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Here are some questions I get asked a lot, listed in the order I wrote them down. So go learn how to use a hammer! That said, here, in detail, are the tools I till use for production this list avid media composer 8 fit to fill free from time to time — you can find some of these things on my amazon list : Canon T3i with Magic Lantern and 50mm f1. All over the place! When I was first starting on YouTube, I would do collaborations with other creators avid media composer 8 fit to fill free similar size and focus in order to cross-promote our channels and посмотреть еще new people, and I suggest you do the same!

Should I study physics? Mine did too. At least ift I started making youtube videos, which might be an even more questionable career choice. Just kidding, my parents have actually been supportive of me throughout! Or you can do something else with your physics degree, like finance or software development or engineering or making youtube videos.

Those two skills — clear communication and the ability to describe and analyze logical problems — will be huge assets throughout your life, regardless of where your life things cultured code trial free download you. По этому сообщению I study physics anyway? So avid media composer 8 fit to fill free sounds like step 1 for you is to study more math and get good at it!

As I mentioned above, I’ve already got too much on my plate for me to take on explaining all of human knowledge If you’re interested in starting your own youtube channel about topic X, awesome! Go for it — but I highly recommend you do it in a way that’s authentically “you”, with your own voice, style, show name, etc.

Based on my limited experience, being true to yourself tends to lead to the best results and greatest likelihood of success however you define that in your endeavors on youtube. The sad reality is that there are only 24 hours in a day, and if I made a sincere, honest attempt to reply to every message I receive, I would have no time for anything else. If you really want me to see what you have to say, email is the way to go — I read every single email that is sent to me.

How do you make money on youtube? Can I translate your videos into another language? I have never understood the benefits of joining a youtube network, despite getting composef every week for years from people trying to convince me otherwise. They kind of just seem like a giant Ponzi scheme to me. I make videos, not books! I have mistakes in lots avid media composer 8 fit to fill free my videos — such is the nature of making technical content sometimes you composeg up.

Count me in! I tend to talk faster when I get excited about something! I have a theory about the universe, will you help promote it? Are you an established scientist looking to promote your published research?

Send me an email explaining why your work is so awesome we should make a video about it. There are plenty of legitimate scientific avenues for getting research out into the world: conferences, academic journals, etc. Try one of them! But really, fill you help me put my theory about the universe into math so I can submit it to a journal?

Universities and graduate schools exist for exactly this reason: git teach you the math and other skills to help you become a researcher! Well, for the first year or so of MinutePhysics, I released a video avid media composer 8 fit to fill free every week. But as MinuteEarth becomes more and more self-sufficient without me, there should be an increase in either the number or length or quality of MinutePhysics videos.

Unless I decide to use that extra time to play fiddle or go climb mountains. I have a physics question, will you нажмите чтобы увидеть больше it? Is it a homework question? Then no. How did you get into making youtube videos? Short answer: luck. Tto of the jobs I did were things like being a grip or electric or camera assistant on super low budget indie movies. But even though I knew nothing about youtube or perhaps because of it? I also saw some RSAnimate videos whose style I liked, and thought there was a big empty space on youtube where flt videos would fit nicely.

I really want to start a successful youtube channel. Do you have any advice? That depends. I generally allow non-commercial, freely available, educational use by non-profits. That is, if you want to use my videos 1 for educational purposes, 2 your organization is a c3 non-profit or equivalent3 no money or financial transaction is required for people to be able to see the video and no ads shown alongside the video nor any other revenue being made off of its use in any way, and 4 you do no editing, other than dubbed translations, nor adding other promotional material ads, promotions, sponsorships, announcements, etc to the video, then I will probably be happy to let you use the video for free.

Recent Videos. Frequently Asked Questions Here are some questions I get asked a lot, listed ffee the order I wrote them down.

How do you get ideas for your videos? I have an idea for a video! You should go make a video about it! I have a avid media composer 8 fit to fill free proposition for you! Yes please! Why do you talk so fast in your videos? What did you study in school?

 
 

 

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That said, here, in detail, are the tools I currently use for production this list changes from time to time — you can find some of these things on my amazon list : Canon T3i with Magic Lantern and 50mm f1. All over the place! When I was first starting on YouTube, I would do collaborations with other creators of similar size and focus in order to cross-promote our channels and meet new people, and I suggest you do the same! Should I study physics? Mine did too. At least until I started making youtube videos, which might be an even more questionable career choice.

