date of purchase of the item which is claimed to be defective and a brief description of the problems encountered. Information on Japanese and Mexican-made instruments is included towards the bottom. Serial Number Location Extractor Style Forend Serial Number Location Ejector Style Forend In the meantime, we invite you to browse our site to view pictures of rare Fox guns, all of the various styles, engravings, mechanisms and much more.

Self-Describing Serial Numbers. Serial Number. Calculators introduced later than and not produced in Asia use a four digit code to define the week and year of manufacturing. The serial numbers on the outside of the body are not the only way to date a Fender guitar however.

Cisco devices have a standard serial number, from the serial number you can work out it\’s age and the location it was built. Serial numbers for these products typically follow a format like this: 1M all numbers with the exception of the letter in the second position.

Date codes. First four digits indicate the product type – in this case is an ASME MasterTemp; The next 3 digits indicate the day of the year – in this case the th day of the year; The next 2 digits indicate the year – in this case 11 is for the year 2.

To check this, press and hold the more button for 3 seconds. The text that represents this date number is \’Jun\’. Make sure you retain the serial number in case you ever need to update your The applicable Warranty Period is one 2 year from the Purchase Date.

Vacubox For cooler temperatures turn clockwise, for warmer temperatures turn counterclockwise. CC Customer Concierge. So the example shown below was produced in August, Sold indivually. October, 11 Behind the clear bin. Cleaning up your AppleID. On December 15, we signed a contract to bring a dedicated fiber line to the forum servers.

Compact Digital Cameras. After you find the location of the York serial number, the next step is to deciphering the code in it. The license changed from serial number to \”Sign In\” without serial number. The serial number is located on the underside of the top panel of the cameras, it is right above the yellow film cover button.

LT was built June or June The serial number stamped or printed on the compressor nameplate consists of eight or nine characters. Enter Model or Serial Number. Many products you have in your home have unique serial numbers printed on them.

They mean different things on different foods. Optional Type the following command to determine device serial number and pressThe serial number, or serial date, is the number Excel uses to calculate dates and times entered into a worksheet. This authorization does not imply any liability, whether direct or indirect, apparent or hidden, of Pentair and does not suspend in any event any payment owed by the Purchaser at the date due.

Rolex serial number list by series letter and year. Owning a Navien tankless water heater means lower bills and a much smaller carbon footprint. The serial port is read by PentairSerial.

Added today: So the serial number shown above means the motor was produced on the 12th day of The 1st two digits of the serial number are letters with the remaining 10 digits being numbers. Extended Warranty for Specific Products Offered from Date of Incomplete or missing information such as your serial number will not be registered. Recently some serial numbers have left with one or two letters followed by FIVE numbers. Acer Care Center.

Printers Both HP and Samsung. The date code is on a label located on the back side of the battery. Troubleshooting or return, need to check serial no. Enter your Seiko serial number and find when the watch was made, its value and To get the best chance of getting only one date returned it is best to enter your Seiko movement in the 2nd box. The first five numbers of the serial number of most Hayward Century pump motors manufactured since indicate the date of manufacture, Pentair is a member of the product stewardship program Refrigerant Numbers will show on the screen representing each time Purchase date:.

The serial number is a unique identifier of your product and the key to efficient servicing and correct ordering of parts. Type wmic csproduct get name and press Enter to bring up a result in the command prompt window. Systems and in some cases, serial number may be on your receipt. Contact Remington through their Help Center by e-mail at [email protected] If you are unable to locate one, remove the cushion to reveal the digit serial number on the earcup.

QF Date Issue No. The serial number can be obtained by looking at the rear of the device and it will be a white sticker with black printed letter, alternatively enter the command \”show version\” onto the command line and look for the serial number in the output.

Frequently Asked Questions. The manufacturing date, along with model number, can be found on the serial number sticker on the heater. The serial number can be found on the back of the TV\’s, on the side of the box and sometimes on the receipt. If you are looking to find a manual or get parts for your sprayer, having this information is paramount.

All rights reserved. This label contains both your serial number and model number. This form must be submitted within 30 days of original purchase to be eligible to qualify for a rebate. Excel stores dates as sequential serial numbers so that they can be used in calculations.

You can generate serial keys using a custom number of columns and characters per column. I just got a note from Pentair and says this serial number was manufactured February 3, Date: Please enter a valid serial number. Patent Numbers regarding to this pool heater, please contact Pentair Pool Products, registration card after filling in the serial number.

This number indicates that the motor is a stock rating, readily available from standard inventory as a replacement motor. Usually for tracking and accountability. Serial on butt is Quantity to be returned and a brief description of failure for each unit, if different.

