Just wanted to share a quick breakdown of a shot I just fixed with a terrible looking building in the background and a box under the front tire of the car. Used Cinema 4D’s Camera Calibrator tool to solve a 3D camera, then dropped in a model of a city building to match the shot. Photo of city street for reflections in windows. In Mocha Pro 5 AE Plugin, simple Position tracking for the background and several objects rotosplined and linked to this track. 3D rendering of building utilizes this same tracking data.
Position+Scale tracking for the actor. Then rotosplines to get his arm and leg to the foreground. Had a log of keyframes on the actor. I tracked his chest, but he does bend back and forth a little with made it tricky.
Came out pretty nice I think. Thanks to Mary and Martin who have helped me in the past.
We would love that for the reel if you can spare it. Great work, it came out very well!
Thanks Mary. I’ll see if that’s OK to use.
One question though, would you have tracked the actor the same way I did? How would you have tackled that roto situation?
I don’t see your track in here… but I’d approach him paper doll style, breaking him up along planes of motion. Whatever technique you get successful results with on time though is the “correct” workflow.
Sorry, forgot to reply to this. Here’s a screen shot of my roto layers for the actor. The circular shape on his chest is the main Position+Scale track for most of the body. I believe I let the left leg layer have it’s own track which worked out better since it’s moving very differently than his chest, especially when he leans forward.
As you can see though, there are a lot of keyframes shown. Those are just for the Left Lower arm layer. Maybe I should have let each arm section do it’s own track. I might try that to see.
For cloth with complex edges that’s a pretty reasonable amount of keyframes. The wrinkles just need keyframing no matter what you do.