Just kidding, my parents have actually been supportive of me throughout! Or you can do something else with your physics degree, like finance or software development or engineering or making youtube videos. Those two skills — clear communication and the ability to describe and analyze logical problems — will be huge assets throughout your life, regardless of where your life takes you.

Should I study physics anyway? So it sounds like step 1 for you is to study more math and get good at it! As I mentioned above, I’ve already got too much on my plate for me to take on explaining all of human knowledge If you’re interested in starting your own youtube channel about topic X, awesome!

Go for it — but I highly recommend you do it in a way that’s authentically “you”, with your own voice, style, show name, etc. Based on my limited experience, being true to yourself tends to lead to the best results and greatest likelihood of success however you define that in your endeavors on youtube. The sad reality is that there are only 24 hours in a day, and if I made a sincere, honest attempt to reply to every message I receive, I would have no time for anything else.

If you really want me to see what you have to say, email is the way to go — I read every single email that is sent to me. How do you make money on youtube? Can I translate your videos into another language? Each point in the Tracking Data section is a point from the layer surface that automatically updates when you modify it inside Mocha.

To choose a layer to create tracking data from, click the ‘Create Track Data’ button in the Tracking Data section of the plugin. Then choose ether the name or the cog of the layer you want to read tracking data from in the dialog that appears. Once you click ‘OK’, the plugin will generate keyframes to populate the tracking parameters in the plugin. You can then use this data to copy to other layers, or link via expressions.

The plugin interface also allows you to apply tracking data to other layers without needing to export from the Mocha GUI. Do do this, you generate the tracking data from a layer, as described above in Controlling Tracking Data. Corner Pin: Support Motion Blur : A corner pin distortion with separate scale, rotation and position. If you are generating from a vertex-heavy mesh, Mocha will show a progress bar while generating the nulls. Each Null will be created separately with its own keyframes.

Pick the video track you want to use as an insert from the ‘Insert Layer’ drown down in the Mocha Pro effect. You just close and save the Mocha view when done and the project is saved inside the Effect like any other AVX effect. Choose from the current layer or below the current video track. This will most commonly be “1st Below” the current layer with the effect applied. In many cases some functionality may be possible for unsupported hosts, but there is no guarantee of functionality or stability, so please take care when experimenting!

Once loaded into the flow graph, simply plug the image node you want to work with into the ‘Source’ input of the Mocha Pro effect node. Once loaded into the node graph, simply plug the image node you want to work with into the ‘Source’ input of the Mocha Pro effect node. Once loaded into the tree window, simply plug the image node you want to work with into the ‘Source’ input of the Mocha Pro effect node.

Silhouette includes Linear support for the Mocha plugin. When using EXR or Cineon images, this preference should remain off. Once loaded, you can begin with the ‘Launch Mocha UI’ button at the top of the effect panel. Mocha uses two sources from the timeline for inserting clips: The main background image source to track from and a secondary image source to insert into a tracked layer.

To use a secondary source input in Vegas for Insert clips you need to composite your tracks together:. Set the Insert clip you want to use as the parent layer and the plate you want the insert to be rendered over as the child. This will then load the secondary source into any layer Insert clip dropdown as a clip called ‘Insert Layer’.

See Rendering Insert Layers below. Select any additional source you want to use as an insert in Mocha and plug it into the ‘Insert’ input See Rendering Insert Layers below. Launch the Mocha UI using the button at the top of the panel. Choose whether you want to use mattes, renders or any other exported data from Mocha back in the plugin interface. Once you have applied the Mocha Pro effect, you can click on the ‘Launch Mocha UI’ button to launch the main interface.

You just close and save the Mocha view when done and the project is saved inside the effect. Visible Layers Button: This button launches the Visible Layers dialog so you can select the layers you want visible as mattes. You can use secondary clips in the host application to render tracked inserts into your shots.

See the User Guide Chapter on the Insert Module for more details on manipulating and warping inserts. For node based compositors you can plug the insert image into the ‘Insert’ input on the the Mocha Pro effect node. In Vegas you need to make the insert image the parent in compositing mode. See Using the Insert Layer clip in Vegas for this method. In HitFilm, you select the insert image from one of your other layers in the comp listed in the “Insert” dropdown. In cases where your input source has an alpha channel, you may wish to change the Alpha view inside the Mocha GUI.

You can either turn Alpha off entirely by toggling off the button, or choose from one of the following options:. Auto alpha: Reads in alpha if it is not opaque or premultiplied.

