tracking techniques

Similar Questions

• Inserting Images in the post

  I have a project where we are looking at scenes using blank canvases such as accessories and put pictures of paintings in then using AE. Can someone give me it please advice on how best to proceed, both for shooting and post work? Thank you.

  As I said in my original suggestion to check the tutorial, tracking techniques are what you should be looking at, then just use the AE corner pin data export.

  If your device is locked, then you don't need follow-up. All you need is to use coins. Type of corners in EI help field in the upper right of the AE and discover the info there. You should be good to go.

  If you have things like the people in the scene who move in front of the paintings, you'll have to do some roto. Again, not very difficult if your paintings are all white.

• How the neck down width of track?

  I am relatively new to the map layout (which means most of my drawings so far have been fairly simple). I'm working on my first layout of the USB and examples of manufacturer all have a width of little trace leaving the IC pad, then growing to the ~ 27mils then decreases to the level of the USB connector. I also saw these types of traces in power applications. How do you achieve this technique of layout in Ultiboard without the use of copper pours? Or if anyone has other ideas on the willingness of USB, maybe a tool or Ultiboard functionality, I'm not familiar with which facilitates differential traces to the road. Joined an illustration of the technique, I am trying to achieve.

  Thank you for your time

  This can be done in several different ways.

  One is built in automatic shrinkage of path in Ultiboard. In the global preferences tab PCB design there is a trace of Auto shrink checkbox. Allowing it should produce the desired results as it is designed to decrease the width of the tracks automatically to avoid any error of DRC. Because it depends on the DRC and parameters of width of minimum follow-up that you need to make sure you have them put correctly into editor netlist for the nets.

  Another method is to change while routing. If you change the width by using the drop-down list on the toolbar settings to draw, the width of the track will change immediately while you continue routing. I find that this method is much easier with the follow - me router you can set exactly where the width of the track changes.

  The last option is to change once the routing is almost finished. You can go back and double click on any section of track and change the width of the track in the general tab.

• Dance of the Rotoscoping in After Effects with motion tracking?

  Hello!

  How can I copy the movements of real popular dance to a video into a cartoon character using rotoscoping/masking/motion tracking in AE?

  Example:

  Neytiri dance rotoscoping/animation at the beginning still very rough - YouTube

  Tracking and Rotoscoping in After Effects: dance-2014 Jayant Sharma - YouTube

  Thanks in advance!

  in the Express.ypH you have provided there is 2 things and none of them is the cartoon character who is drawn on a video:

  • * the first is a 3D CGI that mimics the movements of dances from the dancing and I think that this has been done from observation. certainly NOT the Rotoscoping.
  • * the second example is a dancing man - a video cutting cutting - perhaps he was dancing in front of a greenscreen, we do not know but is not a caricature but a cutting of a video which has been applied some effects to make it more graphic but still, it's a video and I think that one who was cut by using matte procedure (picture effect) after the dancer was shot in front of a green screen. the face attached to the dancer is a follow-up on the face and securing its position and rotation of the information from tracking data so it will match. This is called the track or the movement of the game and it is a skill that requires time and patience to learn. but it is sometimes easier than rotoscoping. the two can be combined together to make life easier for the ROTO. but it's advanced things.

  On rotoscoping as an Art to cut out an Image of a video (not picture on it):

  There are several ways to make rotoscoping (cutting of the motion picture), and they all need a lot of practice and patience. There is no way to do it easily and it is a skill that takes time to penetrate. different types of techniques are described here: https://www.fxguide.com/featured/the-art-of-roto-2011/

  draw on top of a video (without cutting) is animated rotoscoping and can be done in Photoshop. some do it with "Chronology of Animation Frame" and others with "timeline of the video.

  The main workflow is the following:

  1. you import your video in photoshop

  2. create a timeline of this video

  3. do frame-by-frame on top of the video

  4. export the sequence as a new video

  more on the process of these Roto technical animation can be found in this post.

  Re: rotoscoping techniques: Animation video vs Timeline -there are links and information in the post of different examples. the post is a work in the making. I tried to treat it as an article, but new to the Forum (in terms of contributing content) carried out, once a user posts a comment on my comment - I can't access (which makes sense)

• Compositional technique to remove backgrounds in a mobile shot

  Hello people; I hope you do well!

  I would like to talk about a compositional technique used to remove a background so that new objects, e.g. masts paints etc to put in the background.

  As you can see in the image below, the background was removed in the first image and replaced with a new sky, dirt field and houses etc in the second photo.

