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Retrieved October 20, In some cases there are parts of an image that can interfere with the effectiveness of the Planar Tracker. To handle this, you can create an exclusion zone in the area you are tracking.
For instance, in the phone example we are using, there are frames where there are strong reflections on the screen.
These reflections can make the track jump. So we need to isolate that area so the tracker ignores it. Select the add shape tool to add an additional shape to the current layer, which selects the area you want the tracker to ignore.
Draw this second shape inside the original shape. Note that both splines have the same color, which is an indication that they belong to the same layer. Also you will notice in the Layer Controls panel that you only have a single layer. You can also add as many entirely new layers on top of your tracking layer to mask out the layers below. This is quite common when moving people, limbs, cars, badgers etc.
In the Essentials layout , tracking Motion parameters are listed in the Essentials Panel:. In the Classic layout , detailed tracking parameters can be accessed by selecting the Track tab. On the left hand side of the Track tab, you will see two sections: Motion and Search Area. Understanding the parameters section of the Track parameters is vitally important for obtaining good tracks.
Here we provide a breakdown of each parameter and how to use it effectively. When tracking, Mocha looks at contrast for detail. The input channel determines where to look for that contrast. By default, Luminance does a good job. If you have low-luminance footage or you are not getting a good track, try one of the color channels or Auto Channel. By default, the minimum percentage of pixels used is dynamic. When you draw a shape, Mocha tries to determine the optimal amount of pixels to look for in order to speed up tracking.
If you draw a very large shape, the percentage will be low. If you draw a small shape, the percentage will be high. In many cases, the cause of a drifting or slipping track is a low percentage of pixels. Keep in mind however that a larger percentage of pixels can mean a slower track. This value blurs the input clip before it is tracked. This can be useful when there is a lot of severe noise in the clip. It is left at zero by default. Mesh Mocha Pro Only : Movement within the overall plane, such as distortion, warp etc.
See PowerMesh and Mesh Tracking in the next chapter for more information on this tracking method. The main difference between shear and perspective is the relative motion. Shear is defined as the object warping in only two corners, whereas perspective is most often needed where the object is rotating away from the viewer significantly in space.
As an example, if someone is walking towards you, their torso would be showing shear as it rotates slightly back and forth from your point of view. The front of a truck turning a corner in front of you would be showing significant perspective change. Large Motion: This is the default. It searches for motion and optimizes the track as it goes. Small Motion is also applied when you choose Large Motion. Small Motion: This only optimizes. You would use Small Motion if there were very subtle changes in the movement of the object you are tracking.
Manual Tracking: This is only necessary to use when the object you are tracking is completely obscured or becomes untrackable. Usually used when you need to make some adjustments to complete the rest of the automated tracking successfully. Existing Planar Data: This is only used when you want to add Mesh tracking to an existing planar track. This is set to Auto by default. Angle: If you have a fast rotating object, like a wheel, you can set an angle of rotation to help the tracker to lock onto the detail correctly.
Zoom: If you have a fast zoom, you can add a percentage value here to help the tracker. Again, the tracker will still handle a small amount of zoom with this set to zero. Track the plane selected by pressing the Track Forwards button on the right- hand side of the transport controls section. You may keyframe the spline shape so that it tracks only the planar region of a shape by adjusting the shape and hitting Add Key in the keyframe controls menu. Keep in mind that no initial keyframe is set until you first hit Add Key or move a point with Auto-Key turned on.
The spline should be tracked in addition to the clip being cached to RAM. You can play it back and get an idea as to how the track went. F eel free to change the playback mode in the transport controls to loop or ping-pong your track. Turning on Stabilize will lock the tracked item in place, moving the image to compensate. In the track module, stabilize view is a preview mode to check your track. Actual stabilization output is handled by the Stabilize Module, explained in the Stabilize Overview chapter.
You can check the accuracy of your planar track by turning on the Surface the dark blue rectangle and Grid overlay in the Essentials panel or the toolbar:. If you play the clip, you should see the surface or grid line up perfectly with the plane you tracked. When you turn on the surface you will see the blue box that represents the 4 points of the corner-pin.
