3D Camera Solve Question

I’m in a bind trying to work out how to do this…
I want to get a decent Camera solve - some useable Nulls, and a moving track on the runner.
Look at this clip (- YouTube)
Because camera travels acroos a large expanse of deck durung the shot, I wasn’t able to successfully able to create tracks that stayed solid along the whole clip. I understand they can be repositioned while tracking, but still tricky.
To get a solid solve - I created ‘assist tracks’ - non co planer areas along the decking - at the start - middle and end - making sure that the tracks overlap in time. Each of these tracks solves beautifully.
I thought I could select the two, whole clip ‘start to finish’ non co-planar tracks, then add the assist tracks to give me a better result. But when I do this - I get a an error messge telling me that some of my tracks are moving.
How would you go about doing this properly?
Brain ache!
Many thanks.

—Quote (Originally by tctdvm)—
you can set keyframes on the shape and/or turn off “link to track”

manually animate several layers to fill the entire width of the shot (one for the sand, one for the deck, one for the grass, maybe one for the sky) and turn off “link to track” for each.

T
—End Quote—

But the Camera Solve isn’t a Nodal/Pan - a moving camera.

I thought unlinking only works for tilt/pan?

I will try. thanks

I’m in a bind trying to work out how to do this…

I want to get a decent Camera solve - some useable Nulls, and a moving track on the runner.

Look at this clip (- YouTube)

Because camera travels acroos a large expanse of deck durung the shot, I wasn’t able to successfully able to create tracks that stayed solid along the whole clip. I understand they can be repositioned while tracking, but still tricky.

To get a solid solve - I created ‘assist tracks’ - non co planer areas along the decking - at the start - middle and end - making sure that the tracks overlap in time. Each of these tracks solves beautifully.

I thought I could select the two, whole clip ‘start to finish’ non co-planar tracks, then add the assist tracks to give me a better result. But when I do this - I get a an error messge telling me that some of my tracks are moving.

How would you go about doing this properly?

Brain ache!

Many thanks.

Unlinking works really well for placement.
Did as you suggested. and got nice tracks for sand, grass and deck.
Very handy to know that technique! Even if it goes me nowhere in 3D.
Try as I might, camera doesn’t return a solve.
(I have to relink to let the solver work).

—Quote (Originally by tctdvm)—
you can set keyframes on the shape and/or turn off “link to track”
manually animate several layers to fill the entire width of the shot (one for the sand, one for the deck, one for the grass, maybe one for the sky) and turn off “link to track” for each.
T
—End Quote—
But the Camera Solve isn’t a Nodal/Pan - a moving camera.
I thought unlinking only works for tilt/pan?
I will try. thanks

Unlinking works really well for placement.

Did as you suggested. and got nice tracks for sand, grass and deck.

Very handy to know that technique! Even if it goes me nowhere in 3D.

Try as I might, camera doesn’t return a solve.

(I have to relink to let the solver work).

—Quote (Originally by martinb)—
Can you send me the actual clip? This looks like it should be a reasonably straightforward solve.
What parameters are you using to solve the camera?
—End Quote—
clip:https://vimeo.com/56974356
My attempt: here (https://docs.google.com/open?id=0B3-COFm6o1ulR2J4QndER0cydVU)
Tried all :
35<70mm, Large Parallax
Unlinking seemed to produce sable(ish) tracks - but when it came to export - no dice.
Many thanks.

—Quote (Originally by martinb)—
Can you send me the actual clip? This looks like it should be a reasonably straightforward solve.

What parameters are you using to solve the camera?
—End Quote—
clip:https://vimeo.com/56974356

My attempt: here (https://docs.google.com/open?id=0B3-COFm6o1ulR2J4QndER0cydVU)

Tried all :
35<70mm, Large Parallax

Unlinking seemed to produce sable(ish) tracks - but when it came to export - no dice.

Many thanks.

—Quote (Originally by blabberlicious)—
Unlinking works really well for placement.

Did as you suggested. and got nice tracks for sand, grass and deck.

Very handy to know that technique! Even if it goes me nowhere in 3D.

Try as I might, camera doesn’t return a solve.

(I have to relink to let the solver work).
—End Quote—
Can you send me the actual clip? This looks like it should be a reasonably straightforward solve.

What parameters are you using to solve the camera?

—Quote (Originally by blabberlicious)—
Unlinking works really well for placement.
Did as you suggested. and got nice tracks for sand, grass and deck.
Very handy to know that technique! Even if it goes me nowhere in 3D.
Try as I might, camera doesn’t return a solve.
(I have to relink to let the solver work).
—End Quote—
Can you send me the actual clip? This looks like it should be a reasonably straightforward solve.
What parameters are you using to solve the camera?

3D pictures work by recreating what we see with our two eyes. Because our squishy sight-globes are set slightly apart, they each see a slightly different view of the world. Our wonderful human brain combines those to create a sense of depth: the third dimension. 3D cameras capture 3D snaps by taking two pictures from slightly different angles and combining them, either with two lenses or by asking you to capture two slightly different pictures. For 3D pictures that really pop out of the screen, you’ll need a subject that’s in the foreground, probably a metre or so from the camera, preferably with different items or subjects dotted around the frame at different distances from the camera

3D pictures work by recreating what we see with our two eyes. Because our squishy sight-globes are set slightly apart, they each see a slightly different view of the world. Our wonderful human brain combines those to create a sense of depth: the third dimension. 3D cameras capture 3D snaps by taking two pictures from slightly different angles and combining them, either with two lenses or by asking you to capture two slightly different pictures. For 3D pictures that really pop out of the screen, you’ll need a subject that’s in the foreground, probably a metre or so from the camera, preferably with different items or subjects dotted around the frame at different distances from the camera

you can set keyframes on the shape and/or turn off “link to track”
the shape is not the same as the track. They are independent of each other. To see how the track moves, you turn on the Surface.
If that were my shot, I would manually garbage mask out the runner and move that layer to the very top.
Below, I would manually animate several layers to fill the entire width of the shot (one for the sand, one for the deck, one for the grass, maybe one for the sky) and turn off “link to track” for each.
T

Unlink to track and relink for solve?
I don’t know. I’ve never actually generated a usable solve. Gave up after a few attempts with a few easy shots.
I typically use the IXIR converting software and push stuff into Syntheyes.
Solves that Mocha thought about for 10-20 min and then failed, syntheyes solved in 2 sec after exporting the layers out Mocha and bringing them into syntheyes.
T

Unlink to track and relink for solve?

I don’t know. I’ve never actually generated a usable solve. Gave up after a few attempts with a few easy shots.

I typically use the IXIR converting software and push stuff into Syntheyes.
Solves that Mocha thought about for 10-20 min and then failed, syntheyes solved in 2 sec after exporting the layers out Mocha and bringing them into syntheyes.

T

sometimes fewer is better when it comes to solving in general.
T

sometimes fewer is better when it comes to solving in general.

T

you can set keyframes on the shape and/or turn off “link to track”

the shape is not the same as the track. They are independent of each other. To see how the track moves, you turn on the Surface.

If that were my shot, I would manually garbage mask out the runner and move that layer to the very top.
Below, I would manually animate several layers to fill the entire width of the shot (one for the sand, one for the deck, one for the grass, maybe one for the sky) and turn off “link to track” for each.

T