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Welcome to Mocha, tracking and rotoscoping tools that make your tracking and rotoscoping work much easier. Our tools are based on our proprietary Planar Tracking technology, an awesome approach to 2D tracking which will help you to generate accurate corner-pins and track and transform your roto splines in a powerful way.

Tracking and rotoscoping are part of almost any visual effects project. For 2D tracking, point trackers are most commonly used, but to get good point tracks requires a mix of experience and luck. If the point being tracked exits frame, you get into offset tracking, which presents its own set of challenges. If it all fails, you are into hand tracking, which is time consuming and very hard to get accurate. Mocha is a 2D tracker that requires less experience and luck to be successful with, does not require the image to be primed and is less likely to require a lot of tricks or hand tracking on difficult shots.

In Mocha splines are used for both tracking and rotoscoping. This is a different method from standard 1-point or multi-point tracking tools. This is itself a difficult task, especially when tracking a shot that was not originally designed to be tracked.

If you wish to also track rotation, perspective and shear you need even more clear and consistent points to track. Even when using multi-point trackers to impart rotation and scale to the roto spline, the results are often unusable if there is any perspective change during the shot. A plane is any flat surface having only two dimensions, such as a table top, a wall, or a television screen. Even as an object leaves and enters a frame, there is usually enough information for the Planar Tracker to maintain a solid track of the object.

When you work with the Mocha tools, you will need to look for planes in the clip. More specifically, you will need to look for planes that coincide with movements you want to track. If someone is waving goodbye, you can break their arm into two planes - the upper and lower limbs. Although not all of the points on the arm sections actually lie on the same two-dimensional surface, the apparent parallax will be minimal.

With the addition of PowerMesh in Mocha Pro, subplanar tracking is also possible, tracking warp and bending of objects that standard planar tracking would struggle to do alone.

Insert Mesh Warp: Now users can drive inserts with PowerMesh tracking and render organic and warped surfaces with motion blur. Insert Blend Modes: Transfer mode blending can now be done inside the Mocha Pro interface, making it easier to visualise final results or render to NLE hosts that have less compositing features.

Improved Insert Render Quality: The Insert module now renders with high-quality filtering for improved looking results. The new Source Mesh Grid view controls make it easier to preview and edit simple to complex mesh distortions. Quick Stabilize Preview Update: You can now quick-stabilize pan and zoom via any layer rather than just the currently selected layer. This option is available via a dropdown on the Quick Stabilize button. Mesh Track Using Existing Data: Linking PowerMeshes to existing planar tracking layers makes it easier to combine planar tracking with PowerMesh tracking for roto and other tasks.

PowerMesh to Alembic Transform: Export the mesh vertex position data to individual transform nulls. Silhouette shapes with split transform data: Silhouette shapes now export with keyframe data split out to make it easier to add new Silhouette shapes which inherit the tracking data.

Nuke Roto nodes with split transform data: Nuke Roto now exports with keyframe data split out to make it easier to add new Nuke roto splines which inherit the tracking data. Mistika Corner Pin: You can now export Mocha planar tracking corner data to Mistika as point tracking data. See the Exporting Tracks and Exporting Mattes chapters for more details. Slide keyframes: You can now move all keyframes easily to new positions in the timeline.

Keyframe zooming: It is now much is easier to zoom into selected keyframes and zoom out to all keyframes. Improved AdjustTrack parameters now adjust all track keyframes based on the motion types selected.

To quickly get familiar with Mocha before you dive into the rest of the manual, here is a breakdown of the interface and its controls. Mocha begins in the Essentials layout, which provides a simplified interface for basic tracking and roto.

The Essentials panel on the left side of the window combines everything you need for a basic track. To attach a spline layer to an existing track, or detach it from a track entirely.

These buttons control viewing and expanding the surface. See Tracking Basics for how to use the surface effectively. Show surface tracking data : Reveals the blue surface that represents the tracking data. Show grid: Reveals a useful grid for lining up the surface or monitoring for drift in a track.

Align surface: Expands the surface to fit the dimensions of the footage on the current frame. Like the Essentials layout, this layout is optimized specifically for roto sessions where only the most necessary panels and tools are shown. If you want to reduce all clutter entirely, the Big Picture layout is very useful for previewing shots without any elements getting in the way. These can either be access by right clicking the area of the interface and choosing a GUI element to show or hide, or selecting from the View menu.

Any changes you make to a layout will not be saved unless you choose View Layout Save Current Layout. For example if you like the Essentials layout, but would like the Advanced toolbar from the Classic layout:. You can add, order or remove layouts from the Manage Custom Layouts dialog in the same sub-menu. If you have made changes to a saved layout want to revert back to the saved version, just choose View Layout Revert to saved. If you want to revert back to the original default layout, just choose View Layout Revert to default.

At the very top of the interface you have the tools that form the brunt of your time inside Mocha. Select: Selection tool for splines and points. Hold the button to choose between Marquee selection and Lasso selection. Select Both: Selects both the Inner spline points and the edge points. Hold this button down to select further options See below.

Select Auto: Automatically selects between Inner and Edge points. Useful for lining up individual splines. Rotate: Rotate selection around the axis of the point you click in the viewer.

