While some users interpret “planar tracking” as only solving “flat” screens, almost all objects can be analyzed as a flat pixel pattern. The planar tracker then analyzes all the pixels in the shape and determines which are moving on the same relative plane. The artist feeds an application information as to what to track by creating simple spline shapes. With planar tracking, the process is a bit different. If an artist wants to map an object onto a plane, one would generally do a four point track, manually placing tracking points at appropriate places in order to define the rectangular plane. The software uses various ways of analyzing the pixels on screen from frame to frame in order to track the pixels.
Traditionally, most tracking was done by selecting a small region on the screen and having the software track the area from frame to frame. It uses techniques from 3D tracking rather than 2D approaches like optical flow, combining several different algorithms to produce a robust result. Planar tracking tech grew out of computer vision research carried out at Surrey University in the late ’90s. But before we get to that, a bit of historical perspective is in order.Īt IBC 2001, Imagineer showed their planar tracking technology publicly for the first time, launching mokey, a removal product which allowed artists to get rid of objects in a scene with less manual tracking and painting/clone techniques. Brownlee is teaching a new mocha pro v3 course at fxphd this term, and the new release will also be available on the VPN.
In this fxguide exclusive, we’ll take a look at some of the tech behind the new features, a bit of behind the scenes into the development of the software, as well as a written review and hands-on video from fxphd prof Ben Brownlee. There will be tiered upgrade pricing from all mocha versions, including the bundled Adobe AE version.
0 kommentar(er)
