– Autodesk 3ds max 2011 the software license checkout failed. error 20 free

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Autodesk 3ds Max Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc. Certain materials included in this publication are reprinted with the autodesk 3ds max 2011 the software license checkout failed. error 20 free of the copyright holder. The following are registered trademarks or trademarks of Autodesk, Inc. Intel is a registered trademark of Intel Corporation or its subsidiaries in the United States and other countries.

All other brand names, product names or trademarks belong to their respective holders. Stand-Alone Installation. Offline Registration and Activation. Automatic Install of DirectX 9. 22011 Multiple or Bundled Products. Installing Additional Components. Installing Autodesk Backburner Autodesk Backburner for Managing and Monitoring Only. Installing Autodesk Material Libraries. Installing 3ds Max Composite. Configuring mental ray Satellites.

Including Service Packs. Leaving Ports Autodesk 3ds max 2011 the software license checkout failed. error 20 free. Windows Theme Support. Viewing the Essential Skills Movies.

Watching the Movies from Autodesk. Graphics Cards and Drivers. Reinstalling, Repairing, and Uninstalling the Product. Tools and Utilities. Autodesk Asset Locator. Autodesk Design Review. Installing Tools and Utilities. Aytodesk Administration and Deployment. Prepare for a Network Deployment.

System Requirements for Administrative Image. Choose an Installation Type. Create a Network Share. Network Tools and Your License 2011. Configure Your Deployment. Items You Can Configure. Enter User and Product Information. Creating Log Files. What Is Silent Mode?

Choose a License Type. Location of Installs and Disk Space Requirements. Install Additional Files Optional. Include Service Packs Optional. Components: Select Typical or Custom.

Create a Default Deployment. Create a Custom Deployment. Modify a Deployment Optional. Point Users to the Administrative Image. How can I check my graphics card driver to see if it needs to be updated? What should I do if I run into graphics card issues during startup?

What is the benefit of using a network licensed version of the software? How do I autodesk 3ds max 2011 the software license checkout failed. error 20 free my autodesk 3ds max 2011 the software license checkout failed. error 20 free documentation? What is SAMreport-lite? Deployment Issues. Where can I find the Deployment Checklist? Where can I check if service packs are available for my software? How do I extract an MSP file? Where can I learn about InfoCenter, including search locations?

What are information channels? What are RSS feeds and how do they benefit my installation? Networking Issues. Where do I find adobe 6.5 for 7 professional free server name? What is an administrative image MSI file? What is the impact of selecting all products for the administrative image, and can I add products later?

Uninstall and Maintenance Issues. Is it possible to change the installation folder when adding or removing features? When should I reinstall the product instead of a repair? Do I need my original disc s to reinstall my product? When I uninstall my software, what files are left on my system?

If you have never installed the product before, you should familiarize yourself with the entire installation process and options before you begin. For information about licensing a lixense or network deployment, refer to the Licensing Guide. Click Documentation in the lower-left corner of the installer. Differences Between 3ds Max and 3ds Max Design Though this guide is shared between 3ds Max and 3ds Max Design, there are a some key differences between these two productsas 3ds Max Design is intended for architecture and visualization customers, the tutorials and movies that are included show chief architect premier version free applications and scenarios for these customers.

In addition, 3ds Max Design contains Exposure lighting analysis technology, which is по этому сообщению specifically for architecture and visualization work flows.

To learn more about Exposure lighting analysis, refer to the 3ds Max Design Help. The tutorials and movies included with 3ds Max demonstrate 3D pipelines typically employed by artists and animators in films, games and television-related fields. In addition, 3ds Max ships with the SDK which can be used to add your own plug-ins to your 3ds Max pipeline.

The only difference that you will notice during the install procedure is that sofgware cannot install the SDK with 3ds Max Design. It is possible to install both 3ds Max and 3ds Adobe audition cs6 key free Design on the same machinea unique serial number and product key for each product is required to activate the software so that you checkoutt run the products beyond the day trial основываясь на этих данных. Recommended Minimum System Requirements Before you begin the install process, make sure your system meets the minimum software and hardware operating requirements for Autodesk 3ds Max or Autodesk 3ds Max Design The following sections outline the system requirements at release time.

Mac users, see Mac Requirements on page 8. For the latest system requirements, see:. CD media is no longer available. However, to accommodate the installation files, you will need 9 GB of hard disk space and an additional 16 GB of space for temporary files created during the installation.

The Autodesk 3ds Max Composite feature requires one of the following bit or bit operating systems:. Software Requirements 3ds Max bit and bit software requires the following supplemental software:. Mozilla Firefox 2. Intel Pentium 4 1. Large Scenes and Complex Data Setsbit Use these hardware requirements when working with typically more than 1, objects orpolygons.

Autodesk recommends settings that allow Microsoft Windows to manage virtual memory, as needed. There should always be at least twice as much free hard disk space as system memory RAM. Some features of 3ds Max are enabled only when used with graphics hardware that supports Shader Model 3.

Check with your manufacturer to determine if /25826.txt hardware supports Shader Model 3. On a bit machine with a bit operating system, you ftee the option of installing filed. the softwarr bit version as well as aktodesk both of them on the same machine, and running them both. The following illustration summarizes the various available combinations of 3ds Max and 3ds Max Design.

NOTE You can deploy your product from a bit machine to both and bit machines. See Network Administration and Deployment on page 43 for complete details on deploying over a network. Calculating the Appropriate Swap File Setting A good rule to keep in mind for configuring the size of your Windows swap file paging file is to have three times the amount of physical memory RAM on your system.

