[Simon Faris]

Hi Jon,

I see you too use 3 Canons. Not sure if the 50 was supposed to be a 5d? Which if so, I would think the files would then be jpg2000. Also when shooting use 30P unless you want film look of 24p..Then select that. 60 is not going to be used unless you want to play with time remapp. Which AE will use 30 just fine. Or Interpolate the footage in the Comp settings in AE. AE and PP are really a tandem software. I do nothing in PP except for final scene(s) layout. Export using Media Encoder to the format it will be played back on. There is NO one size fits all. You should export for the player….

You have a small challenge with your source footage for storage. Once you add a codec the artifacts are there. So if you take that raw footage and re-wrap it into a .mov file. Or use a 264 codec. It is there forever. Not that big of a deal pending on what you want to do with it down the road. IE: track something on it to add in After Effects. However Mocha is a powerful tool and pretty forgiving if you have a spot to track to that has good texture to it. (IE: AL’s Hardware banner on the old footage)
That being stated. One way to take that footage (as I do) is chop away the junk and save it as an uncompressed AVI via A.E this way, I have as you stated, a mpeg with out any other codecs to it.
The files are big, however storage is cheap. Where you can buy 2-3Tb nowadays for 80.00 US delivered. As you may be aware you can simply plug the drive in as you need it for whatever reason. You do not have to have that drive plugged in 24/7 creating heat in W.S or you can opt for an EXT storage (3.0 usb or Sata3) and plug in as needed for retrieval.
(IE: Al’s Hardware drive)
Label the chopped down usable stuff in that drive and add that to the cost overhead for a client. 3TB is a feature movie with effects. BTW. So for your application you could simply add the 80.00 overhead for those drives. Keeping your uncompressed AVI’s available for future edits.
I hope this LONG explanation was helpful, and on point?
Regards
SF

S.Faris
https://www.NetCommercial.Net

[Simon Faris]

Hi did you try saving your PP file then open it in AE and export it there, or use Media Encoder to do it from that PP file?
I use MTS all the time and export to .mov files all the time. My rig is similar as your except my vid card is Nvidia Q4000, which handles the job much better then a game card with more ram. However you should not have a problem. UNLESS there is a corrupt file in your sequence……

S.Faris
https://www.NetCommercial.Net

[Simon Faris]

Hi All,
The resurrection of a thread here. I have a request from an associate to see if I can convert an encrypted DCP file into a NON encrypted DCP file.

I am using a Windows 7pro 64bit 16gb of ram. Nvidia q4000 card I do not have a projector to test it on. I was hoping to be able to re-render it, if possible in Adobe’s Cs6?
This short file (996mb) was sent to me via a version of Dropbox, yet the info in the links state I need or should place the files on a drive…Is that an absolute, or can I just export the file and resend via drop box without placing it on a drive? With out any ‘hitches’ on the other end?

There are a couple of links above that appear to be an answer for creating DCP from files. I am merely trying to recode a current DCP file from encrypted to Non encrypted. Any ideas on this, or new swifter ways to achieve this? This thread was made months ago…
Thank you
SF

S.Faris
https://www.NetCommercial.Net

[Simon Faris]

Again thank you Roland, appreciate it. As important as the corner pin data is to have the same size footage or for a sign, (as most are using the tracking for signs) One would think that Imagineer’s training videos would mention that.

Well I learned quite a bit on this one.
Pre Comp for Corner Pin, Tracking not as a final spot but tracking for a solid track with the add a spline for better tracks and then adding another spline for the final tracks, the subtract matte drop down, Key framing for fine adjustments/adjusting a track, linking other assets to an Adjusted Track Spline (after spending time to dial in a spline, reuse it for another asset in the comp, if needed) what to watch for when shooting to then later track, etc…
Glad I learned this on a practice run (a buddies reel) instead of being under dead line….Thanks again for your patience.
Regards,
Simon

S.Faris
https://www.NetCommercial.Net

[Simon Faris]

OK RoRK,

I got it, thanks for your help. The conflict was the fact that I was able to Use Corner Pin Data in my first part of my comp. (Separate footage, albeit same setting) Part 1 I will call it. In Part one I able to export tracking data into two different assets (not in a comp of their own) and with luck they took the tracking data and looked good. When attempting the same steps in Part 2 (the part you have been helping me with) The data would not work in bare assets as they did with luck, as I did NOT place the assets in part 1 into their respective like size comps. (Got real lucky) Hence me not being able to understand why Part 2 was such a challenge. After recreating the assets, in AI at 1920×1080 and then importing them into AE, placing them in the assets in their own comp of 1920×1080. I was left with a HUGE asset that needed to be resized. Using your shortcut shared of ALT + CTRL + “F” it centered and sized my asset to 25% of it’s imported size. I then pasted my Corner Pin Data with Supporting RG Warp into the comp and I had a good track. Thank you for your patience with me and re-assuring my steps on this.