The example above contains serial number and date code Claims received without the correct serial number cannot be processed see examples of serial numbers in chart below. The serial number is located on your air tool with the date code included. Observation Ports and Sight Glasses. Companies assign serial numbers to their products. Once your warranty has been processed we will send a confirmation email to the address you provided.

The last two numbers in the manufacturers code will be the year model. Pentair Pool Product Questions. Remington Shotgun Serial Numbers. The product number can also be used by the Support Center to provide technical assistance for your product. You can find the serial number on the label adhered to the pool cleaner or on the side of the product carton. Locate the white label on the PCB. The serial number is for a network license rather than a stand-alone license.

To the right and below, you will find some images that will hopefully help you to locate the complete serial number on your instrument. Otherwise you will be asked to enter your purchase date on top of your model name and serial number, after which our system will show you your default warranty duration. This serial number system has been in effect since May, Where do I find my serial number?

Business Partner Code of Conduct. All amplifier serial numbers begin with the code \”AMP\” and are followed by the two digit year prefix. Fender also dated the neck when it was manufactured. Your Pentair serial number should be on a label that looks like this. Enter the serial number, without spaces or dashes, to search the database.

The list only shows the number from the first tractor built in each year. The order of the serial number code was changed to: 1. S Underfloor details, including the serial number, the type of Goods, and the date of serial number, date of retail purchase, and date of installation. Free Adobe Cs2 Serial Numbers. Goulds JS5H pump. Touch controllers: Remove the battery door from your Touch controller, then remove the battery. Complete a product warranty registration card found inside product carton.

The Serial Numbers on the Frame and Engine from to should match. The swimming pool pump photos we have collected, represent the most common pumps found in the Tulsa area. Your serial number will be on the inside of the controller under the battery. Savage Date Codes — From through , Savage Arms stamped a date code on almost all their firearms. Returning to our examples and using the second digit from the serial number we get the following production datesYou can determine your computer\’s serial number without checking the firmware or sticker, and here\’s how to accomplish the task on Windows So your complete Serial Number as per today\’s standard is 04X Depending on the type of product you own, and the year it was purchased, the serial number could be in one of several places.

Date code example: Note: Exclude hyphens. Please be advised that the information provided here is approximate, and should not be relied upon for legal, compliance, valuation, or other purposes which require definitive documentation.

Once this is done, our Warranty Checker will show the correct warranty end date. This may be on packaging, stickers or the product itself. Engineers of Pentair are present during testing and inspection. Modified date: 31 December Enter serial numbers and get the packages! Activate Previous page. Date of manufacture can be found within the product serial number, as illustrated in the examples below. On the right side, it will be printed above the seal of the U.

Part Number Select Part Number. Warranty Registration. It could not be easily replaced if damaged in the manufacturing process. Seagate data code calculator is web application that calculates gregorian date based on seagate data code on your hard drive. These dates are not necessarily the same as the model year of the frame. Built from to Watch this video about how to find the serial number on the AltaLink B Family to get rating number number pack number.

Located on the rear of the deck, in the center. This list will work for most newer appliances as long as you are reading from the correct format. Check the headband for a 4-digit code. Your best bet is going to measure your cartridges. Serial number BR; bar code please help. These panels are also equipped with user lock code options to restrict access and.

Utilizing this database, you can verify before or after purchasing an item if said object has been marked as missing or stolen. Bypass icloud fix nofication, icloud, facetimeSerial Number Registration. A unique combination of eleven numbers and letters appears twice on the front of the note. Improper installation could result in death or serious injury to pool users, installers, or others and may also cause damage to property.

Step 2. For most thermostats, the Model Number is located on the back of the detachable face plate. Date manuf? The applicable Warranty Period is one 1 year from the Purchase Date. Some text in the modalkkkfg. School of Engineering and Technology.

School of Commerce, Finance and Accountancy. School of Business and Management. Faculty Members. Sort by Action Another action Something else here. Eligibility Fees. View Details. Elimination of bioweapon agents from biological fluids and DNA extraction.

Evaluation of tea Camellia sinensis L. Dual-mode chemosensor for the fluorescence detection of zinc and hypochlorite on a fluorescein backbone and its cell-imaging applications. A study on nanoliquid flow with irregular heat source and realistic boundary conditions: A modified Buongiorno model for biomedical applications. Detrimental effects of microplastics in aquatic fauna on marine and freshwater environments-A comprehensive review.

Cytokine see-saw across pregnancy, its related complexities and consequences. Environmental pollution of laundry detergent affects the first-line defence mechanism in Chirrinus mrigal and Oreochromis niloticus. A comprehensive review on tissue culture studies and secondary metabolite production in Bacopa monnieri L.