 
 

3ds Max Installation Licensing User Guide | PDF | Mac Os | Autodesk 3ds Max

 

How to Renew Access for Education Licenses. What is this message? When does trial start? ACA Error running after successful install. Creating a new account with deleted ID. AutoCad Installation Failed.

AutoCAD Licensing script errors. How to see actual serial number for my Student Revit license subscription? Revit Custom Install download failing. Educational autodesk products expiring How to renew to get new network license. Coursera student. Student license granted but not working.

AutoCAD run error: “pm Autodesk Monolith, the lost software created by autodesk. Renew Educational Network license? So many random errors on installation. Revit no longer available for download and or any of its updates. Corridor target window and general crashing C3D Issue to dowload student version. Filter by Labels. When adjusting the track try to always get at least yellow but shoot for green for a more solid adjust track. Often there are times where your reference points are either obscured or exit frame.

In AdjustTrack you have the ability to create multiple reference points per surface corner that can be positioned in alternate locations to handle these situations. Simply click the New Ref button to create a new reference point for the selected corner.

You cannot keyframe the Surface — only the Reference Points. The original track and any refinements you make in AdjustTrack cause the Surface to move however.

Every so often a shot will come along that is easier to track backwards than forwards. This is fairly simple when running the tracker backwards, but introduces some rather obtuse concepts when keyframing is involved. For example, if you decide to create a new backwards reference point at frame 20, a new master reference will be created at frame Others who do a lot of tracking and find themselves working backwards often may find the backwards-thinking New Ref button helpful.

Every Reference Point has one frame in which its initial placement is determined without causing any adjustment to the track. This is called the Master Reference Point; if you step forward or backward in time you will notice the red X change to a red dot. The red X indicates that this particular frame is the starting point for calculating adjustments. Step forward a frame and move the same point – this time the surface will move because you are now adjusting the track.

By default, the frame in which you create a Reference Point is its Master Reference frame. This Master Reference can occur on a different frame for each reference point. The next button simply cycles through the active reference points for that frame. More fine-grained control of reference points can be obtained through the Nudge control panel, described below.

Deleting Reference Points is done by selecting the point you wish to remove and hitting the delete key. If there are multiple Reference points on a particular corner, the preceding Reference Point will be extended through your time line until a new Reference point is encountered.

The Nudge section allows you to move Reference points in 0. You can easily select any active Reference Point by selecting one of the corner buttons in the Nudge section. If you hit the Auto button, a tracker will attempt to line up the selected Reference Point based on its position in the Master Reference frame.

You can quickly select any corner by using the Corner selector buttons in the Nudge control panel. In the image below, the user is selecting the upper right corner in preparation for nudging operations. Deselecting the Inactive Traces button will cause the display to hide the traces of the inactive Reference Points. This is helpful if you have a corner with numerous Reference Points offsetting it. When you see a drift, carefully cycle through the timeline and look for where the motion starts to change direction.

A frame before this, adjust your drift, then go halfway between your master frame and the adjusted frame to check for any further drift. If you keep working by checking halfway between each keyframe you set, you will reduce the amount of keyframes required. If you end up with adjustment keyframes on a large amount of frames it may be better retry the track.

AdjustTrack is aimed to help reduce small anomalies and fix drift when a tracked corner has become obscured. If you are fixing every second keyframe it means you have more than a simple drift. Good rotoscoping artists often think like animators, reverse engineering the movements, the easing in and outs, the holds and overshoots of objects, and set their keyframes accordingly. In general, the fewer the keyframes, the better your mattes will look.

Too many keyframes will cause the edges to ‘chatter’ and move unnaturally. Too few keyframes will cause the shapes to drift and lose definition. Finding the right number and placement of keyframes often comes with experience but there are a few things to keep in mind when rotoscoping. There is no such thing as a perfect matte. Rotoscoping is an art form that takes into account the background image, the movement of the object, and the new elements to be composited in the background.

Try to start your shape at its most complex point in time, where it will need the most control points. Break a complex shape into multiple simple shapes. If you are rotoscoping a humanoid form and an arm becomes visible, consider rotoscoping the arm as its own element, rather than adding extra points on the body that will serve no purpose when the arm is obscured.

Imagine you are the animator who created the shot. What would your dope sheet look like? No matter the medium, whether CG, live action or otherwise, most movements are rarely linear. They normally move in arcs; they normally accelerate in and out of stopped positions.

Try and understand the mechanics behind how things are moving in your shot. This will help you to minimize keyframes. Watch and study the shot before you start working. Where are the changes in directions? These will normally have keyframes. Where are the starts and stops? Are there camera moves that can be stabilized to make your work easier? Beginning roto artists often make the mistake of trying to fix a flawed approach by adding more and more keyframes.

Experienced roto artists learn to quickly identify an inferior approach and are unashamed to trash their work and start over, often many, many times. It is very difficult to get a good matte without a conscious effort to keep the keyframes to a minimum. While you can refine a shape you have tracked to do your rotoscoping, the recommended way is to do a rough shape to track something and then link your roto to that track.

This reduces the amount of work required when you are dealing with complex shapes, as you will not have to track and refine each shape as you go. Another reason is reducing the amount of data needed in your project file. It also helps to remember that your spline shape is linked to your tracking data and not the other way around. First of all you want to reduce as much manual work as possible by tracking. In the example below, the front and side plane of the car is being tracked For a more detailed coverage of tracking, see the Tracking Basics documentation.

This means the tracked shape will not be confused with any roto shapes you are making. Once you have a track for a layer we recommend that you add a new layer to use for the actual roto spline, rather than refining the spline you used for the actual track as you might need to do more tracking with it later. You will see that a new layer is automatically created.