Right now you will see that it is not lined up with the screen. As described above, by selecting each corner one at a time you can adjust the surface area to cover the area of the screen, or you can use the middle points to scale and the outer corners to rotate. You can change the density of the grid by adjusting the X and Y grid values in View Viewer Preferences:.
The Trace feature allows you to see the position of the planar corners over time. Skip allows you to work with only every nth frame, useful on particularly long roto shots where the movement is predictable. To monitor what the tracker "sees" as a tracking area, select the Track Matte button in the view control. There may be instances where you have already created mattes for one or more objects in the shot, for example using a keyer or another roto tool that would help you isolate areas to track.
You can import such mattes by creating a new layer and then using the Matte Clip setting under Layer Properties to assign it to the layer. When starting a new project, go through your footage a few times to see what your best options are for tracking. You will save yourself a lot of time by making note of obstructions and possible problem areas in advance.
When tracking surfaces you will usually get a much better track if you include the edges and not just the interior of an object. This is because Mocha can define the difference between the background and the foreground and lock on better. For example, if you are tracking a greenscreen, it is better to draw your shape around the entire screen rather than just the internal tracking markers.
In some cases this means you can avoid tracking markers altogether and save time on cleanup later. The processing can be slower, but you will usually get a much more solid track. Remember you are not limited to one shape in a layer. Use a combination of shapes to add further areas or cut holes in existing areas to maximize your search. If necessary, make an additional layer to track and mask out foreground obstructions before tracking the object you need.
This way you can stop your track early to fix any issues and spend less time trying to find them later. In order for Mocha to keep the best possible track, it is usually best to scrub through the timeline and find the largest and clearest area to begin tracking from, draw your shape there, then use backwards and forward tracking from that point.
For example, if you have a shot of sign coming toward you down a freeway, it is usually better to start at the end of the clip where the sign is largest, draw your shape and track backwards, rather than start from the beginning of the clip.
We have a Planar Tracker which specifically tracks planes of motion, but this is not limited to tables, walls and other flat objects. Distant background is considered flat by the camera where there is no parallax. Faces can be tracked very successfully around the eyes and bridge of the nose. Rocky ground, rumpled cushions, clumps of bushes, human torsos and curved car bodies are all good candidates.
The key is low parallax or no obvious moving depth. When in doubt, try quickly tracking an area to see if it will work, as you can quite often trick the planar tracker into thinking something is planar. Mocha is a very flexible tracker and will save a lot of time, but you will eventually run into a piece of footage that just will not track.
Large or continuous obstructions, extreme blur, low contrast details and sudden flashes can all cause drift or untrackable situations. You can often get a lot more done fixing shots by hand or using AdjustTrack in Mocha rather than trying to tweak your shapes and parameters over and over again to get everything done automatically.
PowerMesh is designed to help track non-planar surfaces. This is for both rigid and non-rigid surfaces that would otherwise be impossible to track with a regular planar tracker. Rather than taking an optical flow approach which can be slow to render and produce cumbersome files , we use a subsurface planar approach which is much faster to generate and track. Draw a layer around the area you want to track.
Automatic: This determines the best mesh to use based on image information contained in the layer. Uniform: Generates a uniform square mesh insead of building based on the existing image. This means that the smaller the Mesh Size, the more potential mesh faces you will have. The larger the Mesh Size, the larger the faces and the less faces you will have. This option makes sure the PowerMesh is generated to the boundaries of your layer spline, rather than just over the most interesting detail within it.
Adaptive Contrast boosts details in the underlying image to help the Automatic mesh generate the most useful vertices. Use with care! The Mesh tracker first uses the standard planar tracking per frame and then applies the sub-planar track with the mesh. Any mesh faces that fall outside of the spline or the image boundary are ignored. Those mesh faces become rigid and try to follow along with the existing mesh. Turning this on tells Mocha to guess the amount of smoothness to apply to the Mesh track.
A high smoothness is like applying starch to your Mesh. It will follow the planar track more rigidly and not distort as much. A low smoothness will follow the subsurface movement more directly and distort the mesh more. As a general guideline, we recommend setting a lower smoothness for very warped or wobbly movement and a higher smoothness for more rigid objects that still have some distortion.
