 Hello, my name is Jeff Kyle, and today I would like to talk to you about how to use Mocha in your Flame composites. I figure if Mocha is going to be one of the prizes here, and you don't already know how to use it, you might as well learn a quick tip or two. I'm going to show you how to use Mocha two ways in action. If you have Sapphire Sparks, then you already have Mocha. It's one of the Sparks, it's got added in Sapphire 11. You can add it the same way you do any Spark Mocha. Double click, go to Edit, Edit Mocha, and Mocha opens up. This is not going to be a tutorial on how to learn all about the interface. I'm just going to show you how to get the track into action and how to use it from a Flame Artist's perspective. So I'm going to draw a shape there to track the phone, and then I have to really quickly draw another shape to hold out his hand. This footage is courtesy of one of the older Autodesk Grant K tutorials. It's an oldie, but a goodie. So let's track backwards, it'll track both of these masks. I'm just looking to see if the holdout crosses over in any way. A little bit there. So maybe I'll open that up just a touch, and turn off tracking for the hand, and leave tracking on for the phone, and just retrack that one more time. Okay, this is an important thing for Mocha, it's the planar surface. This surface is the surface that you see in action when you load the tracking data. One of the tracks that we're going to be doing, it's important, the other one it's not. When you're tracking something in, the planar surface is very important. That is your surface, and if the thing that you're tracking is not within the bounds of your planar surface, then you're not going to see it. For now, I like to line it up in a way that makes sense, and just check it real quick. So I'll play this just to take a look, see if it's rock solid. It looks rock solid to me, the holdout worked. And then I'm going to just open it up just a touch to make sure that we don't crop anything off that we might need. And we're going to get it into flame, because right now we're in Mocha. So I'm going to export the tracking data for the phone layer. Make sure it's set to Autodesk 2014, Stabilizer data. And then I'm going to save it into the specific project I'm working in, which is the Recovered Media project. And I'll make sure to save it in the Stabilizer folder, and I'm going to call it Phone. So now we File, Save, and File, Exit. And now we'll pull out an action, and we'll do the first track, which is a Stabilize. So we're going to Stabilize this shot so that we can remove these tracking markers. Supposedly. I'm not going to actually do that, because there's some Roto. And we don't want to see Roto. So the first step is to add a media, to go into your schematic, and to set the surface type to Perspective, and then load the data into the UVs. By going to the UV tab, go to Tracker, Load. Because we put it in the correct folder, it's already right there. The other thing to note is the frame that you load this data on is very important. I loaded it on the first frame, so we just have to keep that in mind for the rest... Oops. Wow. I did not. Sorry. Oops. That's important. And the way that you can check, another tip, is the frame that does not move when you A-B, the result in the source, is the frame that you loaded it on. So if I look at the result, I can see that it's now, the phone at least, is perfectly locked off. Frame 40, that's the key. So to reverse this stabilization real quick, you're going to duplicate and keep connections. Get rid of the media from being connected to the source and connect it to that first action. And then just have to do... Notice how when we loaded the data, we didn't do anything else. It was already done. To invert it, we just have to go into this action, click on the surface, and then in the UV points tab, since we duplicated it so it was already open, it remembered. We have to send that UV data to the vertices so that it starts moving again, and it isn't affecting the UVs. And then we have to reset the data that's already on the UV points so that that doesn't move anymore, so it's locked. And so now if you look, this is reversed. It should match the original perfectly, if you A-B the front and the back. But now, because we've done this stabilization, you can do your work, such as painting out these tracking markers, for instance. Real quick proof of concept. Almost got me real close. And then if we look at the result, we'll see that these guys are already tracked. So we all know how to do a stabilization. The next thing that we'll do with this Mocha data that we already got is in this last action here, I'm going to add a new media and we'll connect it to the source here. This is going to be tracking in our new screen. So I'll just throw out a color bar as real quick. But for now I want to connect it to the source. So on our key frame, I guess it'll be the last frame, second surface here, I'm going to load the data again, but in a different way. This is how we track things in, at least how I know how to do it. You change the surface type to bilinear this time, instead of perspective, and instead of the UV points, we're going to load it into the vertices. And that's not going to affect the UVs, it's going to affect the vertices. And you'll see what it does. It's going to take that surface that we set and put all the points to that surface. And it tracks it in, just as you would expect. This really only would work well straight out of the gate if your object that you're tracking in is perfectly sized for the object in question. Otherwise, if your artwork isn't shaped this way, then it's not really going to look right and you're going to have to spend some time fixing it. So the solution that I have for that is, as soon as you load a vertices track from Oka, the first thing you do is send that vertices data to the UVs, which will make it look normal again. But then when you scrub the player, it's funny because of the nature of this shot, it really doesn't look wrong, but it's normally very wrong. You have to keep the UV track shape that you've just loaded on the key frame, which is, let's say it's 40. So we'll go to UV track shape, we'll just keep that. Now when we scrub it, it looks very wrong, but that is only because we need to freeze the frame in question on frame 40. So now when we look at it, we'll see that we have tracked this still frame in. Notice how the reflection doesn't move, but for the purposes of what we're going to use it for, we're going to put some color bars in here. The last step is because these color bars are this size, now of course we could have not sent the vertices to the UVs, and then the color bars would have been mapped in a specific way. But my favorite thing to do is to do that step right here as, oops, another action and that would be connecting to the original. And just real quick, line this up, oops, I was looking at the invisible surface. Line this up with the phone, maybe I'll just rotate it, get it in there pretty close, and then for the last 10%, just move these vertices around. Make it a little bit over, and then we'll fix that edge somewhere else, although I don't plan to do that in this tutorial. This is really just the final proof of concept aspect. Maybe bump up the action a little bit so you don't get those jagged edges here, and maybe set that to perspective for phones. So this is lined up on, oh my god, on the correct frame, which is frame 40. So let's do that. Gotta keep that key frame in mind because the tracking is all about that key frame, so frame 40. So we haven't animated this, have we? No. So now bring that back, we will maybe add the matte output. So now when we look at our action, and we would fix the edge a little bit, maybe set this to soft light to get those reflections back. Obviously, we still need to roto, but this is the idea. We have two separate mocha tracks. One was a stabilization, stabilizes here, inverses the stabilization there. The second one was tracking something in, just normal with vertices that's down here, and the result is pretty good tracks. My concluding remarks would be, of course, flame can do all of these things, but sometimes you might run into circumstances, not this specific shot, because this specific shot is very easy and you can do whatever method you want, but sometimes you might run into circumstances where the planar tracker at least doesn't quite cut it. In those circumstances, maybe check out mocha. This is the way that I do it, that I've learned how to do it, and now it's the way that you know how to do it. So thanks for watching, and hope you have a great rest of the day.