Rename the new layer and link it to the movement of your already tracked layer by selecting it from the ‘Link to Track’ dropdown in the layer properties panel. Now you have linked the rotoscoping layer to a track, you need to go over the timeline and make sure the roto is correctly animated. Often you will need to tweak your shape for it to fit correctly, adding new keyframes. Autokey is on by default, so you just need to move along the timeline and adjust your points where necessary keyframes turn up in the timeline as green dots.

The tracking data will help for the majority of the motion. You can also add additional shapes to the same layer using one of the “Add Spline to Layer” tools. This is useful for when you need to do minor adjustments across many points separately. Edges can be feathered either by dragging out feathers point by point using the edge pointer tools in the toolbar or by using the parameters in the Edge Properties panel.

A feathered edge will occur between the inner and outer spline points. For example, if you deselect all points by clicking anywhere on the canvas you can then use the Set button to apply the default 3 pixel edge width. Because no points are selected the value is applied to all points on the current layer.

You can then tweak the position of all spline points to ensure that the inner red spline is inside the edge and the outer blue spline is outside the edge.

In many instances one track will not be enough. You may need to track more than one plane to drive different sets of roto. In the car example, we have to track the front and the side to get an accurate track for each planar region to assist the roto effectively.

In the case of organic shapes, like people, you will have to break your tracks down to handle the different movement between the torso and the arms etc. Use this tool with care, as it is not setting any keyframes per se, it is offsetting any and all keyframe data on the points you move while it is on.

Use with care. If you wish to make adjustments to a particular range, set the In and Out points to that range. You can translate, rotate and scale selected points as a group by using the corresponding tools listed in the toolbar.

You can turn on and off individual points in a spline. When they are off, you can still see the points, they can still be animated, but they are not contributing mathematically to the spline. This allows you to have a complex spline only when you need it, rather than having to deal with superfluous points in parts of the shot when they are not needed.

You will see the curve change shapes, but the points will remain. You can use the movement of the individual spline points to determine motion blur. You can control the amount of blur by changing the motion blur value in the Edge Properties panel.

Angle simulates how long the shutter is open for if we were viewing through a real camera, so the range is between:. The reason we refer to angle as opposed to “amount” is that camera shutters used to open with a rotary action, so a smaller angle would let in less light, and thus reduce motion blur.

Because Phase is based on the shutter angle you can adjust between the range and i. The steps of motion blur you want to render. The lower the quality, the faster the render speed.

The default is 0. Although not necessary in this example, note that you can change how mattes are blended in the Layer Properties panel.

In the View Controls, several options are offered for viewing your mattes. The Matte drop down is has options to view all mattes, just the mattes you have selected or no mattes. You may wish to rotoscope against a particular color. When you have your Mattes turned on, you may choose for the matte to be filled with a color instead of cutting out the object, using Colorize.

You can adjust the opacity of the color fill by changing the blend value to the right of the Colorize button. The color used by Colorize is derived from the Selected and Unselected properties of the Overlay Colors panel, which can be changed per layer.

If you want to get a better view of your roto, you can get a better view by turning off some overlays. This allows you to view the actual rendered mattes, which can be especially useful when tweaking motion blur. The motion blur you normally see in your canvas is an OpenGL preview and can differ slightly from the actual render.

Because you can choose specific layers for export when you render, a render pass is created for each layer. If you want to draw open splines, you can simply hold shift when you right-click to finish the spline. This will open the shape up. You can open an existing shape using the Open Spline shortcut key by default this is ‘o’. You can close an existing shape using the Close Spline shortcut key by default this is ‘c’.

Naming layers is very important to save yourself time later, especially if you are doing a heavy rotoscoping job. Get into the habit of labeling each layer with specific names. If you are working on a tight roto it can sometimes be easier to turn the spline off and just see the matte with the control points. To do this:. If your other view options are at default settings you should now see the matte in the viewer with only the tangents and control points visible.

The Magnetic Tool draws a pixel line that snaps to the nearest edge to where the cursor lies, tracing the shortest path from any previous click. Similarly, if you go off the edge of the frame, the magnetic tool will also switch to Freehand mode, so you can freely continue the shape. One you have completed a drawn line, you can either click back on the original point, or right-click.

X-Splines generated by the Magnetic and Freehand tools have a fairly high point count to match the subtle changes in the line.

Finish drawing the line and right-click. This will automatically switch your cursor to the selection tool. You can snap the control points of any spline to edges of an object by using the Edge Snapping tool.

Keep in mind this will naturally try to find the most visible edge, so in some cases snap may not find the edge you want. In these cases it may need to be adjusted manually. Paint strokes that cross over an existing layer spline will intersect with that spline, or subtract from it if you are using the alt modifier key. Once done, you can turn off Quick Mask if it is on or just release the mouse button and a spline will be generated.

For finer control, the brush size will also change according to the set pressure sensitivity from a drawing tablet. Quick Mask stops the Area Brush tool from generating a spline as soon as you release the mouse or lift the tablet pen Once you have painted what you need, you can turn Quick Mask off by pressing the button and the spline will be generated.

The number in the field is a pixel diameter. Any gap in a closed painted area that is smaller than the number in the field will be filled. For example:. A large fill gap setting is useful for quickly circling an object with paint to make a filled spline.

The tool is under the main Area Brush icon. Just press and hold the toolbar icon to select the brush from the list:. Once done, you can turn off Quick Mask if it is on or just release the mouse button and the resulting spline intersect with the existing layer splines:. If Quick Mask mode is off, this will erase the existing spline if you are using the Add Area Brush tool.