I will say this about Mocha and their training videos, they overlooked that pre-comp step in many tutorials, along with a clear pointing out that your first track is not necessarily going to be your Spline, or asset track.
Where as in my case, I created a Solid Background Track then Linked to it using the Drop Dn menu to then adjusted and re-sized my final Spline that I used both the Planar (blue) tracker and Pink (grid) to get it dead on. Ran through it and then adjusted in (Adjust Track) Tab to further Hand KF the wobbles and hick ups. Also pointing out that a re-track is not needed as Mocha will interpret the first Track that the final spine is linked to and then adjust for Corner Pin if One is using it…

I am still a bit foggy on re-sizing my Pink Grid, once it goes to full screen (cannot find the shortcut) Not the amount of grids under View>Preferences but to shrink it back down as if just opened. Along with the difference between Corner pin with Blur or the Corner Pin with RG Warp?
In any case some one is trying to figure out errors in Mocha this last post on this thread has a bundle of information as does your input.
Best,
Simon
p.s look forward to any response on those last 2 questions?

S.Faris
https://www.NetCommercial.Net

[Simon Faris]

Hi RoRK,
Do you mean that my asset / insert clip, should be HUGE as is the comp? Say; 1920×1080? I am using Pre-comps, which I pre-sized the asset inside a 1920×1080 pre-comp as mentioned earlier and am not getting anything but a very small import, like a small ball of incoherent, asset. Is that what you mean? Is that why I am getting a Tiny asset or insert clip?

As far as a non bump track. I do not know what I have ended up with yet. Due to the imported track flies off target, as shown in the pics.

The Track is good in Mocha, well OK, as I had to adjust the KF’s as aforementioned in a couple other earlier replies. However, I still have a track that flies off Target.(Not in Mocha but in AE) Is that because of the pre-comp question above? Along with a weird Ripple I asked about, but was not addressed. See (Ripple Pic) I wanted to insert it into AE to get a look at the final result before re tracking over and over in Mocha and maybe that ripple won’t be seen. Take a look at at that pic (Ripple Pic)
Thanks
SF

S.Faris
https://www.NetCommercial.Net

[Simon Faris]

RoRK,
Good we are in agreement on my steps and your instructions. I understand Subtract matte.

I do not understand this:

RoRK-The last tip is to set/resize your insert clip to fit the size of the tracking comp. Then precomp the insert layer PRIOR to applying mocha’s tracking data.

Simon-Do you mean placing my helpwanted sign in it’s own Pre comp that matched the footage then placing that precomp into the final comp of the same matching settings of, in this case 1920×1080? I did that. See the pic you used as an example you will see a pre comp labeled helpwanted in the final comp. Paying attention to the setting of 1920×1080….

Still leaving me a bad export of a fly around track… Not staying on target
Thanks for the help
Simon

S.Faris
https://www.NetCommercial.Net

[Simon Faris]

I suggest that you start from scratch then do the following –
I Opened AE and imported into Mocha as a new project. Did you want me to re-render my MTS files into JPG2000 then restart? I restarted the whole project as well as do not have Cache files checked. Using my original MTS to JPG 2000 .mov

2) create a new tracking spline for the background. you have lots of co-planar areas to track. therefore, use multiple tracking splines when tracking the background – you should use the Add X-spline (or B-spline) tool to add a second or subsequent tracking spline onto the same layer. Ensure that your tracking splines here are sufficiently close to the area you want to track – this is to ensure that you do not force/ask mocha to track superfluous movement in the background.
I did follow your instructions…. My only add was a second (+ X Spline) tied to the same BG Layer… for a better track or more information to track… (See BG pic)

1) track the foreground object (man) with a loose tracking spline. Keyframe the tracking spline as often as needed to ensure that the foreground object is always enclosed within the tracking spline.
As mentioned I used the foreground track making sure to keep the man encapsulated in the track. Which I used the subtract drop down, as mentioned for that foreground track. Which I asked if there were any consequences to using the subtract matte for the Foreground track, albeit set as a top layer anyways. See (BG pic) for track of man, caring to keep shadow encapsulated too.

