Welcome to Mocha, tracking and rotoscoping tools that make your tracking and rotoscoping work much easier. Our tools are based on our proprietary Planar Tracking technology, an awesome approach to 2D tracking which will help you to generate accurate corner-pins and track and transform your roto splines in a powerful way.

Tracking and rotoscoping are part of almost any visual effects project. For 2D tracking, point trackers are most commonly used, but to get good point tracks requires a mix of experience and luck. If the point being tracked exits frame, you get into offset tracking, which presents its own set of challenges.

If it all fails, you are into hand tracking, which is time consuming and very hard to get accurate. Mocha is a 2D tracker that requires less experience and luck to be successful with, does not require the image to be primed and is less likely to require a lot of tricks or hand tracking on difficult shots. In Mocha splines are used for both tracking and rotoscoping. This is a different method from standard 1-point or multi-point tracking tools. This is itself a difficult task, especially when tracking a shot that was not originally designed to be tracked.

If you wish to also track rotation, perspective and shear you need even more clear and consistent points to track. Even when using multi-point trackers to impart rotation and scale to the roto spline, the results are often unusable if there is any perspective change during the shot.

A plane is any flat surface having only two dimensions, such as a table top, a wall, or a television screen. Even as an object leaves and enters a frame, there is usually enough information for the Planar Tracker to maintain a solid track of the object. When you work with the Mocha tools, you will need to look for planes in the clip. More specifically, you will need to look for planes that coincide with movements you want to track. If someone is waving goodbye, you can break their arm into two planes – the upper and lower limbs.

Although not all of the points on the arm sections actually lie on the same two-dimensional surface, the apparent parallax will be minimal. With the addition of PowerMesh in Mocha Pro, subplanar tracking is also possible, tracking warp and bending of objects that standard planar tracking would struggle to do alone.

Insert Mesh Warp: Now users can drive inserts with PowerMesh tracking and render organic and warped surfaces with motion blur. Insert Blend Modes: Transfer mode blending can now be done inside the Mocha Pro interface, making it easier to visualise final results or render to NLE hosts that have less compositing features.

Improved Insert Render Quality: The Insert module now renders with high-quality filtering for improved looking results. The new Source Mesh Grid view controls make it easier to preview and edit simple to complex mesh distortions.

Quick Stabilize Preview Update: You can now quick-stabilize pan and zoom via any layer rather than just the currently selected layer.

This option is available via a dropdown on the Quick Stabilize button. Mesh Track Using Existing Data: Linking PowerMeshes to existing planar tracking layers makes it easier to combine planar tracking with PowerMesh tracking for roto and other tasks. PowerMesh to Alembic Transform: Export the mesh vertex position data to individual transform nulls. Silhouette shapes with split transform data: Silhouette shapes now export with keyframe data split out to make it easier to add new Silhouette shapes which inherit the tracking data.

Nuke Roto nodes with split transform data: Nuke Roto now exports with keyframe data split out to make it easier to add new Nuke roto splines which inherit the tracking data.

Mistika Corner Pin: You can now export Mocha planar tracking corner data to Mistika as point tracking data. See the Exporting Tracks and Exporting Mattes chapters for more details. Slide keyframes: You can now move all keyframes easily to new positions in the timeline.

Keyframe zooming: It is now much is easier to zoom into selected keyframes and zoom out to all keyframes. Improved AdjustTrack parameters now adjust all track keyframes based on the motion types selected. To quickly get familiar with Mocha before you dive into the rest of the manual, here is a breakdown of the interface and its controls.

Mocha begins in the Essentials layout, which provides a simplified interface for basic tracking and roto. The Essentials panel on the left side of the window combines everything you need for a basic track.

To attach a spline layer to an existing track, or detach it from a track entirely. These buttons control viewing and expanding the surface. See Tracking Basics for how to use the surface effectively. Show surface tracking data : Reveals the blue surface that represents the tracking data.

Show grid: Reveals a useful grid for lining up the surface or monitoring for drift in a track. Align surface: Expands the surface to fit the dimensions of the footage on the current frame.

Like the Essentials layout, this layout is optimized specifically for roto sessions where only the most necessary panels and tools are shown. If you want to reduce all clutter entirely, the Big Picture layout is very useful for previewing shots without any elements getting in the way.

These can either be access by right clicking the area of the interface and choosing a GUI element to show or hide, or selecting from the View menu. Any changes you make to a layout will not be saved unless you choose View Layout Save Current Layout. 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. Select from the dropdown to choose an individual color channel to view. 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 Quick Stabilize Preview.

This centers the footage around your tracked surface using the tracking data linked to pan and zoom. You can choose different layers to stabilize the viewer from the dropdown in the button. 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.

 
 

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