This is the default setting. When rendering back out to the host, there are cases where you may also need to premultiply the alpha using the premultiply options in the plugin interface. If you are using the ‘Stereo’ option, make sure you are applying the effect to the Left eye footage and choose your right-eye source input.

This includes:. To add Mocha, simply locate it in the Effects panel like any other effect and drag it onto your layer. Once your layer is hooked up to your Mocha Effect, the general workflow for the Mocha Plugin is as follows:. If you are using Mocha Pro, choose the renders you wish to use from the “Module Renders” section and check “Render”.

Once you have applied the Mocha effect, you can click on the ‘Launch Mocha UI’ button to launch the main interface. If you are using the Mocha Pro version of the plugin, controlling renders is exactly like the standard OFX rendering controls. This is because all Mocha VR features have been rolled into Mocha Pro and a Mocha VR plugin stub is kept to avoid breaking compatibility with your old projects. When you want to start a new VR project, we highly recommend using the Mocha Pro plugin rather than the legacy Mocha VR plugin, as this compatibility feature may be removed in future versions.

Mocha workflow is designed around a project structure. It is good practice to only work on one shot per project file to minimize layer management and to keep the work streamlined. When you start the application you are presented with an empty workspace.

No footage is loaded and most of the controls are consequently disabled. To begin working, you must open an existing project or start a new project.

This will bring up a file browser, where you can select almost any industry standard file formats. Image sequences will show up as individual frames. You can select any one of the frames and the application will automatically sequence the frames as a clip when importing. A project name will automatically be generated based on the filename of the imported footage, but you can change it by editing the Name field. This is created in the same folder your clip is imported from.

The range of frames to import. We recommend to only work with the frames you need, rather than importing very large clips or multiple shots edited together. This is set to the starting frame number or timecode by default. You can also define a fixed frame You can set a default for the fixed frame in Preferences. You also have the option to view as Timecode or Frame numbers. If your clip has an embedded timecode offset and you switch to Timecode, the offset will be used in your project.

If you need to adjust this value later, you can open Project Settings from the file menu. Normally this is automatically detected, but you have options to adjust if necessary. Make sure you check the frame rate before you close the New Project dialog.

If you are using interlaced footage, set your field separation here to Upper or Lower. Make sure you check your fields match your footage before you close the New Project dialog.

If you wish the clip to be cached into memory, check the Cache clip checkbox here. Caching is recommended if you are working a computer that has fast local storage, but your shot is stored in a slow network location. More often than not, you can leave this setting off. If working with log color space, set soft clip value here.

Default is zero making falloff linear, rather than curved. Mocha Pro supports Equirectangular Footage. To set the project to be in mode, check the ‘ VR Footage’ checkbox after you import your clip. When you start a New Project you are also presented with the option of creating a multiview project in the Views tab. If you check Multiview project you are then presented with the view names and their abbreviated names. The abbreviated name is used in the interface for the view buttons, but is also used as the suffix for renders.

You can also choose the hero view. By default this is the left. Defining a hero eye determines the tracking and roto order for working in the views. If you want to define separate streams of footage for the stereo views, you can add additional footage streams view the Add button below the initial clip chooser. If you forget to set up Multiview when you start a new project, you can set it in the new Project Settings Dialog from the File menu.

Once you are in Multiview mode, you will see a colored border around the viewer based on the current view you are in. This is to help artists to identify which view they are currently in without having to refer to the buttons. You can switch between Views by pressing the corresponding L R buttons in the view controls, or using the default 1 and 2 keys on the keyboard.

You can swap views or change the Split View mapping from the View Mapping subtab under the Clip module:. The Mocha Pro plugin has a slightly different project workflow to the stand alone Mocha applications.

This action loads the footage from the host clip you applied the effect to. It automatically applies the correct frame rate and other clip settings, so there is no need for the standard new project dialog.

After you have done the usual work inside the Mocha Pro interface, you simply close and save the Mocha Pro GUI and then you can control the output from the effect editor interface. For setting up a new stereo project with the plugin, see Plugin Stereo Workflow.

The plugin has a slightly different project workflow to the stand alone Mocha applications. If you will only be working on a section of the shot you can use the In and Out points to set the range on the timeline. You can zoom the timeline to only show you the part between you In and Out points by clicking the Zoom Timeline button. Frame offsets are important to get right in Mocha so that they export correctly to your target program. Project Frame Offset: This frame offset sets the starting frame for keys in your timeline.