Transform Tool: Toggles the transform bounding box for manipulating selections. Show Planar Grid: Toggles a grid relative to the planar surface view. You can adjust the number of grid lines under Viewer Preferences See below. Align Surface: Expands the layer surface to fit the dimensions of the footage at the current frame. All tracked data is made relative to this new alignment. Proxy Scale: Adjust the resolution of the footage for performance Mocha Standalone only.

Select from the dropdown to choose an individual color channel to view. Show Layer Mattes: Toggle on or off to show the mattes. Select from the dropdown to choose the type of matte. Color Layer Mattes: Fills matte with Color. Decreasing the value lessens the opacity. Overlays: Toggles all viewer overlays, including splines, tangents, surface and grid. Show Layer Outlines: Toggles all spline overlays, including splines, points and tangents. Show Spline Tangents: Toggles spline tangents view.

Select from the dropdown to choose the type of view. View Mesh: Toggles Mesh view. Select from the dropdown to choose either the mesh or just the vertices. Stabilize: Turns on Quick Stabilize Preview. This centers the footage around your tracked surface using the tracking data linked to pan and zoom.

You can choose different layers to stabilize the viewer from the dropdown in the button. Trace: Turns on the traced path of the tracked surface. You can adjust the amount of frames to trace under Viewer Preferences See below.

Enable Brightness Scaling: Toggles brightness adjustment to work with low-contrast footage. Viewer Preferences: Adjustments dialog for parameters such as grid lines and trace frames. Also controls for viewer OCIO colourspaces. Reset In-Point: Set the in-point back to the start of the clip. Current Frame: The frame the playhead is currently on. Enter a new value to jump to that frame. Reset Out Point: Set the out point back to the end of the clip. Zoom Timeline to full frame range: Resets the timeline scale to the full range of frames.

Play Controls: Controls for playing back and forth and moving one frame at a time. Tracking Controls: Controls for tracking back and forth and tracking one frame at a time. Go to Previous Keyframe: Jump to the previous keyframe set in the timeline for that layer. Go to Next Keyframe: Jump to the next keyframe set in the timeline for that layer. Add New Keyframe: Add a new keyframe at the current position for the selected layer. This only appears if you are not hovering over an existing keyframe.

Delete New Keyframe: Deletes the keyframe at the current position for the selected layer. This only appears if you are hovering over a keyframe. Delete All Keyframes: Deletes all keyframes on the timeline for the selected layer. Autokey: Toggles automatic key insertion when moving points or adjusting parameters.

 

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Flash programs use ActionScript programming language. It is an enhanced superset of the ECMAScript programming language, with a classical Java -style class model, rather than JavaScript 's prototype model. Several developers quickly created a C library for producing SWF. Macromedia also hired Middlesoft to create a freely available developers' kit for the SWF file format versions 3 to 5. Macromedia made the Flash Files specifications for versions 6 and later available only under a non-disclosure agreement , but they are widely available from various sites.

In April , the Flash SWF file format specification was released with details on the then newest version format Flash 8. Although still lacking specific information on the incorporated video compression formats On2, Sorenson Spark, etc. The file format specification document is offered only to developers who agree to a license agreement that permits them to use the specifications only to develop programs that can export to the Flash file format.

The license does not allow the use of the specifications to create programs that can be used for playback of Flash files. The Flash 9 specification was made available under similar restrictions. Previously, developers could not use the specification for making SWF-compatible players, but only for making SWF-exporting authoring software. The specification still omits information on codecs such as Sorenson Spark , however.

The Adobe Animate authoring program is primarily used to design graphics and animation and publish the same for websites, web applications, and video games. The program also offers limited support for audio and video embedding and ActionScript scripting. Adobe released Adobe LiveMotion , designed to create interactive animation content and export it to a variety of formats, including SWF.

LiveMotion failed to gain any notable user base. In February , Macromedia purchased Presedia, which had developed a Flash authoring tool that automatically converted PowerPoint files into Flash.

Macromedia subsequently released the new product as Breeze, which included many new enhancements. Various free and commercial software packages can output animations into the Flash SWF format including:. The Flash 4 Linux project was an initiative to develop an open source Linux application as an alternative to Adobe Animate. Development plans included authoring capacity for 2D animation, and tweening , as well as outputting SWF file formats.

UIRA intended to combine the resources and knowledge of the F4L project and the Qflash project, both of which were Open Source applications that aimed to provide an alternative to the proprietary Adobe Flash. Adobe provides a series of tools to develop software applications and video games for Flash:.

Third-party development tools have been created to assist developers in creating software applications and video games with Flash. Adobe Flash Player is the multimedia and application player originally developed by Macromedia and acquired by Adobe Systems.

Scaleform GFx is a game development middleware solution that helps create graphical user interfaces or HUDs within 3D video games. It does not work with web browsers.

Lightspark supports OpenGL -based rendering for 3D content. The player is also compatible with H. Gnash aimed to create a software player and browser plugin replacement for the Adobe Flash Player. Shumway was an open source Flash Player released by Mozilla in November It was built in JavaScript and is thus compatible with modern web browsers. In the same year that Shumway was abandoned, work began on Ruffle , a flash emulator written in Rust. Adobe Flash Player is currently only supported with the enterprise [1] [2] [4] and China [5] variants, it has been deprecated everywhere else.