Just paint as normal holding down the modifier key:. Draw a new basic shape and track the object you want to rotoscope as outlined above in “Stereo Tracking”. Click the “Link to track” drop down in Layer Properties and choose the previously tracked layer. When you switch to the non-Hero view the rotoscoping will be offset by the tracking data. While this will not completely refine the result, it will save you a lot of time.

Whenever you manipulate a control point in the Hero view it will offset that control point in the non-Hero view. When you start to tweak the non-Hero view it will also generate new keyframes for that view only and will not affect the Hero view. You can see these keyframes represented in the timeline by split left and right keys. If you wish to directly modify the control point in both views when working in either view, you can turn on the “Apply Keyframe Changes to All Views” button at the very end of the timeline controls to the right.

If you need to offset your tracking or roto manually see below , you can use the Difference 3D view to help align the layer. Turn on Difference mode. Offset X and Y until the screen gets as close to blank middle grey as possible. You can optionally also adjust the other Stereo parameters. The corner pin data records and exports the 4 point x, y information from either the adjusted track or the raw track. There are three different types of corner pin exports — two for recent After Effects versions and one for CS3 and older versions of After Effects.

The Power pin data is very much like corner pin, but the exported effect gives you more control over the results in After Effects. The transform data exports x and x positions as well as the scale and rotation for the whole surface.

If you click Save , this will display a file browser for saving the tracking data for use later. If you are saving to file you will need to open the text file you saved with the data, select the entire body of text and copy it. Select the item on the timeline that is the insert object. Paste the data to the selected layer. If you are pasting transform data rather than corner pin data then you will need to delete the anchor point keyframes to see a result.

We export both position and anchor point keyframes so that stabilization or tracking can be achieved. See below. If your insert is not the same size as the dimensions of the composition in After Effects, you will need to take a few further steps to make sure your corner pin data fits correctly.

The reason for this is that tracking data is basing itself on the relative size and aspect ratio of the footage, whereas After Effects treats the corner pin data relative to the size of the layer you are applying it to. To get around this, you can take the following steps to modify the insert layer in After Effects:. Open the Precomp you just made and fit the layer to the composition dimensions Layer Transform Fit to Comp.

Apply a manual corner pin to your insert layer in After Effects and place it in the desired position for any frame. In Mocha, go to the same frame in the footage you applied the corner pin to in After Effects and select the track. On this frame, turn on your surface and click “Align Surface” in the Layer Properties panel. This will apply the tracking data relative to the full dimensions of the footage instead. If you need to adjust the insert, just open the precomposed layer and tweak the manual corner pin you made.

Track your footage as normal, then turn on the Surface button and center the surface box on the area you wish to use as the stabilize center. Export the tracking data in the After Effects Transform format. Select the Invert checkbox option. Switch to After Effects, select the layer you wish to apply the stabilize data to and paste it to that layer.

Alternatively you can also use the After Effect Corner Pin export using Invert in the same way to get a correctly warped stabilized image.

This section explains how to export tracking data in a format readable to Silhouette Tracker nodes, how to import the data into Silhouette and how to use it for match move tasks. Track an object in the usual way, and use AdjustTrack to correct for any drift if necessary. The exported tracking points will be the four corner points of the Surface, so you should position these appropriately. You can then use a ‘Composite’ or ‘Math Composite’ to combine the corner pinned image over the top of the background image:.

This example illustrates how to export Basic Motion data to Final Cut Pro or Final Cut Express, and use it to matchmove one clip to another, with translation, rotation and scale. The exported tracking points will be the four corner points of the Surface, so you should position these appropriately before export. The distort option exports the 4 point x, y information from either the adjusted track or the raw track. The points exported are the four corners of the surface.

The basic motion option exports x and y positions as well as the scale and rotation for the whole surface. The position exported is the center of the surface. Now click Save. This will display a file browser; you need to select a filename and directory for the files to be saved. Now open the Final Cut project where you want to use the tracking data. If your original footage was a QuickTime file, then the new clip in Final Cut will point to this footage. If it was an image sequence, the clip will be connected to the first frame of the sequence, stretched to the duration of the whole clip.

In most situations, you want to apply the tracking data to a different clip in your timeline. To do this, you can copy and paste the data from the imported clip onto any other. Drop your imported clip into the timeline, then select it and press Cmd-C to copy it to the clipboard. Now select the clip you want to apply the tracking data to and press Opt-V Paste Attributes. You will see a dialog asking you to choose which data to paste. Depending on the kind of data you exported, tick either ‘Basic Motion’ or ‘Distort’ and untick all the other boxes.

To use our tracking data for stabilization in Final Cut, follow the same procedure as for a basic motion export, but tick the Invert checkbox in the export dialog.

You can also copy the stabilized data onto another clip using Copy and Paste Attributes as before. Many issues of track misalignment can be corrected by choosing the right film type, frame rate and interlacing settings in our software. These controls are on the Clip page in the Film, Interlaced and Time tabs. In Final Cut, check the sequence settings to confirm the correct PAR for the clip, then use the equivalent setting when tracking in our software.

If you have already tracked with the wrong film type setting, you will need to re-track after changing it. This is usually caused by a frame rate mismatch.

Check that the frame rate and interlacing settings match between final Cut and our software. This can be caused by a mismatch in the Final Cut Anamorphic setting. If you are working with anamorphic footage, ensure that you have the ‘Anamorphic’ setting checked in your Final Cut sequence settings, and in the clip properties.

You also need to use one of the anamorphic film types when tracking: any of the film types with ‘Anamorphic’ in the name should give correct results when importing the data into Final Cut. Next, choose ‘Motion basic transform. Inside Motion, you can either choose to open the exported file as a new project or drag it into an existing project.

