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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. 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. Dating in Germany will either make it more so or raise the chance to finally get the partner you've been looking for all along. Dating for expats info. Living in Germany is an incredible opportunity to rediscover and reinvent yourself, including the romantic side of your life.
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For single expats in Germany, dating is even harder. Online Dating. 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.
If left to "Default" it will render what has been set inside the Mocha project. If changed, it will override all insert layers in the project. Insert Opacity: Overrides the default insert opacity set inside the Mocha project. 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. You can also adjust the Insert Blend Mode and the Insert Opacity from the plugin interface without needing to go back into Mocha:. 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. 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.
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