The projector version is a standalone player that can open SWF files directly. Adobe Flash Player was previously available for a variety of mobile operating systems, including Android between versions 2. Flash Player for smartphones was originally made available to handset manufacturers at the end of However, Flash content can be made to run on iOS devices in a variety of ways:.

The mobile version of Internet Explorer for Windows Phone cannot play Flash content; [] however, Flash support is still present on the tablet version of Windows. Adobe Flash Lite is a lightweight version of Adobe Flash Player intended for mobile phones [] [ self-published source? The only alternative is using HTML5 and responsive web design to build websites that support both desktop and mobile devices.

Such games will not work in mobile web browsers but must be installed via the appropriate app store. The reliance on Adobe for decoding Flash makes its use on the World Wide Web a concern—the completeness of its public specifications are debated, and no complete implementation of Flash is publicly available in source code form with a license that permits reuse.

Generally, public specifications are what makes a format re-implementable see future proofing data storage , and reusable codebases can be ported to new platforms without the endorsement of the format creator. However, despite efforts of projects like Gnash, Swfdec , and Lightspark , a complete free Flash player is yet to be seen, as of September For example, Gnash cannot use SWF v10 yet. Notable advocates of free software, open standards, and the World Wide Web have warned against the use of Flash:.

The founder of Mozilla Europe , Tristan Nitot , stated in []. Companies building websites should beware of proprietary rich-media technologies like Adobe's Flash and Microsoft's Silverlight. You're producing content for your users and there's someone in the middle deciding whether users should see your content. I believe very strongly, that we need to agree on some kind of baseline video format if [the video element] is going to succeed. Flash is today the baseline format on the web.

The problem with Flash is that it's not an open standard. Representing the free software movement , Richard Stallman stated in a speech in that: [] "The use of Flash in websites is a major problem for our community. Flash content is usually embedded using the object or embed HTML element. Often, a plugin is required for the browser to fully implement these elements, though some users cannot or will not install it. Since Flash can be used to produce content such as advertisements that some users find obnoxious or take a large amount of bandwidth to download, some web browsers, by default, do not play Flash content until the user clicks on it, e.

Konqueror , K-Meleon. Most current browsers have a feature to block plugins, playing one only when the user clicks it. Opera versions since Opera Turbo requires the user to click to play Flash content, and the browser also allows the user to enable this option permanently. Both Chrome [] and Firefox [] have an option to enable "click to play plugins".

Equivalent "Flash blocker" extensions are also available for many popular browsers: Firefox has Flashblock and NoScript , Internet Explorer has Foxie, which contains a number of features, one of them named Flashblock.

For many years Adobe Flash Player's security record [] has led many security experts to recommend against installing the player, or to block Flash content.

Active moves by third parties to limit the risk began with Steve Jobs in saying that Apple would not allow Flash on the iPhone , iPod Touch , and iPad — citing abysmal security as one reason.

In July , a series of newly discovered vulnerabilities resulted in Facebook 's chief security officer, Alex Stamos , issuing a call to Adobe to discontinue the software entirely [] and the Mozilla Firefox web browser, Google Chrome , and Apple Safari to blacklist all earlier versions of Flash Player. Flash cookies are not shared across domains. From Wikipedia, the free encyclopedia.

Deprecated multimedia platform used to add animation and interactivity to websites. This article is about the multimedia software platform. For the player, see Adobe Flash Player. Harman —present for enterprise users [1] [2] [3] [4] Zhongcheng —present in China [5] Adobe Inc. Main article: Rich web application. Main articles: List of Flash animated films and List of Flash animated television series.

Main article: SWF. Main article: Stage3D. Main article: Flash Video. Main article: Adobe Animate. Main article: Comparison of vector graphics editors. Main article: Adobe AIR. Main article: Adobe Flash Lite. Main article: OpenFL. See also: Vendor lock-in. Main article: Local shared object. Adobe Systems. Retrieved November 21, Harman International. Zhongcheng Network Technology Co. Retrieved January 17, Adobe Inc.

July 25, Archived from the original on December 2, Retrieved July 1, Retrieved June 11, Smashing Magazine. Smashing 3D.

June 15, Retrieved February 4, Adobe Flex 3. ISBN Data Visualization with Flash Builder. Focal Press. O'Reilly Media, Inc. Game Informer. Retrieved February 3, Retrieved May 5, Windows Report - Error-free Tech Life.

July 24, Retrieved June 18, Adobe Systems Inc. Archived from the original on February 4, Retrieved October 18, Retrieved February 12, Retrieved March 29, Archived from the original on May 16, Retrieved December 26, April 19, The New York Times.

ISSN Retrieved on 16 January Retrieved on 4 February Retrieved on 9 March Adobe Inc Retrieved on 18 October Categories : Pages with script errors Dewikipediafy Photoshop Software version histories Add category. Cancel Save. Universal Conquest Wiki. Not publicly released - This demo was the first known copy of Photoshop with any public exposure. First version distributed commercially by the scanner company Barneyscan , though distributed as "Barneyscan XP".