  This photo came from a mobile shot where the camera was panning (moving) from left to right, so that it was a mobile shot.

  I note that the first photo also has a small green screen. I think that for the preparation of the budget and practical reasons, the background everything could not have green screens erected to cover the entire background of the junk in the shot.  So, by using a smaller screen in a part of the area, I believe that some technique is used to remove the background for it together. I saw VFX breakdowns where the same technique has been used - that is, a little green screen is placed somewhere in the background when the intention is to remove the entire background.

  Let's say that the shot was a slow, steady camera pan move for 10 seconds. Then at 24 frames per second, we seek to 240 images. I know at one point rotoscoping will be used, but find it me hard to believe that each of the 240 images will be rotoscoped individually to remove the background. If that was the situation where each image had to be rotoscoped, so I don't see the need for this green screen to have been erected in the first place.

  Therefore, I think that there is something that I'm missing here in what concerns a missing link in the process. Is there some recognized effective/technical effective time that allows to remove a background from a mobile call such as the following, where only a small green screen is erected part of the background instead of the background?

  A tutorial? You can tell me which helps with the technical/process in this case?

  Link to the example here:

  http://postimg.org/image/465jdt6of/

  First person rotoscopes a frame at a time. Second, with something like a shooting panoramic you'd Motion stabilize first. Stabilize the Motion isn't stabilizing the Warp. The camera movements you stop monitoring something in shooting you want to hold still. The next step with a shot like the one you describe is to expand the size of the publication so that you can see the shot together as it moves. There are small buttons in the composition settings so you can do it more effectively.

  Then you add a new layer to the comp and use a blend mode, so you can see through the shot and you begin to frame 1 and draw a mask to separate remove background. Then you go at the end of the shooting and make changes, you need to do the mask. Then split you the difference and make other adjustments to the mask. If it's a pan smooth then it just usually takes a few keyframes to get the matte to follow perfectly.

  Now define mate as layer hiding approach for images and add your new background. If the matte line is far enough away from the camera so you don't have to worry about Parallax as the ball moves you did pretty much with the composite.

  The last step is to remove the Motion to stabilize the original shot and animate stability the root layer and the bottom plate. The best way to do this if you have not added, scale and rotation, the motion to stabilize should simply add a null value to the model. Then reveal property of anchor point of the stabilized layer which will be a lot of keyframes. ALT/option, click on the position of the null value property and use the pickwhip to connect the nulls position at anchor of the stabilized sequence. Now move the CTI to the first image and the parent then the matte layer, the background layer and image stabilized to null. This will be online back up everything. Resize the model or the NEST just in a new comp that matches the size and pace of the origin of the film and you are finished.

  That's all. Manual rotoscoping base and exactly what one would do with the example that you have demonstrated.

  If the replacement of background area is closest to the camera, then you would track camera so, define a plan of origin and the Earth, and then add a camera a solid to the shooting. You would do the same technique of roto using 3D solid and your bottom plate would also be a 3D layer. Pretty simple.

  Two examples of rapids. The first demonstrates the base roto but does not use the null thing to add to the query. The second demonstrates how to use the Camera Tracking to add a cache for a layer. You'll get the idea.

  Sorry, no audio on the second example.

• What is the best tracker... Mocaha AE or Mocha pro vs Tracker vs. AE pf?

  I used

  AE cc2015 fully updated

  and

  Mocha pro 4.1

  But now I know the difference b/w them

  I think pf Tracker is more precise and well I did not pursue it

  any body he knows it?

  Plase let me know

  Thank you

  Unfortunately there is no real answer to your question because it is the best tracker to use depends entirely your shot and what you're trying to do. I do a lot of follow-up, and almost every shot requires a slightly different technique. I have Pro mocha, synthesis, Nuke, After Effects, Blender, C4D and each of them have trackers that are better suited to certain jobs than others. I do a surprising number of shots just by using EI (no chain stabilize) to stabilize and AE point tracker because I can do what needs to be done in less time with any other method. I use corners of AE followed quite often, but most of my corners of follow-up is performed in Mocha AE. If I need additional features that Mocha Pro I will open the project in this. I even use the tracker in Blender often enough to make things like texture followed and 2 .5d map projection. It works surprisingly well for a few shots. I use summaries to make complicated background replacement and substitution of texture.