What you should try to do at the end of your tracking procedures is to use mocha’s Adjust Track module/tab/feature to tweak your results – if required.
This is how I ended up asking you about the Ripple that occurred, even though the zoom windows show on track the Planar or Matte shows a ripple (See Pic)
That is what I did….? See (Pic Ripple) with adjust track Tab being utilized

It’s impossible to tell what you are doing wrong if you do not follow the instructions I have provided in an earlier post. Here is what I posted earlier –
I have posted 7 detailed pics for your review to see what went wrong on the export? However you are under the impression I did not follow your instructions. Rather I did, with one exception as mentioned “about the subtract matte” and being at the top of the stack as aforementioned…Yet after reading, it seems that is a null point due to the hierarchy of the stacked layers. FG being atop. Do you think that is an issue? Using Subtract Matte on the foreground even though it is atop the stack? Imagineer videos say NO. That is the ONLY deviation of your explicit instructions, as I laid it out above using Bold and underlines. Your thoughts?

Appreciate any help on the bad export data. Hence me giving thorough responses and pics, for your review.

Regards,
Simon

[Simon Faris]

OK RoRK,

I re tracked. Had some luck. One of two differences. I tried to track at the best point as suggested opposed to start or end. I waited and used the part where the track would fly off. Moved a couple frames ahead of that and tracked to the end before trying to track back over that ‘whippy part’ where the track constantly would jump. I also used the subtract drop down for the Foreground track. I am not sure if the Subtract has any consequences?

I tracked the Building in mind of not the final spot where I want to Roto or use my corner pin. I instead used an area as you suggested, not to far from the final comp, yet be concerned with having a good track nearby, using a sub mask. (as pictured)

I then used a Roto for the desired spot and linked it to my B.ground track.
Following along this vid
https://www.imagineersystems.com/videos/04_advanced_tracking.m4v/view

Used the adjust track as you can see the many KF’s (Ripple Pic) to keep that one roto spline track still. I then exported using both corner pin (Bottom pics) export options taking care to export the adjusted track export. With no luck.
I place the tracking data into a like sized comp as you can see in the screen grabs. Where I tried 3 different ways of using the Blur, and Shear option of Corner Pin. Along with a Raw export of NON Adjusted track data to see if that was a hinder.

My end result is that of data that makes my sign so small and is not visible with fly away’s half way through. Leaving me to re size the sign to only fly away

*Note: I also had a weird challenge in Mocha where I was using the adjust track and the Zoom windows show on point where my mask shows a ripple in the track (See PIC Ripple)

Please take a look at my screen grabs with open layers to maybe find where I am going wrong if you would?

Export gives me a balled up track.

3RD Try with Perspective ON

Mocha Screen Grab for the above result

Back Ground Track Which the Roto’s are linked to.

That Ripple I got in Mocha Adjust Track where my Zoom Views are on but my track is Not

Example of Track flying off intended area

Corner Pin Export with Blur

[Simon Faris]

Thank you RoRK,
I will be giving it, yet my 6th try tomorrow. I am sure you would be able to get it done. You are probably using 3.0 or better as well. While I am using 2.4.
I have asked about a loose track in other forums and as you stated; “Make sure you encompass the unwanted foreground.” I did a half screen mask previous. Cut the whole bottom off from floor to top of actor’s head.

I asked about parallax to pick more, or better submasks (whatever they are called) Having more then one spline in a layer. From what I gather it is when a camera angle switches angles. Instead of a pan from top to middle, while keeping the top and middle in ‘frame’, conversely a pan from top to bottom would cause a parallax.

The Zip file is a couple posts back, a screen grab. it is atop of the post earlier today. Funny I posted 4 more pics as you requested but for some reason I did not see those.
I will let you know how it goes. The only difference on this next try will be a culmination of sub masks added to the track layer. As close to the desired area as possible.
Regards & Thanks,
SF
P.S dont have the grabs on this computer to repost.

S.Faris
https://www.NetCommercial.Net