Last release for System 6. Support for Win32s Tabbed Palettes Layers First release to be distributed in compact disc format Final release to be distributed in floppy disk format Last release for Windows 3.

Camera RAW 1. October 15, [8]. April 30, [9]. May 3, [12]. First subscription license optional. May 7, [13]. Photoshop CS6 Last perpetual license option. Artboards Adobe Stock marketplace Design Space Preview offers a designated mode for websites and mobile apps designers Camera Raw as a filter Some Layer styles can now be added up to 10 instances Redesign image export feature Adobe Camera Raw 9.

January 20, [14]. June 20, [15]. August 8, [16]. November 2, [17]. December 16, [18]. April 5, [18]. April 25, [18]. October 18, [19]. November 14, [20]. January 14, [21]. February, [22]. Issues while using the Pen tool with Photoshop CC version Issue while using the Properties panel: The default tracking value is 1 and negative values don't work.

Vanishing Point pixel data distorted while hovering over with brush tools Issue while finding the path specified for the CanoScan F Mark II scanner Windows-only Old font name flashing in the Font Name field of the Character panel when arrowing through the fonts.

March, [22]. If the point being tracked exits frame, you get into offset tracking, which presents its own set of challenges. If it all fails, you are into hand tracking, which is time consuming and very hard to get accurate. Mocha is a 2D tracker that requires less experience and luck to be successful with, does not require the image to be primed and is less likely to require a lot of tricks or hand tracking on difficult shots. In Mocha splines are used for both tracking and rotoscoping.

This is a different method from standard 1-point or multi-point tracking tools. This is itself a difficult task, especially when tracking a shot that was not originally designed to be tracked. If you wish to also track rotation, perspective and shear you need even more clear and consistent points to track.

Even when using multi-point trackers to impart rotation and scale to the roto spline, the results are often unusable if there is any perspective change during the shot.

A plane is any flat surface having only two dimensions, such as a table top, a wall, or a television screen. Even as an object leaves and enters a frame, there is usually enough information for the Planar Tracker to maintain a solid track of the object. When you work with the Mocha tools, you will need to look for planes in the clip.

More specifically, you will need to look for planes that coincide with movements you want to track. If someone is waving goodbye, you can break their arm into two planes - the upper and lower limbs. Although not all of the points on the arm sections actually lie on the same two-dimensional surface, the apparent parallax will be minimal.

With the addition of PowerMesh in Mocha Pro, subplanar tracking is also possible, tracking warp and bending of objects that standard planar tracking would struggle to do alone. Insert Mesh Warp: Now users can drive inserts with PowerMesh tracking and render organic and warped surfaces with motion blur. Insert Blend Modes: Transfer mode blending can now be done inside the Mocha Pro interface, making it easier to visualise final results or render to NLE hosts that have less compositing features.

Improved Insert Render Quality: The Insert module now renders with high-quality filtering for improved looking results. The new Source Mesh Grid view controls make it easier to preview and edit simple to complex mesh distortions.

Quick Stabilize Preview Update: You can now quick-stabilize pan and zoom via any layer rather than just the currently selected layer. This option is available via a dropdown on the Quick Stabilize button.

Mesh Track Using Existing Data: Linking PowerMeshes to existing planar tracking layers makes it easier to combine planar tracking with PowerMesh tracking for roto and other tasks.

PowerMesh to Alembic Transform: Export the mesh vertex position data to individual transform nulls. Silhouette shapes with split transform data: Silhouette shapes now export with keyframe data split out to make it easier to add new Silhouette shapes which inherit the tracking data. Nuke Roto nodes with split transform data: Nuke Roto now exports with keyframe data split out to make it easier to add new Nuke roto splines which inherit the tracking data.

Mistika Corner Pin: You can now export Mocha planar tracking corner data to Mistika as point tracking data. See the Exporting Tracks and Exporting Mattes chapters for more details.

Slide keyframes: You can now move all keyframes easily to new positions in the timeline. Keyframe zooming: It is now much is easier to zoom into selected keyframes and zoom out to all keyframes.

Improved AdjustTrack parameters now adjust all track keyframes based on the motion types selected. To quickly get familiar with Mocha before you dive into the rest of the manual, here is a breakdown of the interface and its controls.

Mocha begins in the Essentials layout, which provides a simplified interface for basic tracking and roto. The Essentials panel on the left side of the window combines everything you need for a basic track. To attach a spline layer to an existing track, or detach it from a track entirely. These buttons control viewing and expanding the surface.

See Tracking Basics for how to use the surface effectively. Show surface tracking data : Reveals the blue surface that represents the tracking data. Show grid: Reveals a useful grid for lining up the surface or monitoring for drift in a track. Align surface: Expands the surface to fit the dimensions of the footage on the current frame.

Like the Essentials layout, this layout is optimized specifically for roto sessions where only the most necessary panels and tools are shown. If you want to reduce all clutter entirely, the Big Picture layout is very useful for previewing shots without any elements getting in the way. These can either be access by right clicking the area of the interface and choosing a GUI element to show or hide, or selecting from the View menu. Any changes you make to a layout will not be saved unless you choose View Layout Save Current Layout.