For example if you have imported a sequence of frames and you need the index of frames to start at , you can change this under the Project Settings in the file menu.

Clip Frame Offset: This frame offset is to offset the actual clip frames to slide the starting point of the clip back and forth.

You can adjust clip frame offset under the Display tab in the Clip module. For the vast majority of cases the Project Frame Offset is the value you want to adjust for working with data. The frame offset is usually already set correctly at the New Project dialog stage, but there may be cases where offsets change, such as adding new clip frames. Working with very long files can be time consuming for the artist and can slow down the tracking as it searches for more frames.

Try to only use what you need, and work on individual shots, rather than multiple shots in one piece of footage. Make sure these values match the settings in your compositor or editor, otherwise tracking and shape data will not match when you export it. If you are unsure which field your interlaced footage is in, import it and check. If you quickly start your project with a guessed field order, you can check to make sure it is correct by using the right arrow key to step through the footage.

Interlaced footage is painful to work with. For your own sanity, try not to use it unless you have to! If you are working on a large roto project you will sometimes need to have more than one person working on the same shot.

When it comes time to export out mattes or do final tweaks you can use the Merge Project option to combine any files that have been used on the same piece of footage. Simply select the Merge Project option from the File menu, and select a project you wish to merge.

You can only merge projects that are the same dimensions, aspect ratio and frame length as the shot you are merging into. Open or create a project with matching footage and same dimensions as the Silhouette file. This is important. Your Silhouette project file will need to match the frame rate, dimensions and length of the Mocha project to correctly import.

Choose a Silhouette sfx project file. If you are in OS X, you may need to navigate inside the sfx package to find the actual project file. The Silhouette project will then convert any Bezier and X-splines to native Mocha splines and appear in the project. If there are any B-Spline layers in the project, these will not be imported as they are currently not supported.

The key to getting the most out of the Planar Tracker is to learn to find planes of movement in your shot which coincide with the object that you want to track or roto. Sometimes it will be obvious – other times you may have to break your object into different planes of movement. For instance if you were tracking a tabletop, you would want to draw the spline to avoid the flower arrangement in the center of the table — it is not on the same plane and will make your track less accurate.

To select a plane you simply draw a spline around it. In general X-Splines work better for tracking, especially with perspective motion. We recommend using these splines where possible. The GPU option allows you to select any supported graphics card on your system to take on the brunt of the tracking process. The resulting speed improvement is especially noticeable on high resolution footage or when tracking large areas.

One of the most important concepts to understand with the Mocha planar tracking system is that the spline movement is not the tracking data. By default, any spline you draw is linked to the tracking data of the layer it is currently in.

In hierarchical terms, the spline is the child of the track, even if there is no tracking data. When you begin to track a layer, the area of detail contained within the spline s you have drawn will be searched for in the next frame. If the planar tracker finds the same area in a following frame, it will tell the tracker to move to that point. Because the spline is linked to the track by default, it will also move along with it and the search begins again for the next frame.

Scrub the timeline and you will see that the grid and surface move with the spline. Now select all the points of your spline and move it around the viewer.

This is because the spline is linked to the track, but the track is not linked to the spline. The spline is merely a search area to tell the track where to go next. It is a common misconception that moving the spline while tracking is affecting the movement of the tracking data. It is not. Moving the spline is only telling the tracker to look in a different place and will not directly affect the motion of the tracking.

This makes the tracker very powerful, as you can move and manipulate your spline area around while tracking to avoid problem areas or add more detail for the search. With the Planar Tracker you simply draw a spline around something, as shown with the screen below. Select one of the spline tools to create a shape around the outside edge of the area you wish to track.

When drawing splines it is best to keep the shape not tight on the edge, but actually give a little space to allow for the high contrast edges to show through, as these provide good tracking data. If you are using the X-Spline tool you can adjust the handles at each point by pulling them out to create a straight cornered edge, or pull them in to make them more curved. Right clicking a handle will adjust all the handles in the spline at once. In some cases there are parts of an image that can interfere with the effectiveness of the Planar Tracker.

To handle this, you can create an exclusion zone in the area you are tracking. For instance, in the phone example we are using, there are frames where there are strong reflections on the screen. These reflections can make the track jump. So we need to isolate that area so the tracker ignores it. Select the add shape tool to add an additional shape to the current layer, which selects the area you want the tracker to ignore. Draw this second shape inside the original shape. Note that both splines have the same color, which is an indication that they belong to the same layer.