You will see a Group containing the footage you tracked as well as a blue solid called “Surface”. If the surface layer does not automatically apply to the behavior, drag the surface layer onto the Match Move behavior. If you are just using transform, Match Move defaults to this option and you can set transform, scale and rotation. If you are using corner pin, select the ‘Four Corners’ option from the ‘Type’ drop down.

Check that the frame rate settings match between Motion and Mocha. This is normally due to the layer you are inserting not being the same frame size as your project media.

You can fix this by either changing the insert to fit the dimensions, or scaling the insert inside motion to match the dimensions. If you are going to scale the layer to fit, you should do this step before you apply Match Move. This section explains how to export tracking data in a format readable by Apple Shake, how to import the data into Shake and how to use it for match move, corner pinning and stabilization tasks.

To load the tracking data in a file into an existing Shake Script follow these steps:. At this point you have successfully imported your tracking data from Mocha into Shake. But what exactly did you import? The MatchMoveLayer is used to apply the tracking data to a foreground element that you wish to matchmove to a background. It consists of two inputs, the background and the foreground. The foreground element will be the element you wish to apply the match moving data to.

The foreground is connected to the left side input of the node while the original tracked background element goes into the right hand side. The next node is the CornerPinLayer node. This node has a single input and works just like the left input of the MatchMoveNode. It takes your foreground element and applies the scaling, rotation, and translation data to it and prepares it for compositing into your next layer.

The last exported node is the Stabilizer Node. Just as the name implies, it takes all of the exported tracking data and uses that data to stabilize your input clip. With this node, for example, you may apply this data to the background element you tracked to make for an easier composite.

Now that you have successfully exported and imported your data into Shake you are ready to continue working on your project. This section explains how to export tracking data in a format readable by Nuke, how to import the data into Nuke and how to use it for match move, corner pinning and stabilization tasks. In Nuke, append a tracker to the background clip, e. On the import Ascii dialog, press the folder button next to the file name, browse to the file you exported, select it, click ‘Open’ and then click ‘OK’.

If you choose Copy to Clipboard you can immediately switch over to Nuke and Paste the data. Alternatively you can import your saved Nuke Script from the File menu. You can export a Corner Pin straight to the clipboard or to a. If you choose Copy to Clipboard you can immediately switch over to Nuke, select the node you wish to apply the corner pin to and Paste the data.

This section explains how to export tracking data in a format readable by Fusion, how to import the data into Fusion and how to use it for match move, corner pinning and stabilization tasks. Now import the clip that you want composited onto the background and tie the output of the clip to the input of the tracker node.

In the settings of the tracker node, select the ‘Operation’ tab and select either ‘Corner Positioning’ or ‘Match Move’ to composite the insert clip on top of the background. Notice that you can switch ‘Position’, ‘Rotation’ and ‘Scaling’ on and off for different effects. This section explains how to export tracking data in a format readable by Autodesk Inferno, Flame, Flint, Smoke and Combustion.

Select ‘Autodesk Flame Axis. In Combustion, create a layer with the foreground graphic and set the layer shape to ‘Four-Corner’. Now select all four corners of your layer, enable the ‘Tracker’ tab and select ‘Import Tracking Data. Activate the insert layer visibility and you will see that the insert layer is now tracked to the background element, even though the image is not sized correctly yet.

Select all trackers and set the mode to ‘Absolute’ to resolve this. If you prefer to import your data one point at a time you can instead select one track point and import the Ascii file with the corresponding tracking data.

Remember to switch to ‘Absolute’ mode once all data has been imported. Firstly, we will set-up a corner-pin composite in the Action module, to reproduce the basic compositing operation.

Create a new Bilinear Surface. Go to Surface then click the S button next to Track. You should now be in the familiar stabilizer module. For this example we are doing a corner-pin so we will need to use all four trackers.

Now browse to the corresponding file, e. The files correspond to trackers as shown below. Repeat the process for the other three trackers, making sure that you use the correct files as shown in above. You should also mark each tracker as Active if it is not already. An alternative use for the tracking data is for stabilization. You can use the Stabilizer module to do 1-, 2-, 3- or 4-point stabilization. In this example, we will do a 1-point stabilization to stabilize for position only, using the center point.

You should now see the key-frames loaded and be able to process. If you want to use more points to stabilize zoom, rotation, affine and perspective moves, just load the corner tracks as described in the Corner Pin section.

Create a scaffold with a the image you want to insert Make it a bicubic since you want a 4-corner pin deformation. You can save the data as a text file and import it. On your DS v Now right-click “R1 Tracker Y” and select “Import tracking coordinates”.

HitFilm will then load the Composite Shot with the footage you tracked in Mocha and layers with either a Quad Warp for corner pin or the layer with transform animation applied for Transform. You can then either relink the media in the composite file to the desired insert, or copy the Effect or Keyframes to the desired media in your existing composite.

In the Quantel system, select the TrackImport plug-in, and use the plug-ins file browser interface to select the tracking data file to import.

Then click ‘Settings’ and choose ‘Tracker’ in the settings window and click ‘Save’. The tracking data can now be used in a manner identical to tracking data generated within the Quantel system. To import the tracking data into the plugin, you start by selecting an available Data slot and then either paste from the clipboard or open the exported file:.

Once imported, you can then adjust your scene to fit the data. It is important to make sure you check the warnings and correct any relevant items before setting up your rig:.

