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How can I extract and “flatten” footage that’s been tracked with Mocha to work with it directly in 2D?
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See of my recipe in the following thread helps –
https://forums.creativecow.net/thread/2/1043646Cheers
RoRKIntensive mocha & AE Training in Singapore and Other Dangerous Locations
Imagineer Systems (mocha) Certified Instructor
& Adobe After Effects CS6 ACE/ACI -
Hey Conrad, I played around with Nuke last night and it worked like a charm. I inverted the corner pin data then exported the footage as a tiff sequence over to After Effects, applied the effect, then rendered a tiff sequence and imported it back into Nuke.
Does that seem inefficient to you?
Also, I’ve never played with rotopaint in Nuke, do you think it’s possible to remove my hand from the footage to create a clean plate or is it too big for object removal?
Thanks for your help!
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I can see one big issue with that workflow. By undistorting your whole plate, and then re-distorting it after you add the effect, you add two stages of filtering to your plate, which will cause it to soften.
In general you should always try to avoid transforming your original plate, just match any other elements to it. Sometime this is unavoidable though, in which case you should try to limit the area you are effecting.
If you can render your effect out without the plate in the background, then track it back in in Nuke and add it to over original plate, it would be better. If you can’t do that, just try and limit the area that you are working with, and keep as much of the original plate as possible.
The roto paint tools in Nuke are decent enough to create clean still frames. You can then use your existing tracking data to track those clean frames in. We do this sort of stuff all the time.
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Great, thank you Conrad. I’ve seen a few tutorials regarding object removal in Nuke, are there any you think I should check out?
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The only ones I can think about off the top of my head are the ones from the Foundry themselves. They are more about how the tools work, and less about good technique, but they will give you a few ideas. There are quite a few about the planar tracker.
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Hey Conrad,
I’ve been able to make huge strides based on the the advice you’ve given me, so thank you very much for your time. I’ve got the footage doing what I want in Nuke and After Effects, now I think it’s time to add a little bit more realism.
Because the footage is hand held that means the light is constantly shifting around. While the effect looks okay as it is now it’s missing the changing light over the tracked area which I think would help really sell the effect.
My question is: do I add in a 3D light in After Effects or should I do it in Nuke?
My gut is telling me that Nuke is the better option since I can actually do a camera solve to help recreate the room in 3D.
However, I’m unable to just export the effect without the background. Here’s what I mean:
The Classic Color Burn on the top layer only works if that bottom layer is visible. If I turn it off it won’t work. Which has be in a bit of a jam when it comes to adding a light into the scene in both Nuke and After Effects…
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Sorry for the delay replying Alex. Work has been crazy.
I wouldn’t bother trying to use 3D lights to relight the effect. It could work but I would usually just used masks and colour correction effects. It’s much faster and easier to get the result you want.
If you can use the plate itself to try and get the lighting then that is the best way. Try un-premultiplying your effect, experimenting with different blending modes between your effect and your plate, and then premultiplying your effect again with the original alpha channel. This will allow you to get effect the colours without changing the transparency.
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