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Guerilla Filmmaking

Lesson 39 of 41

VFX Post Production: Tracking with Mocha

 

Guerilla Filmmaking

Lesson 39 of 41

VFX Post Production: Tracking with Mocha

 

Lesson Info

VFX Post Production: Tracking with Mocha

and at first I was just going to show, Ah, different weight, a mask. But then I was like I came with a cool idea to do both at the same time. Now I think I know the who Piercing. That's cool guy. So when you want to track stuff a good because with rodeoing especially. Hey, what does that a lot of people will see is logo. Okay, start with frame one. This is obviously not a good track, but through the example, then logo. It's just gonna do none sightsee around that. Then we'll just go down one frame and then they'll adjust it. A good rule of thumb is you want to start where there's the most detail on the scene, so obviously right here, it's He's five feet away. So go where there's the most information, like right here, and that's where you want to start. And then what you want to do is look for a consistent movement like you could see how he's shifting to the side and then kind of right here. It's more stable, but he's kind of blinking now. I don't want to waste time doing a mask on it, ...

because this is a mask. Cool. I'd rather show. I know I know it's Oscar worthy, but I want to show how to do it in MOCA, which I just so happen to have set up in playing already. So mochas, a plainer tracker. And once we started cool, I'm still on that. I'm sorry you're not supposed to see this part. So it's the same rules. Apply what's cool about mochas. It's a plainer tractor, and I don't remember yesterday how I had the mark on the wall and stuff. What's cool about Mocha is that you don't need to do that. In fact, I didn't even know that we if you guys sell film right with Wolverine episode thing, I was like third track markers on his, uh, his fists. And then we're good. And then I'll do and I was having such a hard time in mocha, and then I'm like, morally used mocha. I just always kind of like a baked in after effects. And then I was watching the, uh in true tutorials and are like, don't use tracking markers was the first thing they said, because it doesn't need it. It goes a plainer tracker basically like these eyes, even though they're around the perspective of, um doesn't change. So as far as the software goes, it looks as like a flat plan. So that's how we're gonna do. It's gonna be the same thing. So I wanna go in here and then I'm just gonna track his eyes. I'm going to show you something cool, cause here Year there. Now, what's cool about this is it is a mask. So technically, right now we're creating a mask. But what's also cool? Is it still tracking it? So from this, I could actually get the tracking data, and then I'll show you something cool with it, because my plan is I want toe delete his I basically it's just gonna go around here. Yeah, um, so they know. So when you start the tracking, it will mocha be able to manipulate the mask to the eyes of getting bigger. You'll see. I'm starting from a view of after effects that comes like, this is this is mocha pro because it does other stuff like you could delete stuff from a background, but most of the stuff, like with adobe in the frog, I used mocha eat the thing. It comes with the after effects, and all you do is with all of your goto animation, you of your layer and then tracking mocha ee, and then it'll it'll just loaded up. So if you have aftereffects, think after like version, for it came bundled with it like the later version. So now I don't want sheer cashiers gonna like Skew it. I don't want that. I just wanted straight on and then it's already at 90 Now remember what I was telling you guys yesterday about small movement, about tracking and how they'll even track like it's shown on film. So you'll see this large motion. This is large motion. Small motion would be like a film thing where you're gonna have the gate weaver the shutter, moving it. So for most of your purposes, much of shooting on film or, like maybe you stop on a tripod and it's windy where you're going to get little tiny movements like a standard track will be large. So it's cool is the thing about mocha is you basically just start tracking and then it's going to slip. But then you go in and adjust it and then continue tracking. So I'm just gonna before your eyes before your eyes see how his eyes starting to move, and then we're going. That's still fine. But you could just make a little tiny adjustments. She always moving, and it started to slip a little here on a pier. And this is why you start with the area of most information? Because it's gonna start to get smaller. You're gonna lose pixels, and then I might slip. There you go. So now it's simultaneously. I didn't mess up that word tracked. Okay, Now we're just gonna want to export it. This Give me a second here, because I don't I actually just discovered it that you could actually export the mask. So the actual point. So pay smoke a mask. Oh, um, idiot. Okay. Hey, smoke a mask in front of Yeah. You want to go there? And that's all you do is sit pay. It's two guys. So now I'm gonna change it to subtract. OK, it's now. Now. We deleted his I go. It's going to get better. Now. We're gonna expert expert talks park toe aftereffects. Uh, not corner pin. Where's, uh right here? So I'm gonna do is copy to Clipboard, and then I'm gonna go in and do a no. Okay, What I know is just a late this thing does nothing. So you could attach the data to it or vice versa. So, like, right now, I'm just gonna pace it right now. I'm just gonna face it. Let's try that again. Everybody saw me click copy to Clipboard. So there we go. So now, attractive. But it also has that data. OK, now the thing is because it's guerrilla filmmaking. Like, say were like, We want a zombie. This guy's now izombie, okay? He's a zombie That's learning to love. Thing is in higher and CG stuff and higher and CG stuff. You'll probably make it from scratch and stuff, but we want him to have a gross. I Right, So And this is this is I'm allowed to use this under the Creative Commons image. I'm like, What's the gross image? What looks gross. I found this picture of tomato sauce, okay, but it works, so I'm gonna throw it under here. Oh, we're just gonna attach it to this. And now because it has the the actual tracking data, right It's kind of cool. However, we can make it look real with real er, I'm actually gonna do let me actually color. Correct. At first, that song was raising hands, so I was gonna with curves Let's turn that down. Maybe turned on the red. Now, if you've used photo shop, you know, the blending or the layer styles and all that, So drop shadow that everybody knows that a drop shot is So I'm actually not going to do that. I'm actually going to do a outer glow, which the cool thing about that is because it's supposed to be con cave. His, uh, eye socket pocket. Don't you call his? I thought you had a better description. Hot pocket solid steering is that salary glow will change its him normal. And then we'll changes this toe black, OK, and then change spread. Actually gonna turn the spread down and this is still like a harsh edge. So because we have the mask data sitting M and this is something I do all the time because I know there's going to be so much like compression and it's moving and everything. I'll just soften it because no one's gonna notice anyways, like from here. I mean, there's this area right here where it's like you could see the eye, but whatever. So last thing I'll do is I will turn on motion. It's kind of growth is kind of girls, but again, because we have that knoll, we could do stuff like and do another lens flare. Um, only for the simple fact that you mentioned JJ. So? So what I could do is I could actually take its center position because we have that. No. Like I was saying, with a know, all doesn't hold data so I can actually go in. And then I'm gonna click. So we have the position there, it's gonna all click its position. It's gonna make an expression. Don't let it breathe you all. I do it the cheap way, which is like that there's an actual pick whip because it's a whip. Do that. What did I just attach it to? Why is that area way so you'll see that it's moving. And then I could actually change its scale. Teoh skies scale. So just all clicking again. It will show the parameters Go in there. Yeah. See, it's always I'm always anyone here right now. Here's the thing. It actually, even though I'm copying its position, Mocha does this thing where it actually changes the anchor point and it's really annoying. And there's a work around. Let me try it really quick. Sorry, I hate it. I dio I'm sorry. It's because I'll be learning the love They they need love too. So click now. I mean, the overall things. You could see it. This is hasn't been like that difficult to dio except for this stuff. Never mind, I'm shutting off. I'm not dealing with I right now. I just know that Mocha does this thing with the anchor point. I mean, start have a question from although who wanted to know What if he blinks? Uh, he blinks and you're gonna have to go in there manually. See? And this is this goes back to the thing I was saying yesterday about tracking. If he blinks, what's gonna happen is like, say, he blinks on this frame, but not this one or this one, because the moves consistent and because his eye shape and I like it's not changing any direction. It's pretty predictable. You could just manually place it, but like for stuff where it's getting obstructed and it's shaking like good luck. I mean, you'll probably have to do it by hand. That's not ready. So I just want to show you guys this like how easy it is to do stuff like that, where because we do it all the time for film, right? Or it's like we just need something like that. Like I need something that kind of looks gross. Well, I don't I'm not gonna look, Look up like dead bodies like, let me find someone's eye socket. I'm like tomato sauce and even just doing something like because there is the like, Let's do this. Let me shut this off. Actually, machine transparency, this is gonna be really cheesy, but hoping now, Rhonda, I was hoping wasn't being more crime looking because I wasn't saying Now it's a robot that learned to love, but now you can't say that. But even still like you could just find a picture like that. It's not that difficult. And all we did if you saw the hearts and the eyes with it. This is exactly what I did. I just tracked the I put it on there and then I with why I just copied the reflection. And because everything was attached to that is really simple to go in and change it. And then we could even just reverse it, which will be even more creepy. So you do tons of stuff just by that single track. And that's why anything really with compositing that I need to track most something really quick. I just use a mocha because, I mean, you saw look was at four key frames. That was it.

