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Final Cut Pro tutorial, this video will focus on how to use supreme tracking.
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Hi! This is Ross Shane with Imagineer Systems. Today, I’m going to give you a quick introduction to Mocha for Final Cut.
Mocha for final cut is Imagineer’s plainer tracker which is optimized for the final cut workflow. In this tutorial what we’re going to do is we’re going to track the motion of this clip here, and we’re going to place it with a logo. We’re also going to track garbage matt so that the logo itself can go behind the guys hand here.
To get your clips from final cut into mocha, you can right click on the clip, reveal and finder, and then simply drag your clip right to the mocha for final cut icon. We’re going ahead, and say next here. In the new project window, it’s letting me know that this clip where it comes from. I can give the project the name if I wanted to. I could also set where that project is going to be saved. Relative, it’s going to save the project right into that same directory that your clip comes from, and absolute, it will allow you to navigate and put that project mocha for final cut project in any directory you choose. I'm going to leave that as relative.
Next what we’re going to do here is go into the next dialogue box, which will allow you to separate the fields if you want your move fields, or if you have a clip with pull down, that was strong off track it all. You might want to remove the three to pull down. Make sure that your frame rate matches your final cut project frame right. This is imperative. In this particular example, we have 24 friends per second clip, and we’re going to hit it done.
Under the clip blunt window, if I wanted to remove any blanking, or in this case letter boxing, I could just crop my viewer. Also under clip window is we’re going to make sure that your settings are correct, so this happens to be in NTSC Clip at 24 frames per second. The key in getting new good track in mocha for final cut is understanding the plainer tracker. The mocha that you do is you create shapes that define your search area. We’re not limited to small four point tracking search areas. I can actually create a very large are using this X blind tool. Essentially what we’re doing is we’re going to be tracking all the pixels within that shape. Underneath your viewer, you have a track button which could be tracked forward or backwards. In this case, we’re going to track backwards to the beginning of the shot.
And what you’ll notice is that sometimes it helps to leave the tracker, your track shape a little bit wide, and we’ll see what happens when we get to those blurry pixels.
When you create a shape, it automatically puts it up here in your layers, in the upper left hand corner. I could give this a name. This is my track card, shape if I like. Okay. Once you have something tracked, you basically want to validate whether that tracking data is good. All your controls in the upper right hand corner are viewer controls. Basically, you can toggle this controls on and off. Let’s turn off our layers, which our layer is our shape, and we’re going to turn on our surface. The surface basically represents the data that’s going to be export to final cut. What I want to do here is just set my four points of my surface to much the four points of the card here. If you like, you can turn on a grid to really get the sense that you’re matching the proper plain of the card. And even though our card goes out of focus, we’ve pretty much the movement quite well.
I’ve also mentioned, we’re taking a look at adjust track, which is a very important module in mocha of final cut. This allows you to really refine tracks in control drift.
For now, I'm just going to say this is okay. I’m going to turn off my grid. Before I export my data thought, if I wanted to insert a logo, if I want to insert grids, I can look at this, and make sure that I’m happy with my track data.
At this point, what we’ll do is hit export tracking data. We have two options here, final cut basic motions for translation, rotation, and scale, or final cut distort for corner pining. In this example, I’m going to use the Corner Pin Export. What this does it saves this file as an XML file. I call this track card shape in one. At this point, we’re done with mocha. We’re going to get back into final cut.
Okay, back here on the final cut, what I want to do then is import my XML file. I’m going to say OK here to overwrite that in the settings. And here, I have it in my own bin, I’m just going to right click bond it and copy. Then I’m going to go to the clip in my timeline that I want this copy to key frame. In this case, it’s going to be this logo on track two. I’m going to right click and paste attributes, and paste in this case the distort. Then, we’ve quickly gotten our distort, our corner pin data of from mocha for final cut into final cut’s motion tab. Just double click on that, and checkout that we have the key frames all in our distort model.
Now, they we’re happy with the motion of our logo, my next goal is to find a way to get the hands back on top of the logo. It’s where I did in the final cut is created just one frame of the eight point garbage matt and rather than having to go through in many way at key frames. What we’re going to do is actually use the same tracking data from mocha for final cut to apply the motion to the garbage matt. So let’s go back to the final cut.
I’d rather than take the corner pin motion. Really all I want is the XY scale and transformation rotation values. So, what I'm going to do is I’m going to take my shape here and final cut this layer. And underneath my layer controls, I'm going to hit align surface. What this does is this is going to set my surface control here, zoom out a little bit with the Z key. You can see this blue line here. That’s my surface control. This is going to ensure me that because my very first frame of the garbage matt was in place in final cut, that my very first frame here is in place lined up to the full frame, and don’t forget we have our mask here on if you’re going to see that this is going to match the full frame.
So again, by choosing to align the surface, what we’ve done is we reset our surface to be full frame, and what is going to do is just have all the scale rotation, entrance XY transformation. So at this point, let’s hit export tracking data. And the first example, we will use the final cut distort corner pin, but in this example, what we’re going to do is use the final cut motion, translate, rotate and scale. Let’s say this, and like all this track cards, transform.
Back in the final cut, what we want to do is again import the XML file that we’ve created out of mocha. And right from our ban, I can right click on it, copy it, and select the clip. I want the key frames to paste you and say paste attributes. Here, we’re just going to paste the basic motion. And then, what we’re going to see is that we’ve basically have an animated track matt. So using that as a track matt over here as a travel matt, I've created a composer where I’ve to track both the logo and the garbage matt for the hand, added to quick animated blur to match the rock focus with the Gaussian blur on my logo and there you have it. We’ve quickly done a pretty complex composite using mocha for final cut, and then compositing in final cut.
Thanks for watching this quick start video about mocha for final cut. If we’ve got in the end of this video and you really feel in that you need more indepth understanding of the mocha interface, I highly recommend going to Imagineersystems.com, and going to the tutorial section. And underneath mocha, you’ll find a whole lot of great tutorials. One of the great one just to start with is a mocha GUI and workflow overview done by CMI effects. That really covers the interface in depth. Again, for Imagineer Systems, this is Ross Shane.