For example if you like the Essentials layout, but would like the Advanced toolbar from the Classic layout:. You can add, order or remove layouts from the Manage Custom Layouts dialog in the same sub-menu. If you have made changes to a saved layout want to revert back to the saved version, just choose View Layout Revert to saved.

If you want to revert back to the original default layout, just choose View Layout Revert to default. At the very top of the interface you have the tools that form the brunt of your time inside Mocha. Select: Selection tool for splines and points. Hold the button to choose between Marquee selection and Lasso selection. Select Both: Selects both the Inner spline points and the edge points. Hold this button down to select further options See below.

Select Auto: Automatically selects between Inner and Edge points. Useful for lining up individual splines. Rotate: Rotate selection around the axis of the point you click in the viewer. Transform Tool: Toggles the transform bounding box for manipulating selections. Show Planar Grid: Toggles a grid relative to the planar surface view. You can adjust the number of grid lines under Viewer Preferences See below. Align Surface: Expands the layer surface to fit the dimensions of the footage at the current frame.

All tracked data is made relative to this new alignment. Proxy Scale: Adjust the resolution of the footage for performance Mocha Standalone only. Select from the dropdown to choose an individual color channel to view. Show Layer Mattes: Toggle on or off to show the mattes. Select from the dropdown to choose the type of matte. Color Layer Mattes: Fills matte with Color. Decreasing the value lessens the opacity. Overlays: Toggles all viewer overlays, including splines, tangents, surface and grid.

Show Layer Outlines: Toggles all spline overlays, including splines, points and tangents. Show Spline Tangents: Toggles spline tangents view. Select from the dropdown to choose the type of view.

View Mesh: Toggles Mesh view. Select from the dropdown to choose either the mesh or just the vertices. Stabilize: Turns on Quick Stabilize Preview. This centers the footage around your tracked surface using the tracking data linked to pan and zoom. You can choose different layers to stabilize the viewer from the dropdown in the button. Trace: Turns on the traced path of the tracked surface. You can adjust the amount of frames to trace under Viewer Preferences See below.

Enable Brightness Scaling: Toggles brightness adjustment to work with low-contrast footage. Viewer Preferences: Adjustments dialog for parameters such as grid lines and trace frames. Also controls for viewer OCIO colourspaces. Reset In-Point: Set the in-point back to the start of the clip. Current Frame: The frame the playhead is currently on. Enter a new value to jump to that frame. Reset Out Point: Set the out point back to the end of the clip.

Zoom Timeline to full frame range: Resets the timeline scale to the full range of frames. Play Controls: Controls for playing back and forth and moving one frame at a time. Tracking Controls: Controls for tracking back and forth and tracking one frame at a time.

Go to Previous Keyframe: Jump to the previous keyframe set in the timeline for that layer. Go to Next Keyframe: Jump to the next keyframe set in the timeline for that layer. Add New Keyframe: Add a new keyframe at the current position for the selected layer.

This only appears if you are not hovering over an existing keyframe. Delete New Keyframe: Deletes the keyframe at the current position for the selected layer. This only appears if you are hovering over a keyframe. Delete All Keyframes: Deletes all keyframes on the timeline for the selected layer. Autokey: Toggles automatic key insertion when moving points or adjusting parameters.

Align Selected Surfaces: Aligns the selected layer surfaces to the dimensions of the footage at the current frame. Toggle Active at current frame: Activates or Deactivates the layer on the current frame. Group Layer: Groups the currently selected layers. If no layers are selected, creates an empty group. Blend mode: Dropdown to add or subtract your spline to the current layer.

Invert flips this. Insert Clip: Insert a demo clip to preview your track. You can use one of the defaults or import your own. For preview purposes only. Can also be set to None. You can select multiple layers before choosing this option. In Mocha v5 we introduced manual cache clearing to allow you to clear the Mocha cache at the project, render or global level.

Some interface elements change when using Stereo footage. This section covers what new icons appear and how to interact with them. In stereo mode you will see 3 buttons in the View Controls next to the clip view drop down on the left:. Two buttons to show individual Left or Right views L and R. These button names change according to the abbreviation you assign them in Project Settings. You can preview stereo work at any time by turning on the 3D button in the view controls.

Clicking and holding on the 3D button will give you a range of stereo view options. Active : If you have an active shutter monitor available, you can view in this mode Note: Only tested on Windows.

Anaglyph : Probably the most common mode to view stereo work through. Difference : A difference mode of the views laid over each other. This view also has additional functionality explained below. Keyframe on All Views: Toggle this button in the timeline to maniuplate keyframes in both eyes.

The Mocha Pro plugins are separate from the standalone Mocha and can be applied as an effect directly onto layers in host applications. This reduces the need to swap out of your host application and streamlines getting data in and out of Mocha. The biggest advantage is you can set up layers and module settings in Mocha as normal, and then have the results render directly to the host timeline without having to export. In addition to the controls below, VR features also contain a separate area in the Module Renders section to control lens distortions without having to first open the Mocha Pro GUI:.

