Long Pan + Zoom Shot Needs Stabilizing

—Quote (Originally by hi-mocha)—
OK, thanks…still not sure on the workflow for long pans where tracks go offscreen…i look forward to the eventual post =)
—End Quote—
hey buddy same is the case here…hope we can share our information :slight_smile:

—Quote (Originally by hi-mocha)—
Hi I’m doing a long horizontal track (little pan too), and wanted to know what’s the best way to stabilize movements in Y and rotation?
please confirm my process…

  1. lay several tracking splines down (same layer?)
  2. mask out obstructing people (different layer?)
  3. move/adjust splines as they reach the edge of screen? or end spline and start new splines from frame?
  4. export translation/rotation/perspective, inverted.
  5. paste t/r/p data onto my layer in After Effects, delete position keys.
    will this still retain my track in X? would this process work for Cranes as well?
    thank you.
    —End Quote—
    I’m making progress, however slowly. I’m going to practice on similar shots that aren’t so difficult. I think I need to be more of an “artist” while creating the splines, so that they simulate the perspective of the plane of the playing field. I haven’t been very careful about that so far.

—Quote (Originally by hi-mocha)—
Hi I’m doing a long horizontal track (little pan too), and wanted to know what’s the best way to stabilize movements in Y and rotation?

please confirm my process…

  1. lay several tracking splines down (same layer?)
  2. mask out obstructing people (different layer?)
  3. move/adjust splines as they reach the edge of screen? or end spline and start new splines from frame?
  4. export translation/rotation/perspective, inverted.
  5. paste t/r/p data onto my layer in After Effects, delete position keys.
    will this still retain my track in X? would this process work for Cranes as well?

thank you.
—End Quote—
I’m making progress, however slowly. I’m going to practice on similar shots that aren’t so difficult. I think I need to be more of an “artist” while creating the splines, so that they simulate the perspective of the plane of the playing field. I haven’t been very careful about that so far.

worked like a charm! thanks.
but to stabilize it, i didn’t have to invert…and I exported translation/rotation not perspective.
How would I correct the skew tho? would I export corner-pin data?

Hi I’m doing a long horizontal track (little pan too), and wanted to know what’s the best way to stabilize movements in Y and rotation?
please confirm my process…

  1. lay several tracking splines down (same layer?)
  2. mask out obstructing people (different layer?)
  3. move/adjust splines as they reach the edge of screen? or end spline and start new splines from frame?
  4. export translation/rotation/perspective, inverted.
  5. paste t/r/p data onto my layer in After Effects, delete position keys.
    will this still retain my track in X?
    thank you.

Hi I’m doing a long horizontal track (little pan too), and wanted to know what’s the best way to stabilize movements in Y and rotation?

please confirm my process…

  1. lay several tracking splines down (same layer?)
  2. mask out obstructing people (different layer?)
  3. move/adjust splines as they reach the edge of screen? or end spline and start new splines from frame?
  4. export translation/rotation/perspective, inverted.
  5. paste t/r/p data onto my layer in After Effects, delete position keys.
    will this still retain my track in X?

thank you.

—Quote (Originally by martinb)—
When you export transform data, x and y will always be retained. You would have to use an expression to remove the tracking data.

One way to do this would be to apply the exported data to a null, then use an expression on your footage by doing the following:

  1. Alt click your position key to open the expression for that value
  2. Leave “transform.position” there, but add a [0] to the start so your line reads “transform.position[0]”
  3. Add a comma, then use the pick-whip to drag up the Y value in your position data on the null
  4. Place square brackets around the whole equation
  5. You should now have an expression similar to this: [transform.position[0],thisComp.layer(“Null 1”).transform.position[1]]

This should leave your footage X position alone and only use the Y value from the null.
—End Quote—

hi thank you, i saw an article on that here http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7a38a.html#WS3878526689cb91655866c1103906c6dea-7a33a

is the rest of my procedure correct? should I use one spline and just readjust before it goes offscreen OR just create new ones as I track? and I guess it’s necessary to have it on a single layer to export as a whole.

—Quote (Originally by martinb)—
When you export transform data, x and y will always be retained. You would have to use an expression to remove the tracking data.
One way to do this would be to apply the exported data to a null, then use an expression on your footage by doing the following:

  1. Alt click your position key to open the expression for that value
  2. Leave “transform.position” there, but add a [0] to the start so your line reads “transform.position[0]”
  3. Add a comma, then use the pick-whip to drag up the Y value in your position data on the null
  4. Place square brackets around the whole equation
  5. You should now have an expression similar to this: [transform.position[0],thisComp.layer(“Null 1”).transform.position[1]]
    This should leave your footage X position alone and only use the Y value from the null.
    —End Quote—
    hi thank you, i saw an article on that here http://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7a38a.html#WS3878526689cb91655866c1103906c6dea-7a33a
    is the rest of my procedure correct? should I use one spline and just readjust before it goes offscreen OR just create new ones as I track? and I guess it’s necessary to have it on a single layer to export as a whole.