Also you will notice in the Layer Controls panel that you only have a single layer. You can also add as many entirely new layers on top of your tracking layer to mask out the layers below. This is quite common when moving people, limbs, cars, badgers etc. In the Essentials layout , tracking Motion parameters are listed in the Essentials Panel:. In the Classic layout , detailed tracking parameters can be accessed by selecting the Track tab. On the left hand side of the Track tab, you will see two sections: Motion and Search Area.

Understanding the parameters section of the Track parameters is vitally important for obtaining good tracks. Here we provide a breakdown of each parameter and how to use it effectively. When tracking, Mocha looks at contrast for detail. The input channel determines where to look for that contrast. Luminance looks for contrast in the light and dark of the image. Auto Channel looks for contrast in one of the color channels. By default, Luminance does a good job. If you have low-luminance footage or you are not getting a good track, try Auto Channel.

By default, the minimum percentage of pixels used is dynamic. When you draw a shape, Mocha tries to determine the optimal amount of pixels to look for in order to speed up tracking.

If you draw a very large shape, the percentage will be low. If you draw a small shape, the percentage will be high. In many cases, the cause of a drifting or slipping track is a low percentage of pixels. Keep in mind however that a larger percentage of pixels can mean a slower track. This value blurs the input clip before it is tracked. This can be useful when there is a lot of severe noise in the clip. It is left at zero by default. The main difference between shear and perspective is the relative motion.

Shear is defined as the object warping in only two corners, whereas perspective is most often needed where the object is rotating away from the viewer significantly in space. As an example, if someone is walking towards you, their torso would be showing shear as it rotates slightly back and forth from your point of view. The front of a truck turning a corner in front of you would be showing significant perspective change. Large Motion: This is the default. It searches for motion and optimizes the track as it goes.

Small Motion is also applied when you choose Large Motion. Small Motion: This only optimizes. You would use Small Motion if there were very subtle changes in the movement of the object you are tracking. Manual Tracking: This is only necessary to use when the object you are tracking is completely obscured or becomes untrackable. Usually used when you need to make some adjustments to complete the rest of the automated tracking successfully.

This is set to Auto by default. Angle: If you have a fast rotating object, like a wheel, you can set an angle of rotation to help the tracker to lock onto the detail correctly.

Zoom: If you have a fast zoom, you can add a percentage value here to help the tracker. Again, the tracker will still handle a small amount of zoom with this set to zero. PowerMesh is designed to help track non-planar surfaces. This is for both rigid and non-rigid surfaces that would otherwise be impossible to track with a regular planar tracker.

Rather than taking an optical flow approach which can be slow to render and produce cumbersome files , we use a subsurface planar approach which is much faster to generate and track.

Draw a layer around the area you want to track. Automatic: This determines the best mesh to use based on image information contained in the layer.

Uniform: Generates a uniform square mesh insead of building based on the existing image. This means that the smaller the Mesh Size, the more potential mesh faces you will have. The larger the Mesh Size, the larger the faces and the less faces you will have. This option makes sure the PowerMesh is generated to the boundaries of your layer spline, rather than just over the most interesting detail within it.

Adaptive Contrast boosts details in the underlying image to help the Automatic mesh generate the most useful vertices. Use with care! The Mesh tracker first uses the standard planar tracking per frame and then applies the sub-planar track with the mesh. Any mesh faces that fall outside of the spline or the image boundary are ignored. Those mesh faces become rigid and try to follow along with the existing mesh. Turning this on tells Mocha to guess the amount of smoothness to apply to the Mesh track.

A high smoothness is like applying starch to your Mesh. It will follow the planar track more rigidly and not distort as much. A low smoothness will follow the subsurface movement more directly and distort the mesh more. As a general guideline, we recommend setting a lower smoothness for very warped or wobbly movement and a higher smoothness for more rigid objects that still have some distortion.

Faces: This varies, but a smoothness of 50 is about the right amount to balance facial muscles vs general face planes. This option deforms the spline shape to match the movement of the Mesh while tracking. As an added bonus, this also means it greatly reduces the keyframes needed to rotoscope an organic object. Selecting this turns on subselection in your mesh and you can move or delete vertices either before or after you have tracked the mesh.