Faces: This varies, but a smoothness of 50 is about the right amount to balance facial muscles vs general face planes. This option deforms the spline shape to match the movement of the Mesh while tracking. As an added bonus, this also means it greatly reduces the keyframes needed to rotoscope an organic object. In the new layer, go to Layer properties and choose "Link to track" and select your tracked layer. You can also do this for the same layer you are on without creating a new layer.
Any planar tracked layer can have the Mesh applied later and then simply be retracked using "Existing Planar Data". Selecting this turns on subselection in your mesh and you can move or delete vertices either before or after you have tracked the mesh.
After Tracking, You can animate the tracked mesh manually to fix points or make your preferred adjustments. Animated meshes are keyframed for the whole set of vertices, rather than individual points. This makes it easier to keyframe states over time, similar to the spline default animation mode. This tool appears when in Edit Mesh mode. When Add Vertex is on, click any Mesh edge to add a new vertex.
A new edge will appear joining the created vertex and the vertex opposite. Use this section to create nulls from selected layers. See Creating PowerMesh Nulls for more details. Alembic tracking data as a mesh: The exports from the "Tracking Data" export options. Alembic is supported across many hosts. The data format includes the PowerMesh and a camera that fits to the source footage. See Exporting to Alembic for more details.
Nuke Mesh Tracker: This will export a single Tracker node for Nuke that contains a single tracker point for every vertex in the PowerMesh. When tracking, if one of your mesh faces turns blue, this means the face has become flipped, normally because the area you are tracking has turned away from the camera.
You can use more than one contour to cut holes in the mesh generation. This is helpful if you want to ignore details in a surface, such as teeth in a mouth region or a tattoo that is taking up too much of the mesh detail. Tracking in Stereo is very similar to tracking in Mono. Draw your shape as you would normally in mono mode See Mocha User Guide for an introduction to mono Mocha tracking techniques.
If you now switch between Left and Right views you will see the Right view has automatically been tracked and offset from the Left view. If you would prefer to only track and work with the Hero view initially then offset your data manually, you can also do this using the Stereo Offset tab in Track. Make sure the "Track in all views" button on the right side of the tracking buttons is switched off.
This will only track the current view you are on. If you switch to the other view you will see the layer still moves with the track, but is not offset like when you do an all-views track.
If you decide later that you want to track the non-hero view, you can do so by selecting the non-tracked view then track as normal. You have the following options in the Stereo Offset tab see above when tracking another view based on the hero view:.
Track from other views: This will reference the existing track to help track and correctly offset the current view. Track this view: This will reference the current view to get the tracking information. Note that by default these are both selected to give best results.
If you only use Track this view and not Track from other views , the current view will be tracked independently of the hero view and will not offset. You can also open existing mono projects that have additional views and track them without having to manually offset.
Just set the mono project to Multiview in the Project Settings and add the additional footage streams to the clip. For simpler tracks, you can also do a technique called "Offset Frame Tracking" which is a combined stereo track and hero track.
Turn OFF the the "Operate in all views" button on the right side of the tracking buttons. If your initial stereo track was offset correctly, that offset will then carry onwards through the rest of the track. Keep in mind that things like convergence and disparity in the moving stereo image may not work accurately in this scenario, but it will increase performance of the process because you only have to track one eye. You can also then apply additional manual stereo offsets as described in the manual offset section above.
There will be times when tracks can drift due to lack of detail or introduction of small obstructions. When this occurs, manual refinements can be made by using the AdjustTrack tool. AdjustTrack is primarily used for eradicating drift by adjusting reference points to generate keyframable data to compensate. It is generally not practical to use it to remove jitter. To achieve an adjusted track you would ideally line up the surface area where you want to place your insert or lock down your roto.
The Transform AdjustTrack is designed to be an easier user experience from the Classic AdjustTrack see below by removing the need to use the surface as your alignment tool.
In Transform AdjustTrack you can adjust based on specific transforms with as many reference points as you require. You can set reference points either as a template for the kind of adjustment you want, or add them yourself as needed. Note that the Transform selection works very similar to the Motion type in the Track module.
When you select a motion type further down the list, it will automatically select the ones above it in order for the tracking keyframes to be adjusted predictably. You can opt to turn off the default-selected transform types later if you need to do a specific adjustment.