The Mocha Pro plugin supports different types of and Stereo footage via the "Views" drop down:. Stereo Separate eyes : This takes two separate footage streams. When chosen, the option to choose another source for the right eye is enabled. If you are using the 'Stereo' option, you will need to select the "Stereo Output" view Left or Right that you want to apply output to. When used, Mocha will split the footage exactly in half horizontally and use the Top and Bottom halves for each eye.

The output to the host will automatically double up to the split views. When used, Mocha will split the footage exactly in half vertically and use the Left and Right halves for each eye. The output to the hosr will automatically double up to the split views. Choosing one of the options automatically sets your Mocha project to be Equirectangular This will enable VR features:. If you have separate left and right eye sources, apply a "Join Views" node to combined them and feed the output into the Source input of the Mocha node.

Vegas Pro: Vegas Pro also has native stereo support. You will only see two options: Mono and Stereo. As you go through the user guide, you will see sections on how to apply Mocha techniques to your stereo footage where relevant. Simply apply the effect to the layer you want to work with.

Launch Mocha. This will load a full version of the Mocha interface that you can use just like the standalone version. Use Mocha as required and then close and save.

No rendering is required inside Mocha unless you want to. Choose whether you want to use mattes, renders or any other data from Mocha back in the plugin interface. Once you have applied the Mocha Pro effect, you can click on the Mocha button to launch the main interface. This then becomes exactly like working in the standalone version of Mocha, with a few exceptions.

The source layer is automatically loaded and ready to track in the view. You just close and save the Mocha view when done and the project is saved inside the Effect like any other Adobe effect. By default, the starting timeline frame will always be zero, which will not affect your data generation back in After Effects.

For users using timecodes instead of frame numbers in After Effects, the correct timecode offset will display inside the Mocha GUI. Once you have tracked layers in Mocha, you can then control the mattes for these layers back in the plugin interface.

View Matte: Show the black and white matte from the Mocha layers chosen. This is very useful if you want to just see any problems with the matte, or you want to use the output as a track matte. Visible Layers: This button launches the Visible Layers dialog so you can select the layers you want visible as mattes.

You can also edit the Layer names in this window. Shape: This drop down lets you switch between All Visible and All mattes. All Visible mattes are controlled by the Visible Layers dialog. Feather: Applies a blur to the matte.

This feathering is independent of the feathering of the individual layers inside Mocha. This function is only available in After Effects. If you are using the 'Stereo' option in After Effects, you will need to select the "Stereo Output" view Left or Right that you want to apply output to. Once you have set up layers in Mocha, you can then control the renders for each module back in the plugin interface. Note that you do need to have set up and tracked the correct layers in order for a render to work back in the host.

Module: The module render you want to see. It controls the render quality of the warp. See the Warp Mapping section of the stabilize module.

Insert Layer: For any inserts you want to apply to a layer surface and render back to the host. If left to "Default" it will render what has been set inside the Mocha project. If changed, it will override all insert layers in the project. Insert Opacity: Overrides the default insert opacity set inside the Mocha project.

There are also parameters for controlling the view in Lens:Distortion rendering for VR footage. Pick the layer you want to use as an insert from the 'Insert Layer' drown down in the Mocha Pro effect. If you have a tracked layer in Mocha you can see the output of its surface back in the After Effects interface. Each point in the Tracking Data section is a point from the layer surface that automatically updates when you modify it inside Mocha.

To choose a layer to create tracking data from, click the 'Create Track Data' button in the Tracking Data section of the plugin. Then choose ether the name or the cog of the layer you want to read tracking data from in the dialog that appears. Once you click 'OK', the plugin will generate keyframes to populate the tracking parameters in the plugin.

You can then use this data to copy to other layers, or link via expressions. The plugin interface also allows you to apply tracking data to other layers without needing to export from the Mocha GUI. Do do this, you generate the tracking data from a layer, as described above in Controlling Tracking Data.

Corner Pin: Support Motion Blur : A corner pin distortion with separate scale, rotation and position. If you are generating from a vertex-heavy mesh, Mocha will show a progress bar while generating the nulls. Each Null will be created separately with its own keyframes. Pick the video track you want to use as an insert from the 'Insert Layer' drown down in the Mocha Pro effect.

You just close and save the Mocha view when done and the project is saved inside the Effect like any other AVX effect. Choose from the current layer or below the current video track. This will most commonly be "1st Below" the current layer with the effect applied. In many cases some functionality may be possible for unsupported hosts, but there is no guarantee of functionality or stability, so please take care when experimenting! Once loaded into the flow graph, simply plug the image node you want to work with into the 'Source' input of the Mocha Pro effect node.

Once loaded into the node graph, simply plug the image node you want to work with into the 'Source' input of the Mocha Pro effect node. Once loaded into the tree window, simply plug the image node you want to work with into the 'Source' input of the Mocha Pro effect node.

Silhouette includes Linear support for the Mocha plugin. When using EXR or Cineon images, this preference should remain off. Once loaded, you can begin with the 'Launch Mocha UI' button at the top of the effect panel. Mocha uses two sources from the timeline for inserting clips: The main background image source to track from and a secondary image source to insert into a tracked layer.

To use a secondary source input in Vegas for Insert clips you need to composite your tracks together:. Set the Insert clip you want to use as the parent layer and the plate you want the insert to be rendered over as the child.