After Tracking, You can animate the tracked mesh manually to fix points or make your preferred adjustments. Animated meshes are keyframed for the whole set of vertices, rather than individual points. This makes it easier to keyframe states over time, similar to the spline default animation mode.

This tool appears when in Edit Mesh mode. When Add Vertex is on, click any Mesh edge to add a new vertex. A new edge will appear joining the created vertex and the vertex opposite. Use this section to create nulls from selected layers.

See Creating PowerMesh Nulls for more details. Alembic tracking data as a mesh: The exports from the “Tracking Data” export options. Alembic is supported across many hosts. The data format includes the PowerMesh and a camera that fits to the source footage. See Exporting to Alembic for more details. When tracking, if one of your mesh faces turns blue, this means the face has become flipped, normally because the area you are tracking has turned away from the camera.

You can use more than one contour to cut holes in the mesh generation. This is helpful if you want to ignore details in a surface, such as teeth in a mouth region or a tattoo that is taking up too much of the mesh detail. Track the plane selected by pressing the Track Forwards button on the right- hand side of the transport controls section. You may keyframe the spline shape so that it tracks only the planar region of a shape by adjusting the shape and hitting Add Key in the keyframe controls menu.

Keep in mind that no initial keyframe is set until you first hit Add Key or move a point with Auto-Key turned on. The spline should be tracked in addition to the clip being cached to RAM. You can play it back and get an idea as to how the track went.

F eel free to change the playback mode in the transport controls to loop or ping-pong your track. Turning on Stabilize will lock the tracked item in place, moving the image to compensate.

In the track module, stabilize view is a preview mode to check your track. Actual stabilization output is handled by the Stabilize Module, explained in the Stabilize Overview chapter.

You can check the accuracy of your planar track by turning on the Surface the dark blue rectangle and Grid overlay in the Essentials panel or the toolbar:. If you play the clip, you should see the surface or grid line up perfectly with the plane you tracked.

When you turn on the surface you will see the blue box that represents the 4 points of the corner-pin. Right now you will see that it is not lined up with the screen.

As described above, by selecting each corner one at a time you can adjust the surface area to cover the area of the screen, or you can use the middle points to scale and the outer corners to rotate.

You can change the density of the grid by adjusting the X and Y grid values in View Viewer Preferences:. The Trace feature allows you to see the position of the planar corners over time. Skip allows you to work with only every nth frame, useful on particularly long roto shots where the movement is predictable. To monitor what the tracker “sees” as a tracking area, select the Track Matte button in the view control. There may be instances where you have already created mattes for one or more objects in the shot, for example using a keyer or another roto tool that would help you isolate areas to track.

You can import such mattes by creating a new layer and then using the Matte Clip setting under Layer Properties to assign it to the layer. When starting a new project, go through your footage a few times to see what your best options are for tracking. You will save yourself a lot of time by making note of obstructions and possible problem areas in advance.

When tracking surfaces you will usually get a much better track if you include the edges and not just the interior of an object.

This is because Mocha can define the difference between the background and the foreground and lock on better. For example, if you are tracking a greenscreen, it is better to draw your shape around the entire screen rather than just the internal tracking markers. In some cases this means you can avoid tracking markers altogether and save time on cleanup later. The processing can be slower, but you will usually get a much more solid track.

Remember you are not limited to one shape in a layer. Use a combination of shapes to add further areas or cut holes in existing areas to maximize your search. If necessary, make an additional layer to track and mask out foreground obstructions before tracking the object you need.

This way you can stop your track early to fix any issues and spend less time trying to find them later. In order for Mocha to keep the best possible track, it is usually best to scrub through the timeline and find the largest and clearest area to begin tracking from, draw your shape there, then use backwards and forward tracking from that point.

For example, if you have a shot of sign coming toward you down a freeway, it is usually better to start at the end of the clip where the sign is largest, draw your shape and track backwards, rather than start from the beginning of the clip. We have a Planar Tracker which specifically tracks planes of motion, but this is not limited to tables, walls and other flat objects. Distant background is considered flat by the camera where there is no parallax.

Faces can be tracked very successfully around the eyes and bridge of the nose. Rocky ground, rumpled cushions, clumps of bushes, human torsos and curved car bodies are all good candidates. The key is low parallax or no obvious moving depth. When in doubt, try quickly tracking an area to see if it will work, as you can quite often trick the planar tracker into thinking something is planar.