After you have chosen the type, click 'Set points' to create the points. You can then adjust the reference points see below. You can add more points to your adjustment as required. Each point contributes to the adjustment of the plane based on the position of the other points.
Once you are happy with the points positions and have set a reference frame, you can start moving back and forth on the timeline adjusting the points for drift. Each point adjustment sets a key frame for every other point in the shot to avoid unwanted distortions.
You can see the original reference frame for the selected point in the zoom window in the upper left of the viewer and the current frame in the window below that. This is helpful if you are ultimately planning on using the surface as your export area and want to make sure it is still lining up.
Nudging is used to adjust the track by pixel increments. This helps when adjustments are too subtle to be done by mouse movement. Each arrow nudges in the indicated direction. You can either click and hold the button or use the shortcut keys to nudge. The 'Auto' button in the middle of the direction grid tries to guess where the point needs to be. It can be useful to start with 'Auto' to attempt to place the reference point first, then adjust manually.
Auto Nudge takes the 'Auto' action above and lets you use it space adjustments over the whole shot. If you set 'Auto Step' and define a frame step you can then 'Track' the Auto Nudge using the tracking buttons in the timeline.
Auto Nudge will then nudge the selected reference points at the frame step interval set. The Search fields define how far Auto and Auto Nudge look for the area the point needs to adjust to. You can export adjusted tracks as normal via the file menu or via the Track module just like any regular track. This version of AdjustTrack is primarily used for eradicating drift by utilizing the four-corner surface area to generate keyframable data to compensate.
When you have the Surface where you want it to stay locked and are ready to refine the track, flip over into the AdjustTrack module by hitting the AdjustTrack tab. As you play though the sequence you will be able to manually adjust the position of each point as drift occurs. If your track is spot on, these reference points should line up properly throughout the shot. If you see a Reference Point drifting, that will indicate the track is drifting. Find the frame where the drift is worst and move the Reference Point back to the position it had in the Primary Frame and the track will automatically be adjusted based on your correction.
When you perform an adjust track and you begin to move a newly created reference point, you will notice the dashed lines which connect all of the reference points. These lines change in color to represent the quality of positioning of any given reference point. For best results keep reference points away from one another. When adjusting the track try to always get at least yellow but shoot for green for a more solid adjust track.
Often there are times where your reference points are either obscured or exit frame. In AdjustTrack you have the ability to create multiple reference points per surface corner that can be positioned in alternate locations to handle these situations. Simply click the New Ref button to create a new reference point for the selected corner. You cannot keyframe the Surface — only the Reference Points.
The original track and any refinements you make in AdjustTrack cause the Surface to move however. Every so often a shot will come along that is easier to track backwards than forwards. This is fairly simple when running the tracker backwards, but introduces some rather obtuse concepts when keyframing is involved. For example, if you decide to create a new backwards reference point at frame 20, a new primary reference will be created at frame Others who do a lot of tracking and find themselves working backwards often may find the backwards-thinking New Ref button helpful.
Every Reference Point has one frame in which its initial placement is determined without causing any adjustment to the track. This is called the Primary Reference Point; if you step forward or backward in time you will notice the red X change to a red dot. The red X indicates that this particular frame is the starting point for calculating adjustments. Step forward a frame and move the same point - this time the surface will move because you are now adjusting the track.
By default, the frame in which you create a Reference Point is its Primary Reference frame. This Primary Reference can occur on a different frame for each reference point. The next button simply cycles through the active reference points for that frame. More fine-grained control of reference points can be obtained through the Nudge control panel, described below. Deleting Reference Points is done by selecting the point you wish to remove and hitting the delete key.
If there are multiple Reference points on a particular corner, the preceding Reference Point will be extended through your time line until a new Reference point is encountered. The Nudge section allows you to move Reference points in 0. You can easily select any active Reference Point by selecting one of the corner buttons in the Nudge section.
If you hit the Auto button, a tracker will attempt to line up the selected Reference Point based on its position in the Primary Reference frame. You can quickly select any corner by using the Corner selector buttons in the Nudge control panel. In the image below, the user is selecting the upper right corner in preparation for nudging operations.