This will then load the secondary source into any layer Insert clip dropdown as a clip called 'Insert Layer'. See Rendering Insert Layers below. Select any additional source you want to use as an insert in Mocha and plug it into the 'Insert' input See Rendering Insert Layers below.

Launch the Mocha UI using the button at the top of the panel. Choose whether you want to use mattes, renders or any other exported data from Mocha back in the plugin interface. Once you have applied the Mocha Pro effect, you can click on the 'Launch Mocha UI' button to launch the main interface.

You just close and save the Mocha view when done and the project is saved inside the effect. Visible Layers Button: This button launches the Visible Layers dialog so you can select the layers you want visible as mattes. You can use secondary clips in the host application to render tracked inserts into your shots. See the User Guide Chapter on the Insert Module for more details on manipulating and warping inserts. For node based compositors you can plug the insert image into the 'Insert' input on the the Mocha Pro effect node.

In Vegas you need to make the insert image the parent in compositing mode. See Using the Insert Layer clip in Vegas for this method. In HitFilm, you select the insert image from one of your other layers in the comp listed in the "Insert" dropdown.

You can also adjust the Insert Blend Mode and the Insert Opacity from the plugin interface without needing to go back into Mocha:. In cases where your input source has an alpha channel, you may wish to change the Alpha view inside the Mocha GUI. You can either turn Alpha off entirely by toggling off the button, or choose from one of the following options:.

Auto alpha: Reads in alpha if it is not opaque or premultiplied. This is the default setting. When rendering back out to the host, there are cases where you may also need to premultiply the alpha using the premultiply options in the plugin interface. If you are using the 'Stereo' option, make sure you are applying the effect to the Left eye footage and choose your right-eye source input. This includes:.

To add Mocha, simply locate it in the Effects panel like any other effect and drag it onto your layer. Once your layer is hooked up to your Mocha Effect, the general workflow for the Mocha Plugin is as follows:.

If you are using Mocha Pro, choose the renders you wish to use from the "Module Renders" section and check "Render". Once you have applied the Mocha effect, you can click on the 'Launch Mocha UI' button to launch the main interface. If you are using the Mocha Pro version of the plugin, controlling renders is exactly like the standard OFX rendering controls. This is because all Mocha VR features have been rolled into Mocha Pro and a Mocha VR plugin stub is kept to avoid breaking compatibility with your old projects.

When you want to start a new VR project, we highly recommend using the Mocha Pro plugin rather than the legacy Mocha VR plugin, as this compatibility feature may be removed in future versions. Mocha workflow is designed around a project structure. It is good practice to only work on one shot per project file to minimize layer management and to keep the work streamlined. When you start the application you are presented with an empty workspace. No footage is loaded and most of the controls are consequently disabled.

To begin working, you must open an existing project or start a new project. This will bring up a file browser, where you can select almost any industry standard file formats. Image sequences will show up as individual frames. You can select any one of the frames and the application will automatically sequence the frames as a clip when importing. A project name will automatically be generated based on the filename of the imported footage, but you can change it by editing the Name field.

This is created in the same folder your clip is imported from. The range of frames to import. We recommend to only work with the frames you need, rather than importing very large clips or multiple shots edited together. This is set to the starting frame number or timecode by default.

You can also define a fixed frame You can set a default for the fixed frame in Preferences. You also have the option to view as Timecode or Frame numbers.

If your clip has an embedded timecode offset and you switch to Timecode, the offset will be used in your project. If you need to adjust this value later, you can open Project Settings from the file menu. Normally this is automatically detected, but you have options to adjust if necessary.

Make sure you check the frame rate before you close the New Project dialog. If you are using interlaced footage, set your field separation here to Upper or Lower. Make sure you check your fields match your footage before you close the New Project dialog.

If you wish the clip to be cached into memory, check the Cache clip checkbox here. Caching is recommended if you are working a computer that has fast local storage, but your shot is stored in a slow network location. More often than not, you can leave this setting off.

If working with log color space, set soft clip value here. Default is zero making falloff linear, rather than curved. Mocha Pro supports Equirectangular Footage. To set the project to be in mode, check the ' VR Footage' checkbox after you import your clip. When you start a New Project you are also presented with the option of creating a multiview project in the Views tab.

If you check Multiview project you are then presented with the view names and their abbreviated names. The abbreviated name is used in the interface for the view buttons, but is also used as the suffix for renders.

You can also choose the hero view. By default this is the left. Defining a hero eye determines the tracking and roto order for working in the views. If you want to define separate streams of footage for the stereo views, you can add additional footage streams view the Add button below the initial clip chooser.

If you forget to set up Multiview when you start a new project, you can set it in the new Project Settings Dialog from the File menu. Once you are in Multiview mode, you will see a colored border around the viewer based on the current view you are in.

This is to help artists to identify which view they are currently in without having to refer to the buttons. You can switch between Views by pressing the corresponding L R buttons in the view controls, or using the default 1 and 2 keys on the keyboard. You can swap views or change the Split View mapping from the View Mapping subtab under the Clip module:. The Mocha Pro plugin has a slightly different project workflow to the stand alone Mocha applications. This action loads the footage from the host clip you applied the effect to.