  So here's my question for you. What kind of follow-up you trying to do? How many times do you do? You have a professional understanding of the directors of tracking and compositing with regard to the perspective and Parallax, handle lens distortion problems? I just drove a tutorial on the replacement of surface using Mocha AE, corners of mocha with the power PIN CC to replace a logo on a truck to follow-up on. It was the best solution for this particular move because of the shooting, the surface of the van, reflections and shadows and some other considerations. If the shot has used another truck and was shot at another moment of Tracker of PIN for the corner of the day AE may have done the job using a simpler workflow in less time, but because of the shooting that Mocha AE works great.

  Here's what the project using Mocha AE looks like:

  The final model:

  

  The final project of Mocha tests:

  

  The model of the power PIN CC with the layer of truck visible by reference:

  

  Also complex that sounds like if the shooting had no shadows and truck/trailer had more details and the camera had no distorting lens or movement so I could have done this project stabilizer using of AE, a null value and an expression with half of the layers.

  Show us a typical picture and we offer the easiest and fastest option. The only way you know which tool is the best is to work a bunch of shots in a bunch of different ways and to pay attention to the details of the workflow. Here is a small tutorial on another follow-up (make sure that stabilizer) technique that works very well and can be done in a very short time using Tracker basis of EI: (sorry, there no audio data)

• Tracking movement obscured shot

  I'm trying to move a bag shopping with corners of perspective to replace the Arabic logo but the bag half disappears behind the other pocket and I can't get a complete follow-up. Anyone know how I can solve this problem. Thank you.

  

  I'd the track in mocha, then you can ignore the bag at the front. You can also do in mocha roto.

  Another option would be to stabilize the kick for position of rotation and scaling then roto the bag forward to separate the shooting in layers, then replace the logo and animate as well as you can to match, then remove the stabilization and animate it the replacement of the logo. The simplest technique depends on what happens in the shot. Just a PIN track simple corner will not quite work because there is very little texture on the bag.

  There are a lot of tutorials on the Imagineer site monitoring. I'm working on a tutorial to stabilize, roto, then put the motion new tutorial covering the whole of the proceedings. It should be ready soon. I'll put it up when it is ready. This is to stabilize the shot so the object of interest does not move in the framework. Rename the stabilized images stabilized, make all necessary roto, by adding new elements and adapting to the need, then by adding a null value and applying this preset to the value null, then parenting all layers to null to remove the stabilization and animate it elements added.

• Insertion of 4 audio in different audio tracks simultaneously to Recorder 4 cameras?

  Hi all

  quick question, non-critical mission, but I was wondering if there was an 'expert' technique that I'm missing.

  I recorded an event several day and 4 audio channels to a ZOOM H6 directly the Council of the mixer. I imported audio files in my project, and they are willing as well:

  Audio

  | - ZOOM0001

  | - ZOOM0001_Tr1.WAV

  | - ZOOM0001_Tr2.WAV

  | - ZOOM0001_Tr3.WAV

  | - ZOOM0001_Tr4.WAV

  | - ZOOM0002

  | - ZOOM0002_Tr1.WAV

  | - ZOOM0002_Tr2.WAV

  | - ZOOM0002_Tr3.WAV

  | - ZOOM0002_Tr4.WAV

  | - ZOOM0003

  | - ZOOM0003_Tr1.WAV

  | - ZOOM0003_Tr2.WAV

  | - ZOOM0003_Tr3.WAV

  | - ZOOM0003_Tr4.WAV

  | - ZOOM0004

  | - ZOOM0004_Tr1.WAV

  | - ZOOM0004_Tr2.WAV

  | - ZOOM0004_Tr3.WAV

  | - ZOOM0004_Tr4.WAV

  |

  | (etc.)

  I've been looking for the best way to drag and drop these clips so that they are STACKED in my timeline (Tr1.WAV go to Audio 1, Tr2.WAV to 2 Audio, etc.) rather than sequential (I have dry so he abandoned the file to the timeline, and end all 4 clips on Audio 1)?  I do not want to MANUALLY place each (16 drag and drops, as opposed to 4).

  I did manually, so no rush. But for later use (and for anyone else in this position, it can be useful to know? Or perhaps a feature request?

  Thanks in advance.

  where they are files separate im not sure of an easy way to place them. the order of sequence camera multiple create may help the audio synchronization and align several clips, but I'm not sure that it will work in this scenario.  If you have a way to zoom h6 to record in a single multichannel file so that its a file instead of 4, you can tell creation to send each channel to a separate track. It is a setting in preferences for audio tracks by default to control how audio files are handled, and you can change all the files in the location of project by right-clicking and choosing Edit > audio channels.