If there is a warning about format mismatch, click the green “Import Format” link in the MochaBlend window. If there is a warning about no camera rig, click the green “Create Rig” or “Set Active Rig” according to your needs. Finally make sure that you click the “Set Timeline to Data” if your project timeline is different from the frame range you tracked in Mocha. You can then go ahead and tweak individual settings in the MochaBlend plugin.

See MochaBlend documentation for further information on working with tracking data in the plugin. Exporting stereo Track data from Mocha is the same as exporting in mono mode, however when you are in multiview mode you can choose the view you want to export.

Select the view you want to export or check “Export all views” if it is available for that export format. Click “Copy to Clipboard” or “Save” depending on your preference. Note that some exports only allow you to save the data. Mocha exports a flat mesh with X and Y coordinates for each mesh vertex generated via the Mesh parameter in the Track module.

The export also includes a camera to make sure the mesh is projected correctly to the original footage dimensions. Alembic meshes also contain UV mapping so you can easily warp a texture to the mesh without needing to set them up yourself. Track a layer using PowerMesh by selecting the “Mesh” parameter and generating a mesh. See the PowerMesh section for more details on Mesh tracking.

Choose “Alembic Mesh Data. By default the number in the field is the frame you generated the mesh on. You can use the ReadGeo in combination with the Scanline Renderer node to composite warped textures over the top of the original footage:. If you view the node, the mesh should now be correctly projected over the top.

Add an image or material to the ‘img’ input of the ReadGeo node. This will then project the texture onto the Mesh. You can use the ABC node in combination with the Renderer3D node to composite warped textures over the top of the original footage:. Merge the Renderer3D node over the top of your source footage node. If you view the Merge node, the mesh should now be correctly projected over the top.

Add an image or material to the input of the mesh node that is the same as your mocha layer name. The render dialog will give you options to choose either the currently selected layer, all visible layers or all the layers in the project. Index Start: The number to start the exported sequence from. By default this is the first frame in the timeline. This currently only supports ProRes. The render dialog also allows you to render to single footage streams or a combined stream via EXR.

All Visible: Only the layers that have visibility turned on in the layer controls. By matte color: The same as Grayscale, only the mattes are colored according to what you defined each layer matte color to be in the Layer Controls. To single footage stream: Renders all views to a single file. If you have chosen to render the current view or separate footage streams, the view abbreviation will be suffixed to the rendered export automatically, so there is no need to define this in the file name.

The ‘plane’ that was generated by the Planar Tracker. This defines the overall movement of the shape s. When you are ready to export, select Export Shape Data button. On the dialog that opens, choose if to export the selected layer, all visible layers or all layers.

When you have made the right selection, click Copy to Clipboard , then switch to After Effects. In After Effects, import the same footage and ensure that the frame rate and pixel aspect ratio are the same as those used when generating the shape. Bring the footage into a composition, then select Edit Paste to add the shape effects to the composition.

Each shape exported will come across as its own plug-in effect. You can choose to change the blend mode from the one assigned to the shape by selecting Multiply, Add or Subtract from the dropdown menu. If you have created the shape with feathered edges but wish to switch these off, untick this parameter. Note that if you have not created feathered edges this will have no effect. This setting allows you to choose between various render effects. The default is the ‘Shape cutout’ which uses the matte to cut out the corresponding area in the background footage.

Note that the Opacity setting affects this color fill, allowing you to blend it with the background footage. Defines the color of the color fill applied when selecting the ‘Color composite’ render type. Defines the opacity of the color fill applied when selecting the ‘Color composite’ render type.

You can also apply the masks to most effects, by adding the effect to your clip, selecting the effect in the Effects panel and pasting. When you have made the right selection, click Save and select a destination to save the XML file to, then switch to Final Cut.

To use the shape to composite the rotoscoped object over a new background, simply place the Mocha shape sequence in a video track above the background sequence. If you want access to the actual matte, individual layers of the matte or control that affect the appearance of the matte, double click on the Mocha shape sequence to reveal the two main sequences it consists of – the original sequence and the ContourSequence.

Double clicking the ContourSequence will reveal the individual layers that the ContourSequence consists of. Dragging a layer into the viewer and selecting ‘Controls’ will give you access to controls of that layer, as shown below. This makes it easier to change the mask data in Flame or attach other nodes to the Axis tracking data.

Flame Tracer [Basic]. Flame Gmask Script. A dialog will show with a drop-down containing 3 different saving options. Choose the target application and hit Save.

The data going into the file is not binary, and is shown in the dialog so that you may copy and paste it directly into a text editor if you prefer to work that way.

Because of differences in the way Splines are handled in the application, maintaining accurate keyframe interpolation between our software and the other applications requires that the exported shapes have a keyframe on every frame. HitFilm will then load the Composite Shot with the footage you tracked in Mocha and layers with shape masks.

If you choose Copy to Clipboard you can immediately switch over to Nuke, select the node you wish to apply the shape data to and Paste the data. You have the option of exporting Basic Roto data which bakes the keyframes, or Transform and Shape data which separates the tracking data from the manual keyframes. The SplineWarp node exports each layer as a joined set of splines with the spline keyframes separate from the tracked data which is set in each curves transform.

For example if you only have 1 tracked layer to export, Mocha will export that layer to SplineWarp as two joined splines in A. To import the shape data into Fusion, either paste directly into the Fusion Flow View or open the comp file from the file menu.

The Mocha layers will come in as separate nodes into the Flow View. To import the shape data into the plugin, you start by selecting an available slot in MochaBlend and then either paste or open the data file:. You can then go ahead and create the splines under the Objects settings. See MochaBlend documentation for further information on working with shape data in the plugin.