Deselecting the Inactive Traces button will cause the display to hide the traces of the inactive Reference Points. This is helpful if you have a corner with numerous Reference Points offsetting it. When you see a drift, carefully cycle through the timeline and look for where the motion starts to change direction. A frame before this, adjust your drift, then go halfway between your primary frame and the adjusted frame to check for any further drift.
If you keep working by checking halfway between each keyframe you set, you will reduce the amount of keyframes required. If you end up with adjustment keyframes on a large amount of frames it may be better retry the track. AdjustTrack is aimed to help reduce small anomalies and fix drift when a tracked corner has become obscured. If you are fixing every second keyframe it means you have more than a simple drift.
Good rotoscoping artists often think like animators, reverse engineering the movements, the easing in and outs, the holds and overshoots of objects, and set their keyframes accordingly. In general, the fewer the keyframes, the better your mattes will look.
Too many keyframes will cause the edges to 'chatter' and move unnaturally. Too few keyframes will cause the shapes to drift and lose definition. Finding the right number and placement of keyframes often comes with experience but there are a few things to keep in mind when rotoscoping.
There is no such thing as a perfect matte. Rotoscoping is an art form that takes into account the background image, the movement of the object, and the new elements to be composited in the background.
Try to start your shape at its most complex point in time, where it will need the most control points. Break a complex shape into multiple simple shapes. If you are rotoscoping a humanoid form and an arm becomes visible, consider rotoscoping the arm as its own element, rather than adding extra points on the body that will serve no purpose when the arm is obscured.
Imagine you are the animator who created the shot. What would your dope sheet look like? No matter the medium, whether CG, live action or otherwise, most movements are rarely linear. They normally move in arcs; they normally accelerate in and out of stopped positions. Try and understand the mechanics behind how things are moving in your shot. This will help you to minimize keyframes. Watch and study the shot before you start working. Where are the changes in directions? These will normally have keyframes.
Where are the starts and stops? Are there camera moves that can be stabilized to make your work easier? Beginning roto artists often make the mistake of trying to fix a flawed approach by adding more and more keyframes. Experienced roto artists learn to quickly identify an inferior approach and are unashamed to trash their work and start over, often many, many times.
It is very difficult to get a good matte without a conscious effort to keep the keyframes to a minimum. While you can refine a shape you have tracked to do your rotoscoping, the recommended way is to do a rough shape to track something and then link your roto to that track.
This reduces the amount of work required when you are dealing with complex shapes, as you will not have to track and refine each shape as you go. Another reason is reducing the amount of data needed in your project file.
Exporting Adobe Premiere file as MP4: EWU Canvas Student Support - Code Project精彩系列（转）
You can also convert two files at one time. It can meet the basic conversion requirements. For upgraded conversion requirements, we suggest you use Wondershare UniConverter on your desktop, which is much faster and more powerful. Question: What Adobe Premiere Pro supports video formats?
Question: Adobe Premiere Pro supports my video, but it still can't be imported into it? Answer: For some video formats, it is the codec issue. You need to convert your video format to Adobe Premiere Pro-friendly codec, like MPEG-2, which is the best codec with the best results when working with Adobe. Try Free Buy Now.
Watch in action. Part 1. The best MP4 to Adobe Premiere converter. You can also click the "Add Files" button to add them. Since the program is able to deal with batch conversion, you can import several MP4 files at one time.
You can click to download online MP4 videos by clicking the "Donwload" button. You just need to copy and past the video URL to the start downloading. When finishes, you can import it to the program for conversion immediately by clicking the button "Import all".
You should choose a proper otuput format for Premiere after you finishing importing MP4 videos to the program. There are two ways to find the output format list: 1. Click the format icon next to the imported video thumbnail 2. But bit QuickTime support has been discontinued. Download QuickTime 7. According to the feedback of some users in the Adobe forum, for certain video files, the MP4 won't import error can be fixed by changing file name or file extension.
File name containing a long string of words or letters from non-English alphabet could be problematic under certain circumstances. As for file extension, if your MP4 video is from DJI devices, you can try to change its extension to.
