Hasta La Motion!

So I’ve been lurking the forums for a while and finally signed up a few days ago. I’ve had a few projects for fun, watched more tutorials than TV in my entire life, and have a degree in New Media (B.FA). So I’m not a complete idiot at least…

I had a recent project I was using the CS4 AE – Mocha plugin to try and rotoscope a complex object in a fairly long scene, using the Mocha Tracking, and then export that into AE as a Mask/Matte. Unfortunately, due to having only CS4 apparently (and the Mocha plugin, not full) what I was trying to accomplish was not possible.

So I figured since I was only learning fundamentals in AE (which I basically already knew, due to my Uni Degree), I would give Nuke a shot in terms of Rotoscoping. Ultimate goal here: Get a rotoscope artist job sometime in the next year.

I’m still getting familiar with Nuke and node-based compositing, but was wondering if it works more as a whole package, rather than a “plugin” for basic rotoscoping. For instance, instead of rotoscoping in Mocha and importing to AE… do I just rotoscope in Nuke, and save file? heh.

Sorry, lengthy thread but… my last question is a quick one about creating a Rotoscoping Demoreel. Is it okay to use feature film footage just to demonstrate rotoscoping ability? For instance, grab a scene from a movie, rotoscope, show alpha, Rinse-repeat x3, Tada Demoreel? (In short…)

I know obviously to avoid light sabers, spaceships, and all that cliche nonsense… but I’ve also read to avoid “stock footage”. What consists of “stock footage”?

Thanks (especially if you read that entire thread. wow. sorry.)
-Dave

Hi 🙂

I’m setting up a shot where the actor is being set on fire. The first shot is locked off and starts at his feet so that’s pretty straight forward but later he will be moving around and then walking through a camera move.

It’s most likely going to be tracked in pftrack or syntheyes with the flames being creating in maya and some real flames comped in.

My question is the setup of the tracking markers on the actor.

Where should they be on this body?
should i have a certain amount? color ect
Any advice on camera setup? Its being filmed on a 7D, some of the shots will be over cranked to 60fps.

Any thing any1 can tell me about making sure i can get enough information from the footage would be a great help. I need to make sure as he moves the flames go with his momentum.

A good example would be the final scene in Crank 2

http://www.youtube.com/watch?v=v9euf…eature=related

many thanks

Dave

cmiVFX Releases New Motion Control & 3D Camera Visual Effects Masterclass Training Video
High Definition Training Videos for the Visual Effects Industry

Princeton, NJ (July 5, 2011) – cmiVFX launches its latest full feature series training video’s titled Motion Control & 3D Camera Visual Effects Masterclass. All the material ( live footage ( Red, 35 mm, and HD ), and motion control flair data ) used in this course, are assets from real television commercials to help showcase the demanding skills for a constantly changing production pipeline. Motion Control Data gives VFX and CG artists the ability to get exact position in 3D Space so that 3d matchmaking and clean plate generation is more precise.

In this video, we will study Motion Control Device camera setup and Flair files structure. We will import camera’s movements data from special devices such as a motion control camera into our 3d package, with all of its parameters, and we will export 3D camera back to the same device after modifying the motion path or even creating totally different camera movement. Then, we will create a camera Flair importer and exporter, from and to motion capture device, and we will learn more about 3D cameras properties and how to extract some of its hidden attributes.

Here at cmiVFX we maintain a current training library for the latest versions of popular software titles. When it comes to high end CG and VFX training, there is only once choice… cmiVFX! This video is available today at the cmiVFX store for a Special Introductory Offer Price!

Don’t forget about the cmiSubscription plan! Get one today. cmiVFX launched the most affordable subscription plan in Visual FX Training History for only $299 USD, and if you were a subscriber, this New Training Release would already be in your account. This video is also available a-la-cart in our brand new HTML5 player system. Our system works on iPhone, Ipad, Droid, XOOM, Mac, Windows and Linux!