Mocha is a very flexible tracker and will save a lot of time, but you will eventually run into a piece of footage that just will not track. Large or continuous obstructions, extreme blur, low contrast details and sudden flashes can all cause drift or untrackable situations. You can often get a lot more done fixing shots by hand or using AdjustTrack in Mocha rather than trying to tweak your shapes and parameters over and over again to get everything done automatically.

Tracking in Stereo is very similar to tracking in Mono. Draw your shape as you would normally in mono mode See Mocha User Guide for an introduction to mono Mocha tracking techniques. If you now switch between Left and Right views you will see the Right view has automatically been tracked and offset from the Left view.

If you would prefer to only track and work with the Hero view initially then offset your data manually, you can also do this using the Stereo Offset tab in Track. Make sure the “Track in all views” button on the right side of the tracking buttons is switched off.

This will only track the current view you are on. If you switch to the other view you will see the layer still moves with the track, but is not offset like when you do an all-views track.

If you decide later that you want to track the non-hero view, you can do so by selecting the non-tracked view then track as normal. You have the following options in the Stereo Offset tab see above when tracking another view based on the hero view:.

Track from other views: This will reference the existing track to help track and correctly offset the current view. Track this view: This will reference the current view to get the tracking information. Note that by default these are both selected to give best results. If you only use Track this view and not Track from other views , the current view will be tracked independently of the hero view and will not offset. You can also open existing mono projects that have additional views and track them without having to manually offset.

Just set the mono project to Multiview in the Project Settings and add the additional footage streams to the clip. For simpler tracks, you can also do a technique called “Offset Frame Tracking” which is a combined stereo track and hero track.

Turn OFF the the “Operate in all views” button on the right side of the tracking buttons. If your initial stereo track was offset correctly, that offset will then carry onwards through the rest of the track. Keep in mind that things like convergence and disparity in the moving stereo image may not work accurately in this scenario, but it will increase performance of the process because you only have to track one eye.

You can also then apply additional manual stereo offsets as described in the manual offset section above. There will be times when tracks can drift due to lack of detail or introduction of small obstructions. When this occurs, manual refinements can be made by using the AdjustTrack tool. AdjustTrack is primarily used for eradicating drift by adjusting reference points to generate keyframable data to compensate.

It is generally not practical to use it to remove jitter. To achieve an adjusted track you would ideally line up the surface area where you want to place your insert or lock down your roto. The Transform AdjustTrack is designed to be an easier user experience from the Classic AdjustTrack see below by removing the need to use the surface as your alignment tool.

In Transform AdjustTrack you can adjust based on specific transforms with as many reference points as you require. You can set reference points either as a template for the kind of adjustment you want, or add them yourself as needed.

After you have chosen the type, click ‘Set points’ to create the points. You can then adjust the reference points see below. You can add more points to your adjustment as required. Each point contributes to the adjustment of the plane based on the position of the other points.

Once you are happy with the points positions and have set a reference frame, you can start moving back and forth on the timeline adjusting the points for drift. Each point adjustment sets a key frame for every other point in the shot to avoid unwanted distortions.

You can see the original reference frame for the selected point in the zoom window in the upper left of the viewer and the current frame in the window below that. This is helpful if you are ultimately planning on using the surface as your export area and want to make sure it is still lining up. Nudging is used to adjust the track by pixel increments.

This helps when adjustments are too subtle to be done by mouse movement. Each arrow nudges in the indicated direction. You can either click and hold the button or use the shortcut keys to nudge.

The ‘Auto’ button in the middle of the direction grid tries to guess where the point needs to be. It can be useful to start with ‘Auto’ to attempt to place the reference point first, then adjust manually.

Auto Nudge takes the ‘Auto’ action above and lets you use it space adjustments over the whole shot. If you set ‘Auto Step’ and define a frame step you can then ‘Track’ the Auto Nudge using the tracking buttons in the timeline. Auto Nudge will then nudge the selected reference points at the frame step interval set. The Search fields define how far Auto and Auto Nudge look for the area the point needs to adjust to.

You can export adjusted tracks as normal via the file menu or via the Track module just like any regular track. This version of AdjustTrack is primarily used for eradicating drift by utilizing the four-corner surface area to generate keyframable data to compensate. When you have the Surface where you want it to stay locked and are ready to refine the track, flip over into the AdjustTrack module by hitting the AdjustTrack tab.