• Better use of tracking markers

  I want to create a shooting where a pocket camera turns a corner and walks down a hallway. On the walls of the Hall, I would like to add frames with images animated into position with the help of AFX. To AFX track better I will add a few brands of tape colored on the wall. It would be better for me to add 4 points for each photo corners or if it will work if I just add one for each photo. What technique in AFX would be preferable to use, to create a camera to match the camera of true handheld or use Mocca for track points for each photo.

  If there is a lot of details in the corridors, you do not need followed by markers. If the walls are perfectly flat and smooth you owe something to follow. Personally, I would try Camera tracking before mocha for this type of project.

  From what I can tell there are a lot of details in the walls.

  

• Solid color tracking

  How to track a wild area on a solid color? For example, I want to import a picture of the Sun and layer it on top of the video. I want him to see an area on the blue sky. I tried track motion to AE and mocha. The follow-up is not always.

  I am very confused. You want to insert a photo of the Sun in a video shot with a mobile camera? If Yes, then do something in the video that you can follow. Then, you apply tracking to «sun» information Another option would be to use the follow-up camera to analyze the movement of the camera, find a target too far from the camera as possible and then add a null value and a camera. Do your Sun one 3D layer (may disappear), then hold down the SHIFT key and make null the parent of the Sun. Sun snaps into position. Now just drag in the point in the sky where you want the Sun to be.

  Another option is to stabilise the shot so that it does not move, then add your Sun, then re - introduce the motion to the shooting. Here is a quick tutorial that shows how to do this. The target would be the sunset. You cannot configure a matte, but you find just something in the movie that you can follow to stabilize the film so that it does not move. If there is a lot of movement of camera you use two points. Then you add your Sun and follow the steps to add movement to the movie and applies the inverse of the motion in the Sun.

  If none of these techniques work for you please give us a better description of what you're trying to do.

• Help me! Mr. Question tracking/camera.

  Hey everybody. I have a question about the animation of a list of chips while using a camera. Here is a video of what I have achieved so far:

  Now, I hope you can get a better understanding of my goal. This composition is all fine and dandy, but I'm wanting this animation contain many, many more red bars and gradually introduce quickly. Currently the rest red bars extend beyond the bottom edge of my composition. I want to that they will be displayed in my final comp, but I don't want to create a large super model only to compensate for the amount of red bars.

  My composition in bases (Comp1) has each 'bar' as its own layer (.ai files). Each bar comes alive to gradually move right left in the center of the canvas. The parent (Comp2) composition includes the basic model (Comp1), and above this - one layer shape that contains a mask with feathers. This layer has been transformed in a matte, to create the illusion of each bar discoloration in the canvas. Finally, the parent of Comp2 (Comp3) contains the camera, Comp2, the 'Company' text layer and the background - with respect, for the top layer of the bottom layer.

  My question is, I can't find a way to continue the downward movement of the camera without him reach the bottom of Comp2. Ordi1, I have created countless bars that extend below the lower edge of the composition - all the animated accordingly. Ive extended the mask (Matt Track) in Comp2 all the way to the bottom bar of Comp1. However, that move the camera in Comp3 down its axis shows just the bars in the Viewer.

  So, is it possible to get what I want? I don't want to create a publication with a height of 20 000 px... There must be a way to do this. Thanks again.

  Adam

  If it were my project I make all your 3D arrows, move the background and the track matte for the main computer, condense the transformations of the demo. Then the camera would be followed all the way down revealing all ranks.

  Another approach is to parent all your arrows to a null value and animate the position Y of the null value to move the arrows to the top. If you use just parenting do of course you frame zero before selecting all layers in arrow to assign the value null as a parent. In this technique, you will be able to keep all the 2D layers.

  Suggestion of the Mylenium for tile movement is also a good solution.

  Whenever I do projects that have repedative motion I use an expression to be assigned the motion. If you're into expressions then you might want to take a look at this expression that I saved as a preset. That's the slide on the left, of abandonment. Simply, you set the in and out point of the layer, adjust the number of images you want to use to drag the layer in and slide the outside layer and duplicate. A small change of the expression makes the slide of the layer from the right and down. You can then add an index value for each layer in the first position, and then simply duplicate the layers as many times as you like, sequence layers and you would be done.