MP4 is merely a container format, and it is the video stream codec and audio stream codec that matters. The solution is situation-specific, such as where is that MP4 file comes from what device , does it come from a device directly, or it has been converted to MP4 from another format. If you tried the above solution, and still cannot import MP4 to Premiere, you can export the MediaInfo of that MP4 video, and send it over to us, or to any forum you frequently hang out.
With detailed MediaInfo, people can help you to analyze the Premiere Pro file import failure. If all the methods above are unable to solve the problem of Premiere Pro can't import MP4 file, you can try an Adobe alternative called VideoProc Vlogger. Developed as an impressive and simple video editor, VideoProc Vlogger lets you import MP4 files, and other video formats smoothly.
Also, you can rely on it to polish your MP4 videos like add music, add subtitles, add effects , split, rotate, trim, change speed , change color, record voice, record screen, and more. Adobe Premiere supports most popular container formats and codecs. If you want to know what formats are not supported by Adobe Premiere Pro , read and check for details. They can be regarded as a box to hold media data compressed by different compression and encoding technique. That is to say, it is the codec rather than file container formats that determine whether Premiere can read the file or not.
Jordi was an amateur tech enthusiast, but now an editor who has published hundreds of stories covering hardware acceleration, video editing, software review and how-to guides.
He is more like a "tech support" with adventurous soul, eagerly grabbing cutting-edge video technologies off in a professional yet easy-to-understand style, and enjoying gliding, diving, etc. With any standard camera format, a single modern drive will be more quickly, even for multiple streams of data.
Work terribly hard to get a RAID 0 array there somewhere, but man, it is really not necessary in most cases and may even be a bad idea for a good number of cases. Description of the problem:. When I import to Premiere, first said "Codec missing or unavailable. I copied the data to a disc formatted NTFS before use. Research, I gave the following indications:.
I tried to play in Quicktime and Quicktime said that I would need additional software to play the. VLC plays! The sound is PCM L according to inspector mov programs. So now my question: what am I missing? So my music on my video which was made in first pro cc ,3 adobe decreases whenever there is a sound effect.
It is very annoying, because this does not happen in the timeline panel. Help me please, if anyone has answers, I went outside with the H. Thank you. I'm a fan of PotPlayer myself. I think it's the best out there, better even than the revered VLC. But it does not come with the effect to standardize on. You will need to turn it off manually. I have a strange problem again in adobe first cs3 that I have not met before and ive tried to solve it but can't.
If I imported an image into the project that it is there as it should ready to drag them to the timeline, the problem is the preview of the image and the screen when I drag in the timeline is black I can't image appears as it keeps being black, ive tried different sizes of images, the only photos ive found that jobs are up here the example of windows just Answers Asap are appreciated, it of a wedding film and must be done by tomorrow night There is a limit of x pixels All users are standard users, without administrative rights for obvious reasons of security.
When I made originally of the deployment of the lab by running sysprep on a reference computer and use ghost to deploy the rest of the computers, I noticed a problem with Premiere Pro CS3 after deployment. In this laboratory, none of the computers would capture video via firewire and built it based on capture in Adobe Premiere CS3. I think I have a post about it on these forums that was never solved. To work around this problem, I capture images for students in my office and transfer it on to their readers of network so that they can import it into Premiere Pro CS3 and edit images.
The idea here is that the. The problem is that if any student tries to import their images on a computer in the laboratory of digital media, the converted media files, exact same those who just imported in my Premiere Pro CS3 installation on a computer in my office with the same material as the computers in the lab of digital media, fail to import the audio. I can see the video without any problem in the lab, but no audio layer is displayed.
All audio and video codecs installed on my machine are also installed on the machines of digital media. If I right click on Adobe Premiere Pro CS3 from a student on these computers account and choose Run as and use the account administrator, Premiere Pro CS3 does exactly the same thing, he can't yet see the audio.
Adobe CS3 is perfectly up-to-date on my desktop computer and all computers of digital media. Any help solving this would be greatly appreciated, spring break is coming here next week and I'll be here all week. Hoping to get this resolved during this time so that students can edit their own films. Again, importing video, audio is not. No audio layer is displayed. See if that helps The audio sounds absolutely perfect everything while listening to him itself, it is only after I export it.
This is the first time it happened, I've never had these problems before. More funny, if I export as a part of the video, the audio seems fine.