It automatically applies the correct frame rate and other clip settings, so there is no need for the standard new project dialog. After you have done the usual work inside the Mocha Pro interface, you simply close and save the Mocha Pro GUI and then you can control the output from the effect editor interface.

For setting up a new stereo project with the plugin, see Plugin Stereo Workflow. The plugin has a slightly different project workflow to the stand alone Mocha applications. If you will only be working on a section of the shot you can use the In and Out points to set the range on the timeline. You can zoom the timeline to only show you the part between you In and Out points by clicking the Zoom Timeline button.

Frame offsets are important to get right in Mocha so that they export correctly to your target program. Project Frame Offset: This frame offset sets the starting frame for keys in your timeline. For example if you have imported a sequence of frames and you need the index of frames to start at , you can change this under the Project Settings in the file menu. Clip Frame Offset: This frame offset is to offset the actual clip frames to slide the starting point of the clip back and forth.

You can adjust clip frame offset under the Display tab in the Clip module. For the vast majority of cases the Project Frame Offset is the value you want to adjust for working with data. The frame offset is usually already set correctly at the New Project dialog stage, but there may be cases where offsets change, such as adding new clip frames.

Working with very long files can be time consuming for the artist and can slow down the tracking as it searches for more frames. Try to only use what you need, and work on individual shots, rather than multiple shots in one piece of footage. Make sure these values match the settings in your compositor or editor, otherwise tracking and shape data will not match when you export it. If you are unsure which field your interlaced footage is in, import it and check.

If you quickly start your project with a guessed field order, you can check to make sure it is correct by using the right arrow key to step through the footage. Interlaced footage is painful to work with. For your own sanity, try not to use it unless you have to!

If you are working on a large roto project you will sometimes need to have more than one person working on the same shot. When it comes time to export out mattes or do final tweaks you can use the Merge Project option to combine any files that have been used on the same piece of footage. Simply select the Merge Project option from the File menu, and select a project you wish to merge.

You can only merge projects that are the same dimensions, aspect ratio and frame length as the shot you are merging into. Open or create a project with matching footage and same dimensions as the Silhouette file. This is important. Your Silhouette project file will need to match the frame rate, dimensions and length of the Mocha project to correctly import. Choose a Silhouette sfx project file.

If you are in OS X, you may need to navigate inside the sfx package to find the actual project file. The Silhouette project will then convert any Bezier and X-splines to native Mocha splines and appear in the project.

If there are any B-Spline layers in the project, these will not be imported as they are currently not supported. The key to getting the most out of the Planar Tracker is to learn to find planes of movement in your shot which coincide with the object that you want to track or roto.

Sometimes it will be obvious - other times you may have to break your object into different planes of movement. For instance if you were tracking a tabletop, you would want to draw the spline to avoid the flower arrangement in the center of the table — it is not on the same plane and will make your track less accurate. To select a plane you simply draw a spline around it.

In general X-Splines work better for tracking, especially with perspective motion. We recommend using these splines where possible. The GPU option allows you to select any supported graphics card on your system to take on the brunt of the tracking process. The resulting speed improvement is especially noticeable on high resolution footage or when tracking large areas. One of the most important concepts to understand with the Mocha planar tracking system is that the spline movement is not the tracking data.

By default, any spline you draw is linked to the tracking data of the layer it is currently in. In hierarchical terms, the spline is the child of the track, even if there is no tracking data. When you begin to track a layer, the area of detail contained within the spline s you have drawn will be searched for in the next frame.

If the planar tracker finds the same area in a following frame, it will tell the tracker to move to that point. Because the spline is linked to the track by default, it will also move along with it and the search begins again for the next frame.

Scrub the timeline and you will see that the grid and surface move with the spline. Now select all the points of your spline and move it around the viewer. This is because the spline is linked to the track, but the track is not linked to the spline. The spline is merely a search area to tell the track where to go next. It is a common misconception that moving the spline while tracking is affecting the movement of the tracking data.

It is not. Moving the spline is only telling the tracker to look in a different place and will not directly affect the motion of the tracking. This makes the tracker very powerful, as you can move and manipulate your spline area around while tracking to avoid problem areas or add more detail for the search.

With the Planar Tracker you simply draw a spline around something, as shown with the screen below. Select one of the spline tools to create a shape around the outside edge of the area you wish to track. When drawing splines it is best to keep the shape not tight on the edge, but actually give a little space to allow for the high contrast edges to show through, as these provide good tracking data. If you are using the X-Spline tool you can adjust the handles at each point by pulling them out to create a straight cornered edge, or pull them in to make them more curved.

Right clicking a handle will adjust all the handles in the spline at once. In some cases there are parts of an image that can interfere with the effectiveness of the Planar Tracker. To handle this, you can create an exclusion zone in the area you are tracking.

For instance, in the phone example we are using, there are frames where there are strong reflections on the screen. These reflections can make the track jump. So we need to isolate that area so the tracker ignores it. Select the add shape tool to add an additional shape to the current layer, which selects the area you want the tracker to ignore.

Draw this second shape inside the original shape. Note that both splines have the same color, which is an indication that they belong to the same layer.