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Boris FX (156 Tutorials)

Curious Turtle Fundamentals of mocha – 06 – Shear and Perspective

Curious Turtle Fundamentals of mocha – 06 – Shear and Perspective

February 13, 2013

One of the most frequent questions asked about mocha’s settings is, when do you have to turn on Perspective modeling instead of just tracking Shear?  This exercise demonstrates the different motion using CG footage, then shows how to translate that to real-world footage.  This effectively shows when Shear is not enough to get the best track and how Perspective tracking should be used.

The second part of the tutorial demonstrates more techniques for dealing with large motion blur on the object you wish to track. We discuss shape size, placement and keyframing the shape to get the best results.

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Curious Turtle Fundamentals of mocha – 05 – Rotation

Curious Turtle Fundamentals of mocha – 05 – Rotation

February 13, 2013

Tracking rotation in an object can be tough, even with mocha’s planar tracker.  It is made even trickier when tracking motion blur.  This exercise discusses different techniques for getting the best track possible.

When a solid track is not possible, we move to the AdjustTrack module to fix our data for the perfect match.

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Curious Turtle Fundamentals of mocha – 07a – Using Transform Data in After Effects

Curious Turtle Fundamentals of mocha – 07a – Using Transform Data in After Effects

February 13, 2013

This tutorial shows how to take the tracked footage in mocha and use that data in After Effects.  We start with a simple matchmove.  Then see how to get more flexibility through the smart use of Null objects and parenting. Finally we look at importing the same data directly into a Boris Continuum Complete lens flare plug-in.

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Curious Turtle Fundamentals of mocha – 07b Using Transform Data in Final Cut Pro & Motion

Curious Turtle Fundamentals of mocha – 07b Using Transform Data in Final Cut Pro & Motion

February 13, 2013

This tutorial shows how to take the tracked footage in mocha and use that data in Apple Final Cut Pro & Motion.  We start with a simple matchmove in Final Cut Pro and quickly see the limitations in the way it handles keyframes.Next we look at how to take the same data into Apple Motion.  This is much more flexible and higher quality than working in FCP alone.  Finally we take the project back into FCP to be used as part of the final edit.

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Curious Turtle Fundamentals of mocha – 02 User Interface

Curious Turtle Fundamentals of mocha – 02 User Interface

February 13, 2013

A tour of mocha’s tools and the most important keyboard shortcuts. We also explore the main differences between drawing with B-Splines and the Bezier tool.

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Curious Turtle Fundamentals of mocha – 12 – Camera Solver – Pan Tilt Zoom

Curious Turtle Fundamentals of mocha – 12 – Camera Solver – Pan Tilt Zoom

February 13, 2013

Before we look at mocha’s Camera Solver, we fix issues with incorrectly interpreted interlaced footage.Next we identify what the camera motion is in the shot, to correctly create the type of tracked layers required to create the virtual camera.  In this tutorial the movement is Pan Tilt Zoom, so we prepare the main track layer plus a track matte layer. Once the camera is solved, we look at how to test it in After Effects using both a regular 3D text layer and a 3D particle layer.

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Curious Turtle Fundamentals of mocha – 13 – Camera Solver – Parallax Change

Curious Turtle Fundamentals of mocha – 13 – Camera Solver – Parallax Change

February 13, 2013

This tutorial is about how to pick the right type of shapes to track for mocha to generate a 3D camera solve of a moving camera.  The amount, size and placement of the track layers are crucial to getting good data. We look at how we improve the initial solve to add further tracked features and demonstrate how mocha’s Camera Solver differs from a regular 3D matchmaker.

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Curious Turtle Fundamentals of mocha – 01 Fundamentals of Tracking

Curious Turtle Fundamentals of mocha – 01 Fundamentals of Tracking

February 13, 2013

A short exercise mainly looking at point and feature trackers, to show what mocha does not use.  We then take a brief look at mocha’s Planar tracker and learn about the separation of Shape and Tracking data.

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How to use 3rd Party Transition Plug-ins in Adobe Premiere Pro

How to use 3rd Party Transition Plug-ins in Adobe Premiere Pro

February 12, 2013

Have you ever wondered why your third party transition plug-ins for Premiere Pro don’t show up under Video Transitions, like the native Transitions effects do? I have a work around for you, using an Adjustment Layer.

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In Depth: Motion Stabilization Options, Part 1 of 2

January 24, 2013

Sometimes using a tripod is not an option and you’re forced to shoot hand-held. Maybe you’re shooting in an amusement park, botanical gardens, or a concert and tripods are not allowed in. Unless you have the ability to stand perfectly still, you will likely need to stabilize the footage in postproduction. Motion stabilization is used to smooth footage and remove camera shake.

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Use Video Copilot Metropolitan with Element 3D to Create a Realistic City Title

Use Video Copilot Metropolitan with Element 3D to Create a Realistic City Title

January 24, 2013

By Andrew Kramer/ Video Copilot: Use the new Metropolitan with Element 3D to create a realistic city title, Use Randomize Angle feature to distribute buildings into the scene

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How to use Imagineer mocha and AE for Tracking a Crane Shot

How to use Imagineer mocha and AE for Tracking a Crane Shot

December 14, 2012

In this video tutorial, Brenn Nakamitsu explains how to do planar motion tracking of a crane shot and compositing. A difficult shot to track by hand, but fairly easily accomplished with Imagineer mocha AE CS6.

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Create Cool Lighting Effects in Avid with BCC Lens Flare 3D

Create Cool Lighting Effects in Avid with BCC Lens Flare 3D

November 21, 2012

Using Boris Continuum Complete’s powerful Lens Flare 3D filter, Kevin P. McAuliffe shows you how to set up lighting effects in your favorite Avid video editing system. First, Kevin demonstrates how to create multiple lights that blink automatically. Then, he combines BCC Extruded Text with BCC Lens Flare 3D to create a starting title sequence.

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Imagineer mocha AE 3.1 and mocha Pro 3.1 Lens Distortion Tips, Calibration Clips, Using Grids

Imagineer mocha AE 3.1 and mocha Pro 3.1 Lens Distortion Tips, Calibration Clips, Using Grids

November 15, 2012

Martin Brennand takes you through how to calibrate a lens with the mocha Lens Module and use it with the new mocha Lens plug-in supported with mocha AE 3.1 and mocha Pro 3.1 – Also covered- using a calibration clip when you do not have enough information in your shot to define the warp of the lens.

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Create Complex Particle Effects in Avid- BCC AVX

Create Complex Particle Effects in Avid- BCC AVX

October 10, 2012

Kevin P. McAuliffe harnesses the power of Boris Continuum Complete v8 AVX's Particle Emitter 3D filter to create engaging particle effects directly from within Media Composer, giving his Avid titles a “particle overhaul”.

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