As you play though the sequence you will be able to manually adjust the position of each point as drift occurs. If your track is spot on, these reference points should line up properly throughout the shot. If you see a Reference Point drifting, that will indicate the track is drifting. Find the frame where the drift is worst and move the Reference Point back to the position it had in the Master Frame and the track will automatically be adjusted based on your correction.

When you perform an adjust track and you begin to move a newly created reference point, you will notice the dashed lines which connect all of the reference points. These lines change in color to represent the quality of positioning of any given reference point. If a clip is higher [in the timeline] than another, then it obscures whatever is below it. The size of a video clip can be altered, and the clips can be cropped, among many other settings that can be changed.

Opacity levels can also be altered, as well as animated over the course of the clip using keyframes , defined either on a graphical overlay, or in the Viewer’s ‘motion’ tab, where precise percentage opacity values can be entered.

The compositing mode for a clip is changed by control-clicking or right-clicking on the clip and selecting it from the cascading contextual menu , or by selecting the mode from the application’s ‘modify’ menu. For either matte modes, the clip that will perform the key is placed overneath the fill clip on the Timeline. Final Cut Pro uses a set of hot-keys to select the tools. There are almost keyboard commands that allow the user to increase the speed of edits.

Randy Ubillos created the first three versions of Adobe Premiere , the first popular digital video editing application. Macromedia could not release the product without causing its partner Truevision some issues with Microsoft, as KeyGrip was, in part, based on technology from Microsoft licensed to Truevision and then in turn to Macromedia. The terms of the IP licensing deal stated that it was not to be used in conjunction with QuickTime. Thus, Macromedia was forced to keep the product off the market until a solution could be found.

At the same time, the company decided to focus more on applications that would support the web, so they sought to find a buyer for their non-web applications, including KeyGrip, which by was renamed Final Cut. Final Cut was shown in private room demonstrations as a 0. At the demonstration, both Mac and Windows versions were shown. The Mac version was working with a Truevision RTX dual-stream real-time card with limited real-time effects.

When no purchaser could be found, Apple purchased the team as a defensive move. In order that Final Cut Pro would be supported from the beginning with third-party self-paced and instructor-led training, Apple worked with DVcreators. Apple worked with DVcreators. After the introduction of Final Cut Pro, Adobe Premiere’s market share remained strong on Windows but began to decline on the Mac as its older codebase was more difficult to maintain.

The Oxygen Network was a beta site for Final Cut Pro in late through network launch in early In late , Independent Producer, Michael A. He cited the relatively new platform hadn’t failed once while rendering his film, which was not what he experienced with Avid. After completing much of the leg work under a separate agreement between The Oxygen Network and his production company during beta testing of Final Cut he became an outspoken advocate. The studio motion picture The Rules of Attraction was edited on beta versions of Final Cut Pro 3, proving to the film industry that successful pulldown matchback to 24fps could be achieved with a “consumer” off-the-shelf product.

His advocacy of the product gave confidence to mainstream editors such as Walter Murch , that the product was ready for “prime time. In August , the application won a Primetime Emmy Engineering Award for its impact on the television industry.

Final Cut Pro 4 was announced in April It included three new applications: Compressor , used for the transcoding between video formats; LiveType for advanced titling such as the creation of animated lower thirds ; and Soundtrack , for royalty-free music soundtrack creation. It also bundled Cinema Tools , which was previously sold separately for filmmakers working with telecine.

It uses the same interface as Final Cut Pro, but it lacks some of the film-specific tools and other advanced options, limiting the feature set for non-professional editors. Soundtrack was subsequently removed with Final Cut Express 4. In April , version 4. The software had been capable of uncompressed HD editing since version 3.

In March the Universal Binary 5. Upgrades were achieved by sending the original installation discs back to Apple with a fee. One noticeable difference is that the Intel versions of Final Cut and Motion no longer recognize After Effects plug-ins.

Instead, Apple released its own universal plug-in architecture FxPlug. Once again, Apple did not have a booth at NAB , though the product was well represented on the show floor in various booths. In its initial release, Final Cut Pro X was met with mixed reviews as many video editors eschewed its dramatic departure from the traditional editing interface and the dropping of many legacy and some non-legacy features. At the time of the initial release, a significant number of long-time Final Cut Pro users considered the new product to be an unsatisfactory product undeserving to be part of Final Cut Pro product line.

The initiator of the petition was banned from the Apple discussion forums. Final Cut Pro X In November , in tandem with the release of macOS Final Cut Pro can be configured where to store them.

 
 

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