Pennell: a nootropic plant. Analysis and dynamics of the Ivancevic option pricing model with a novel fractional calculus approach. Magnetic iron oxide nanoparticles immobilized on microporous molecular sieves as efficient porous catalyst for photodegradation, transesterification and esterification reactions.

Green synthesis of zirconium phosphate by combustion method: photocatalytic application and microwave-assisted catalytic conversion of aldehyde to nitriles. Anti-inflammatory activity of Sabicea brevipes Wernharm Rubiaceae. Biotechnological approaches for production of Artemisinin, An anti-malarial drug from Artemisia annua L. Mirabijalones S-W, rotenoids from rhizomes of white Mirabilis jalapa Linn.

Data Science and Security. Ubiquitous Communications and Network Computing. An updated review on advancement in fermentative production strategies for biobutanol using Clostridium spp. Quantification of DNA from normal bloodstain and fungal growth bloodstain.

Changing look AGN Mrk broad-line region and black hole mass from photometric reverberation mapping. Predictors of behavioral and emotional issues in children involved in custody disputes: A cross sectional study in urban Bengaluru. P type copper doped tin oxide thin films and p-n homojunction diodes based on them. Tailoring the properties of tin dioxide thin films by spray pyrolysis technique.

A comparison of in vitro cytotoxicity of undoped and doped surface modified CaS nanoparticles. IOP Conf. Recent advances of MoO3 based materials in energy catalysis: Applications in hydrogen evolution and oxygen evolution reactions.

Antioxidant and antigenotoxic properties of Alpinia galanga, Curcuma amada, and Curcuma caesia. Network pharmacological evaluation for identifying novel drug-like molecules from ginger Zingiber officinale Rosc.

Tuning of the surface structure of silver nanoparticles using Gum arabic for enhanced electrocatalytic oxidation of morin. Recent advances in carbon nanotubes-based biocatalysts and their applications. A protoberberine alkaloid based ratiometric pH-responsive probe for the detection of diabetic ketoacidosis.

Recent advances in functionalization of carbon nanosurface structures for electrochemical sensing applications: tuning and turning. Amorphous Ru-Pi nanoclusters decorated on PEDOT modified carbon fibre paper as a highly efficient electrocatalyst for oxygen evolution reaction.

Probing the effect of newly synthesized phenyltrimethylammonium tetrachloroaluminate ionic liquid as an inhibitor for carbon steel corrosion. A facile and economic electrochemical sensor for methylmalonic acid: A potential biomarker for vitamin B12 deficiency. Electro fabrication of molecularly imprinted sensor based on Pd nanoparticles decorated poly- 3 thiophene acetic acid for progesterone detection. A road map on nanostructured surface tuning strategies of carbon fiber paper electrode: Enhanced electrocatalytic applications.

The onset of Rayleigh? IoT-based traffic prediction and traffic signal control system for smart city. An efficient low complexity compression based optimal homomorphic encryption for secure fiber optic communication.

Blockchain with deep learning-enabled secure healthcare data transmission and diagnostic model. Suitability of self-organizing service composition approach for smart healthcare ecosystem: A study. Colorimetric and theoretical investigation of coumarin based chemosensor for selective detection of fluoride. Study of classical Be stars in open clusters older than Myr.

Identification of emission-line stars in transition phase from pre-main sequence to main sequence. Micro and nano Bi2O3 filled epoxy composites: Thermal, mechanical and -ray attenuation properties. A simple software for swift computation of photon and charged particle interaction parameters: PAGEX.

Natural polymer-based hydrogels as prospective tissue equivalent materials for radiation therapy and dosimetry. 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. By default, Luminance does a good job. If you have low-luminance footage or you are not getting a good track, try one of the color channels or 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. Mesh Mocha Pro Only : Movement within the overall plane, such as distortion, warp etc. See PowerMesh and Mesh Tracking in the next chapter for more information on this tracking method.

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. Existing Planar Data: This is only used when you want to add Mesh tracking to an existing planar track. 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.

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.

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.

In the new layer, go to Layer properties and choose \”Link to track\” and select your tracked layer. You can also do this for the same layer you are on without creating a new layer. Any planar tracked layer can have the Mesh applied later and then simply be retracked using \”Existing Planar Data\”. 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. Nuke Mesh Tracker: This will export a single Tracker node for Nuke that contains a single tracker point for every vertex in the PowerMesh.

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.

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.

Note that the Transform selection works very similar to the Motion type in the Track module. When you select a motion type further down the list, it will automatically select the ones above it in order for the tracking keyframes to be adjusted predictably. You can opt to turn off the default-selected transform types later if you need to do a specific adjustment. 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 Primary 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 primary 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 Primary 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 Primary Reference frame. This Primary 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 Primary 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 primary 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.