—Quote (Originally by martinb)—
If you have a continuous relative plane to track, you may even unlink the track from your spline entirely (In the drop down on the left panel), but you can also move or create new splines within the layer as you need them. I find it best to keep the surface or grid on while you track to make sure it looks consistent however.
—End Quote—
thanks, i’ll give it a try! :slight_smile:

—Quote (Originally by martinb)—
If you have a continuous relative plane to track, you may even unlink the track from your spline entirely (In the drop down on the left panel), but you can also move or create new splines within the layer as you need them. I find it best to keep the surface or grid on while you track to make sure it looks consistent however.
—End Quote—
thanks, i’ll give it a try! :slight_smile:

worked like a charm! thanks.

but to stabilize it, i didn’t have to invert…and I exported translation/rotation not perspective.
How would I correct the skew tho? would I export corner-pin data?

wondering if it’s possible to request a tutorial on stabilizing long pans (to take into account pans, track, skew and tracks that leave the screen)…I’m having difficulty smoothing out my handheld shots.
Thank you if you can.

wondering if it’s possible to request a tutorial on stabilizing long pans (to take into account pans, track, skew and tracks that leave the screen)…I’m having difficulty smoothing out my handheld shots.

Thank you if you can.

—Quote (Originally by martinb)—
We have posted a stabilization tutorial on our blog, however it relates to versions of mocha with the stabilize module: http://blog.imagineersystems.com/2010/11/tutorial-mocha-pro-intro-to-stabilize.html
We can look at doing a stabilization tutorial focusing on just using the track information in future, but we have a few tutorials we need to get done first. :slight_smile:
—End Quote—
OK, thanks…still not sure on the workflow for long pans where tracks go offscreen…i look forward to the eventual post =)

—Quote (Originally by martinb)—
We have posted a stabilization tutorial on our blog, however it relates to versions of mocha with the stabilize module: http://blog.imagineersystems.com/2010/11/tutorial-mocha-pro-intro-to-stabilize.html

We can look at doing a stabilization tutorial focusing on just using the track information in future, but we have a few tutorials we need to get done first. :slight_smile:
—End Quote—

OK, thanks…still not sure on the workflow for long pans where tracks go offscreen…i look forward to the eventual post =)

I’ve watched the appropriate AE tutorials, and been through the manual, but I am lost as to the best way to proceed with a complex clip like this. I may just not be “getting” Mocha.

The clip is a sports clip from a kids’ soccer game. My chosen plane to track has to change because nothing stays in the scene through the whole clip. I tried animating the x-spline on a single layer and I tried tracking splines on separate layers. I tried making the keyframes for the animated spline Constant, but it was tedious and I’m not sure I got all of them, or if I did it right, or if I even need to do that. None of the results I got were what I expected or wanted.

I’d like to see if there is a way, even in theory, to not split the clip where the zoom starts, but I’m afraid I’ll end up having to stabilize separate halves of the clip and try and make them match in AE. If so, that’s fine.

I’ve emailed a link to the clip to Martin.

I don’t know if I need a “surface” before I export the tracking data; I don’t know if I need the expressions that the manual includes back in AE (because the tutorial didn’t use them), and I think that if I can just get an overview of how to approach such a clip that I’ll be able to get the job done.

Any help at all would be appreciated. Thanks!

-Jeff

I’ve watched the appropriate AE tutorials, and been through the manual, but I am lost as to the best way to proceed with a complex clip like this. I may just not be “getting” Mocha.
The clip is a sports clip from a kids’ soccer game. My chosen plane to track has to change because nothing stays in the scene through the whole clip. I tried animating the x-spline on a single layer and I tried tracking splines on separate layers. I tried making the keyframes for the animated spline Constant, but it was tedious and I’m not sure I got all of them, or if I did it right, or if I even need to do that. None of the results I got were what I expected or wanted.
I’d like to see if there is a way, even in theory, to not split the clip where the zoom starts, but I’m afraid I’ll end up having to stabilize separate halves of the clip and try and make them match in AE. If so, that’s fine.
I’ve emailed a link to the clip to Martin.
I don’t know if I need a “surface” before I export the tracking data; I don’t know if I need the expressions that the manual includes back in AE (because the tutorial didn’t use them), and I think that if I can just get an overview of how to approach such a clip that I’ll be able to get the job done.
Any help at all would be appreciated. Thanks!
-Jeff

Hi Martin,

Thanks for the quick reply. I just want to stabilize the clip.

I’ll give your method a try. If successful, should I use the expressions in the manual for sending footage to AE to be stabilized? Or should I just use the smoothing of position keyframes per the video tutorial and skip the expressions for rotation and scale?

-Jeff

Hi Martin,
Thanks for the quick reply. I just want to stabilize the clip.
I’ll give your method a try. If successful, should I use the expressions in the manual for sending footage to AE to be stabilized? Or should I just use the smoothing of position keyframes per the video tutorial and skip the expressions for rotation and scale?
-Jeff

Thanks again, Martin.
I’m making progress, however slowly. I’m going to practice on similar shots that aren’t so difficult. I think I need to be more of an “artist” while creating the splines, so that they simulate the perspective of the plane of the playing field. I haven’t been very careful about that so far.
-Jeff