  This is the expression:

  FIS = effect ("slideIn Frames")("Slider");

  SOF = effect ("slideOut Frames")("Slider");

  find in and out point

  Respondent = FIS * thisComp.frameDuration;

  If (effect ("Match if SO")("Checkbox") == 0) {}

  outTime = sof * thisComp.frameDuration;

  }

  ElseIf (effect ("Match if SO")("Checkbox") == 1) {}

  outTime = intimate;

  }

  Size of the layer when scale of difficulty

  SF = scale - [100, 100];

  xSize = width + (width * sf [0] / 100);

  ySize = height + (height * sf [1] / 100);

  realSize [xSize, ySize] =;

  Adjustment positions

  SPX = 0 - realSize [0] + realSize [0] / 2;

  rstx = value [0];

  rsty = value [1];

  EPY = thisComp.height + realSize [1] - realSize [1] / 2;

  create a movement

  FREQ = effect ("bounce Frequency")("Slider");

  amplitude = effect ("Amplitude bounce")("Slider");

  cavity effect = ("bounce Decay")("Slider");

  posCos = Math.abs (Math.cos(freq*time*2*Math.PI));

  y = amplitude * posCos/Math.exp(decay*time);

  moveIn = Math.min (linear (time, inPoint, inPoint + respondent, spx, rstx-y));

  Obliquity = Math.min (linear (time, outPoint-outTime, outPoint - thisComp.frameDuration, rsty, epy));

  [moveIn, obliquity]

  Simply add the called party for the sliders and the box and're you good to go.

  

• Tracker will allow not target - cannot be applied.  Help!

  Totally new for sequels.  Try to follow a file in MP4 format using tracker.  I followed part figured out, but I never have the button "apply" to activate - it remains greyed out.  Also under "target of the movement" I can't select buttons.

  Would really appreciate any help - I have a project I'm doing for my son's football team and I have to present next week!

  I do click on note that if I select stabilize then allows both fields to be active and apply, but I don't want to stabilize, I want to create a movement tracker so I can insert a face in the travel area. Post edited by: pprioroh

  All the problems described in this thread are the result that bad workflow.

  To figure out how to use Track Motion, camera or one of the other track built in the follow-up of the features that come with EI just type the name of the technique that you want to use in the field to search for help in the upper right corner of the app and discover the resources of the community. They are filtered and in almost all cases you will get censored training that teaches you the proper use of the tools techniques.

• The audio tracks are destructive?

  I am quite new to the first, but not so very new to NLE. The biggest obstacle I'll have my switch at first is that when I drop a new video + audio file on the timeline, or if I drag a file already existing around the timeline, and the audio track of this file should land on top of any other file audio clip, the audio clip that was there is suddenly truncated. I expect that the audio clips would just be piled one on the other, but it seems that any audio clip that gets all or partially 'hidden' in another way is destroyed.

  I tried to drag the rear audio clip to be the same length as its video clip associated with, but no matter what I do, the audio clip is always shorter than its associated video clip.

  Y at - it a command to "restore the audio track of the video? A command that could bring back if it was totally destroyed, or I would like to 'stretch' the audio clip to the same length as the video track?

  I hope that makes sense for someone...

  Thank you

  -joe

  The change is non-destructive.  Whaever you do on the chronology does not affect the original material.

  To 'untruncate' the audio (or video track, depending on what you want to do), make sure that the track is not selected, and drag alt the tail (or head) of the audio track (or the video track) to its original location.  It will not work properly if the track is selected before pressing the ALT key.

  You can also separtate tracks audio and video so that they are independent of each other.

  It is also the technique to use if you want to change the audio tracks to slide

• removed the audio tracks in logic pro can be restored

  removed the audio tracks in logic pro can be restored, has been save logic & empty folders to the folder came, I deleted the originals by mistake...

  Not if you don't have the original audio files on your hard drive.  If you have deleted original, your only hope he then restore from a backup of your system, you have a.

• Track return on a hike

  There is a nice piece of functionality with Garmin watches that retrace your steps using the GPS while hiking. It doesn't load the maps or something like that but displays your breadcrumb to let you know where to turn when you're in unfamiliar places. It was extremely helpful during a hike of new tracks that have side trails. Apple Watch there something similar? I know there are a few applications which do this, but was curious to see if there was anything from the watch without using the iPhone's GPS.

  Hello

  It is currently not a feature of the apps built on Apple Watch.

  If you want to send your comments or suggestions to Apple, you can do it here:

  https://www.Apple.com/feedback/watch.html