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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. The PowerMesh to Nuke Tracker creates a single Nuke tracker node with individual tracker points representing every vertex in the PowerMesh. This versatile export means you have access to numerous tracking points across your scene without having to set up individual tracks or corner pins. You can export a PowerMesh-based Nuke Tracker straight to the clipboard or to a.

If you choose Copy to Clipboard you can 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.

Save the file to disk. Mistika at this time does not support clipboard pasting of the track data. Choose the type of data you wish to apply in Apply To.

Note, you will have to have more than one tracker selected to use Rotation and Size. In Apply, select the type of move you wish to do, eg. Move for matchmoves or Stabilize for stabilization. Some effects or shapes only support translation data. In these situations Rotation and Size will have no effect. 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. Similar to meshes, this alembic format provides just the transform information for the vertices in the mesh along with the camera. Vertex transforms can be interpreted by supporting hosts in different ways.

For example, in Nuke they are imported as a point cloud, but in Blender they may import as nulls linked to transforms. 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.

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There are many new and exciting features in NotePerformer 3. As of right now I am 20 dpo. The second time through will be withWelcome images, moderation, leveling, reaction roles, logs, high quality music and many many more!

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Guardar Guardar Note-Performer-Crack. Mi piace: The package now includes four new music fonts for a total of 25, and has been updated with many improved symbols.

If you like to crack your knuckles, people may have told you to stop because it causes arthritis. Limpia Espiritual. NotePerformer’s string sections are created by stacking solo players using section-building technology, allowing near infinite variations in sound—NotePerformer also contains a comprehensive range of woodwinds and brass instruments, British-style brass band, pitched and unpitched percussion, saxophones, piano, harpsichord, theremin, accordions, a pipe organ with multiple stops, guitars The piece begins with the crack of a whip the orchestral version, also called a clapper, slaps two pieces of wood together, sparing the lives of the rest of the players , and the horns that soon follow remind me of Gershwin’s “An American in Paris” which was written when Gershwin visited Paris hoping to study with Ravel.

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Words: ; Pages: 6. Now that the Finale version is available I can finally use it. The classical playback is truly amazing, and having something like this for jazz and pop music would be truly breathtaking. A Complete the sentences with the correct word in the proper form. NotePerformer also includes its own sounds.

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Assistente Virtual. For example, a nude model standing in the contrapposto position or the T-pose will be photographed from 24 different angles once every degrees as the model is rotated. Dorico Pro provides several ways to start new projects. Feb 2, — My sample libraries seem strangely devoid of organ sounds, and I haven’t really seen any NotePerformer 3 running in Dorico Pro 2, in Play mode.

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If you are author or own the copyright of this book, please report to us by using this DMCA report form. And they didn’t break NotePerformer.

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