Exporting stereo Shape data from Mocha is the same as exporting in mono mode, however now you can choose the view you want to export. If you would prefer the nodes to be separate, export using the different views instead of checking the all views option.

The range of frames you wish to export. If you choose to export the full range but have not rendered all your frames, the next drop down, “Revert to clip” will be used. Choose how to export frames that have not been rendered.

If you choose None or the current clip to export, black frames will be exported for non-rendered frames. By default, this will just export the flattened render Color , but if your render has alpha you can choose this also. To single stream: Renders all views to a single file. This is particularly useful if you cannot get a good track on the plane you need, as you can track other planes in the shot and use them to give you track in 3D space instead.

As we are dealing with 3D calculations rather than 2D planar projections, the workflow is slightly different to a usual planar track. In order to get a good camera solve you must first identify what type of track it is. Mocha recognizes three types of camera situations:. Pan, tilt. PTZ cameras are looking for overall movement in the camera plane, rather than changes in the physical planes within your scene. Small Parallax is where the camera is not fixed to one point in space and has a lot of mid-ground planes that can be tracked.

Large Parallax is where the camera is not fixed to one point in space and has trackable planes very close to the camera. It is referred to as Large Parallax because closer objects move at much greater perspective and distance to the camera than objects further away. PTZ solves are a little different from perspective solves in that they only need to look for how the camera is behaving when fixed, such as on a tripod.

Locate a large area in the shot that can be tracked. If your track pans around more than around 60 degrees, stop the track and create another shape to continue tracking. The second shape will need to start further back in time than where the first one stopped tracking, so their tracking information overlaps on the timeline. This will help the solver blend together the tracking information of multiple shapes.

Turn on the process cog for all tracked layers you wish to use for the solve. Do NOT select layers that track moving objects: The camera movement is determined by static objects. See Exporting Camera Solves for details on how to export moving objects to 3D after a solve. If you select Pan, Tilt, Zoom , set the focal length. Most commonly this will be mm. You can choose more than one if the focal length changes. Also choose Zooming if the is any camera zoom in the shot. Once Mocha finishes solving the shot, you can then export the solved scene.

See Exporting Camera Solves for further details. Small Parallax shots require at least 2 non-coplanar tracks to solve the scene. Non-coplanar means not on the same plane as each other. Examples of non-coplanar areas include:. Two camera-facing areas at noticeably different distances from the camera, such as one building in front of another. Locate planar areas in the mid-ground of the shot that can be tracked.

These objects should not be moving in the shot, so choose areas like walls, ground, tree trunks etc. Planes too close or too far away from the camera may not help a Small Parallax solve. Turn on the grid so you can see how the planes are moving. Adjust the surface to fit the planar perspective if you need to see this movement more accurately. If you lose the track due to obstructions or the object moving off screen, stop the track and create another shape to continue tracking. Choose either Auto to let Mocha guess the right solve, or choose Small Parallax from the drop-down.

If you select Small Parallax , set the focal length. Like Small Parallax, Large Parallax shots also require at least 2 non-coplanar tracks to solve the scene.

See examples of non-coplanar areas above. Locate planar areas in the shot that can be tracked. Choose either Auto to let Mocha guess the right solve, or choose Large Parallax from the drop-down.

If you select Large Parallax , set the focal length. When a solve is complete, the Solve Quality bar will tell you how accurate the solve has been. If you get a poor percentage check to make sure your tracks are locked on accurately, add additional layers to help the solver or try a different solve type or focal distance. Camera solves also work with Multiview footage. Like with tracking, a stereo camera solve is designed to be as similar to the Mono process as possible.

Select the layers in the layer control panel you want to solve with. See full documentation for more information. You can then export out to left and right views, or for Standard FBX, you can export full Stereo cameras. The full stereo camera solve FBX presently works in Maya.

Select the layers you used to do the initial solve in the layer panel these are still selected if you have just completed a camera solve.

These layers are normally tracked to static objects, such as walls, ground, a parked vehicle, a dinosaur fossil etc. When you paste into After Effects you will get a camera and a number of nulls depending on the type of solve you did. PTZ will only export a single null to help define the camera motion. The other 2 solves will create a null for each corner of your layer surface objects in Mocha. Once you have exported a camera from the static solve, select any layers that you used to track moving objects in the shot.

If you have not tracked any moving objects you can do this now. Any tracked layers with the cog on are assumed to move with camera motion only.

If you have layers checked that are moving objects, Mocha will not solve the scene correctly. Check that there is enough overlapping frames in the layers if you have had to do more than one track along the timeline.

If you start one track exactly where the last finished, the solver may not be able to accurately blend the resulting data. You may not have enough layers tracked to get an accurate solve.

Try adding further tracks to help the solve. The Insert module is where you choose the image you would like to insert into your tracked layer. You can import a still frame or a moving sequence. Once imported, the Insert module provides a comprehensive range of tools for matching this new image to the original background layer. The skill here, naturally, is to make the newly imported image look like it was in the original shot all along. This is where you choose the Input Clip or background layer and the Insert Clip or foreground layer, and optionally a separate input clip with an alpha channel for compositing.

By default Mocha Pro selects the last clip that was tracked as the input. If you want to change the input, just select a different clip from the pulldown menu. This clip mirrors the Insert Clip inside Layer properties, i. By default mocha Pro selects None as the foreground input, expecting you to make a choice of your own. To choose an insert select the Import button and use the file browser to locate a still frame or a file sequence that you would like to appear over the tracked background clip.