Class Description


Is there an idea for an incredible film banging on the walls of your brain and begging to come out? If so, join Film Riot founder Ryan Connolly for an immersion into envisioning, shooting, and producing films – with any gear on any budget.

In this course, you’ll explore the step-by-step process of making a film from start to finish. You’ll learn how to script, storyboard, location scout, and cast films. Ryan will offer insights on how to best work with your crew to make your sets fun, collaborative, and professional places to be. Ryan will demonstrate the process of getting the light you want for the shots you’ll need, whether you’re working with DIY lighting structures, available light, or gels and diffusion. Since lighting and sound are equally essential to professional-level work, you’ll also explore both production and post-production audio skills, including integrating music and sound effects. You’ll build a post-production workflow for editing, adding visual effects, and more to ensure you’re getting the pro look every time.

Whether you’re a first time filmmaker or a working professional ready to sharpen up your skills, this course will give you the tools you need to create superior quality films that reflect your unique vision as an artist.

Reviews

Samuel Befekadu
 

I bet this class will be awesome. the course is given by Ryan Connolly!! I have been watching this guy for more that 5 years. I just wasn't serous about film making then. but now since i love film making why not try to be one of them by learning form the best in the field like Rayn. he has been inspiration for a lot of film maker from his YouTube channel Film Riot. his way of teaching so funny and entertaining . I bought this course to learn Ryan Connolly's killer skill. Thanks creative live and Ryan Connolly!

Will Green
 

Great class! It starts at a very simplistic level and covers the full spectrum of filmmaking. I would not necessarily buy this course for advanced film students, however it is an amazing review for beginner students to intermediate students. I would love to see a BTS of a short film from start to finish. I've seen all of Ryan's BTS shorts and I would greatly enjoy a much more intricate play by play of the short. THAT"S SOMETHING I WOULD PAY A LOT TO SEE. An 18 hour compilation of prepro - post of a short would be awesome.

Jonathan Beresford
 

Love Ryan and everyone at Film Riot. Excellent course of the excellent quality I've come to expect from them. I just wIsh he'd act more. So funny.