Motion Control Cameras And Data Management
http://store.cmivfx.com/tutorials/vi…ol+++3D+Camera

Importing And Exporting Motion Control Flair Cameras And Scene Setup
A Motion Control Device is a big robotic device which can hold a camera on its end arm. With it we can get its camera path, keys, parameters, and even more from the flair data file from the computer which controls that device. We can input a 3D camera’s animation or path into the same computer as a flair file to get the previous designed camera’s movement inside the 3D application. Importing the camera is half the battle, while the real process of bringing this camera into 3D world needs more detailed labor.This requires good on set measurements and very good camera setups inside 3D applications such as Maya in our particular case. Fortunately, the principles are all the same between the other major 3d animation packages.

Introduction Of The Motion Control Device
In this section of the video we will show some photos of this device, then we will talk in details about the conditions and the location measurements which must be taken in consideration to get the best end result which is the 3D camera itself. Then we will jump to Maya to explore our 3D camera and the similarity between the two.

Building A Motion Control Camera Data Importer
We`ll look inside the Flair Data file to see its structure then we will explain some of Mel basics involved with this process. After, we will build a custom Flair file importer, followed by preparing the 3D Scene to accommodate the new data.

Importing Mossey Beer Commercial Camera Inside Maya
In this chapter, we will prepare the scene and change some 3d camera settings to match it to the real world camera. Then we will build the table surface to see the match process working and we will also import the camera into Maya using our importer.

Extracting Roll Value From Camera
Here we will go deep inside global and local axis information to extract the hidden roll parameter of any camera. We wanted to demonstrate the process of extracting some transformation for the camera, so we can say that we are really controlling this camera, and that we know at any given time all of its parameters. We use some simple illustrations to explain it works for the camera in the 3d application.

Building A Motion Control Camera Data Exporter
Now we will build an exporter to export our 3D camera back to the motion control device and to explain some conditions to get that 3D camera moving the same in real world. This is often used after a previsualization shot has been created for a director. This data can then be entered into the Motion Control device to sync up some of the already created 3D Animation that could end up in the final shot. This is a relatively newer way to work, but has been taking over as the official standard for larger film projects as well as television spots.

Wheat Field Project Example
This example will be focused on showcasing more relations between the 3D Camera and the Motion Control Device so that the viewers of this video understand all the nuances in a tightly orchestrated, time budgeted project.

Importing Flair In Autodesk Matchmover
Flair data can help the matchmoving application to get more missing data for the camera. We will explore the import motion control panel inside Matchmover, then we will explain every single parameter to see the similarity between our Flair Data importer and the matchmoving program’s importer.

Frame, Boundaries And Genlock
We will talk about frame sampling, shutter movement and the synchronization between different cameras and motion control data recording device.

Project Contents
We included all of the live footage required to get this course done the perfect way.
Mossey commercial – (cameras of biliard table and wheat field (footage’s and flair files)

About The Author
Hashem Alshaer is a 34 years old Palestinian VFX supervisor. He studied mathematics and physics in college, then graduated from an electronics engineering university. With more than 10 years of experience in visual effects, he is currently teaching 3D visual effects at Arab European University’s Visual Communication department. (If you are located in that area, and are looking for live training, please email us at info@cmivfx.com) Hashem started as character specialist, then as technical director, and since 2006 has become a visual effects supervisor. He loves painting and sculpting but developing smart robots is his main passion. Currently, he is working at ArtWare corp as a vfx supervisor primarily for commercials and film effects. Recently he began work on the company’s first feature film.

Keywords:
Motion Control Rig, Flair Data, Autodesk, Maya, Mel, Data Translator, Animation, 3D Camera Data

This video is available today at the cmiVFX Store: http://store.cmivfx.com/

About cmiVFX
cmiVFX is the leader in High Definition Video Training for the Visual Effects Community. Register for FREE and receive hours of FREE content at the cmiVFX Video-on-Demand Player. ( http://store.cmivfx.com/login ) For additional information about cmiVFX, visit http://www.cmivfx.com. © 2011 cmiVFX | cmiStudios. All rights reserved.