In the Mocha Pro Plugin, you can choose an ‘Insert Layer’ placeholder that reads from layers back in the host timeline to render in Mocha. Here you can select the name of the clip to be output. The remainder of the controls in the Insert module dictate both how much of the insert is displayed and how it is displayed during the course of the shot. The Source region of interest ROI can move anywhere on the insert image, including outside it. It is the area of the insert that you would like to be displayed in the tracked layer.

As you adjust the ROI, the insert is scaled to fit the surface. There is also a Reset button to reset the ROI to the corners of the insert image. By default, the aspect ratio is locked. To adjust the ROI aspect ratio to match that of the background image given its current position and shape in the background image, click on Fit ROI to Surface. These controls will work best if you are in a frame where the insert is as front-on as possible. For them to work correctly, the pixel aspect ratio of both the input clip and insert clip must be correct.

A common issue is that if the resolution of either clip was not recognized when the clip was imported, it is assigned the PAL camera type. This often does not give the correct pixel aspect ratio. To check this, switch to the Camera tool and select each clip in turn, checking the appearance on the screen to make sure that each clip appears correct on the screen.

If not, change the Film Type. If you know that the pixel aspect ratio of the clip is one square pixels select Custom as the Film Type and set the pixel aspect ratio to one. The number fields are positioned in the menu to relate to the edge of the ROI that they adjust. So, to reduce the height of the insert ROI at the top of the frame, decrease the value in the top ROI number field by dragging or highlighting the current value and typing in a new value.

Similarly, to reduce the height of the insert ROI at the bottom of the frame, increase the value in the bottom number field by dragging or highlighting the current value and typing in a new value. The same applies for the left and right edges of the frame with the left and right number fields. This parameter controls the opacity of the foreground image insert. It is a multiplier of the alpha of the insert, applied before the composite.

If you want to mask off an area of your insert, clicking on this tool will cause the rendered insert to only change the pixels within the mattes above the current layer. If the checkbox is switch off, you can select an individual matte to use instead. Change this value from its default zero value to erode the alpha channel of the insert by the given number of pixels. This is especially useful if you have to insert something that does not look completely planar, like a t-shirt logo.

Show Mesh If you turn on “Show Mesh” in the warp tools you can use the dropdown to set the level of detail in the mesh and then warp the grid points in the viewer to adjust your insert, as well as the outer yellow lines to bulge or pinch the edges. If you want to add a soft edge around the edges of the insert, use the Feather controls. There are separate controls for the left, right, top and bottom edge widths, which are between 0 and 1, where the value 0 indicates no edge and 1 means that the edge covers the whole of the insert.

If you switch on Lock, all four edges are locked to the same edge width. This section controls a level of corner pin control on top of the adjusted track. This feature is particularly useful for curved surfaces. It allows the corners of the surface to be used in the same way as the warp control points described below — by aligning the newly imported insert with a region of the tracked image independently of the blue surface contour, which follows the adjusted track.

The offset region is drawn in yellow underneath the existing blue surface. You can use the new points either by dragging the sliders to increase or decrease the value of the coordinates, or by highlighting the numeric field and typing in a new value.

The new points created are offset in a controlled way from the adjusted track. There is finally a Reset button to return the offset parameters to their defaults.

When using the rotate tool to rotate the offset surface, the pixel aspect ratio of the insert clip will be used to create the correct effect. If it is not correct the offset surface will appear to squeeze or stretch as it is rotated.

See the ROI section to see how to fix this problem. This renders the cut out of the insert with alpha along with the composite file. Turn off if you only want the composite render of the insert. All inserts are warped in stereo if you have tracked both views.

You can render the insert for both views by selecting Operate on All Views button next to the Render buttons on the timeline. The Mega Plate module is designed to build complete scenes from your footage to create large clean plates for the purpose of inserting and removing.

Once rendered, Mega Plates can be used as a regular oversized clean plate in the Remove module otherwise known as a Mega Clean Plate , or exported to be used as a background insert. Much of the workflow is similar to the Remove Module in that you track areas of the scene and can also remove foreground objects, but the main goal is to make a full picture of the scene from the moving camera.

Mega Plates require a few simple steps to work correctly. The key to a good Mega Plate is a series of one or more tracked backgrounds and masked foreground objects. The final rendered plate will be centred on the original source frame you rendered from, in order to line up the plate correctly for further work.

First of all, scrub through your timeline and identify the planes of depth within your shot. Background often consists of multiple planes of motion, and there can also be obstructing foreground material.

For example, in the shot below, the snowboarder is in front of the mountains. We handle the foreground first as we need to mask them off from the background plane and from each other. You absolutely must track an object if it is going to be used to build the actual Mega Plate. For more information on effective tracking, please refer to the tracking section of the documentation. In the example below, we have tracked and rotoscoped the snowboarder which would otherwise obscure the mountains.

Layer order matters in Mocha. The closer to the camera an object is, the higher in the layer stack it should be. Far background should be on the bottom layer, foreground objects should be on top, in order of closeness. Once you have your foreground objects masked out across the timeline, draw as big a shape as possible. Make sure the background layer is under the foreground layers, and track.

For multiple planes of background, such as a floor and a wall, you will have to track two separate planes of motion. You must specifically track the background layer in order for the Mega Plate build to work. Here we can see the background mountains tracked at the bottom of the layer stack, covering the large area of mountains in the distance:. Once tracked, Mega Plates will only build the plate within the confines of the layers you want to use.

Turn on the cogs of the background layers you want to build from and adjust your parameters. We recommend trying to build a Mega Plate with Illumination modelling set to None first. This is the fastest setting for rendering, and can quite often be all you need if there is not much light difference in the background over time. This will generate a large plate either based on your own dimensions, or autoscaled if you have set Autoscale on:.

 

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