How To Place Tracking Markers Part I 

wrong.... these is very old, its not wrong what he said but stuff is so much easier these days and also there are youtubers who explain things properly :/ just find them

Hi Lenny, thanks! I see you've done a lot of matchmoving, so you must be on the constant receiving end of footage shot by people who have no idea about camera tracking. The video is still valid, although I'd change that SynthEyes really likes dots, so all the tracker shape advice is wrong for SynthEyes. It's shocking what happens on blockbusters. I was consulting on a $150M movie, and just as I arrived, they were motion capturing the lead actors to do them in 3D because the director had shot off the set (no roto possibility, big hair). It's all the time. VFX companies should insist on the VFX Super being able to override the director before signing the contract, because 1/3 of the money goes towards fixing huge, idiotic problems. Nice hearing from you!

@@HollywoodCameraWork Hahaha! Totally agree and yes. I've seen so many $100,000,000+ projects come through that could have chopped 10-30% of their post budget if they had watched your videos. Or if they had just asked some of the actual boots on the ground folks in post for a little advice.

+someone true Either they used Boujou or Nukex by the foundry to track i think :)

+someone true In Part 2 of this series they showed and said they were using Maya

well u have to track in a compositing software before exporting the 3d camera data into applications like Maya. Maya cannot do camera tracking. Trust me I am an VFX artist :)

Hello, do you think this tutorial still worth purchasing? I mean their full series of tutorials.

@@deftgio Only if you have decent computer with high rendering capacity .ie. your RAM, CPU and GPU. Also your computer must be a 64 bit computer to handle the software like After effects,Blender, Sony Vegas, Hit film, Cinema 4d etc.

chroma key

at first I thought it was Bjork lol

I just came here to learn about VFX+matchmove but ended up falling in love with her. damn it

Communicated via email.

Do you know it after 3 years?

Shh, don't tell anyone.

... stuff is so much easier these days with AE man... its not wrong what he said but some stuff is just so much simpler these days.

Cameko Sam good

Hi..it's me..avatar. the name the father the holy spirit amen thanks God I'm back

Hi, we'd be very nervous about the shadows from using cloth pieces. It would create a black outline underneath. Even gaff tape can do this under certain lighting conditions. Whatever you put on the wall has to be ultra-thin, or you'll find yourself having to paint out every tracking marker. If you have to paint out any part of it, it's equivalent to having to paint out the whole thing, you'll have gained nothing, and you might as well make it black. The marker has to disappear completely. Even a black stripe behind hair detail is like getting gum in the hair -- you'll spend 3 days fixing what should have taken 3 minutes.

Hey! If it's just a matter of removing road markings, that's usually done with planar tracking, which is infinitely simpler. See Mocha for After Effects.

Hi, if you have tracking markers, you need them to be as sharp as possible. Shallow depth of field doesn't have much meaning on a green screen because you don't have depth, you only have middle -- if you want shallow depth of field in the shot, it happens later in compositing. Besides the danger of not being able to see the tracking markers, shallow depth of field also causes blurry actors when they lean forwards and backwards, which is very difficult to key. You should have as deep a depth of field as possible on a green screen, and the only real constraint is that the way to get it is the close the aperture of the lens, which lets less light in, which causes more noise. So the compromise is to go for the most closed aperture you can get without compromising your exposure. And to make your day more miserable, you should also have the shortest shutter as possible to get as little motion blur as possible. All of these things let less light in and run up the noise. But this is the compromise, between sharpness and exposure.

Thanks!

The filmback is the size of the exposed area on the negative, or the active part of the sensor. You can't calculate it, and you often can't measure it either, only roughly estimate it to verify that the matchmoving calculation is correct.

but i have seen many people just use sensor size for the filmback height??....is it right? For example canon eos40d comes with sensor size 22.4x14.8mm....so they just use 14.8 as filmback height.....is this right?

@@blendershots Film back and sensor size are the same thing, one is just film, one is digital, but they do the same thing. Still, whatever number you have from the camera manufacturer isn't accurate. The exact expose area on the chip depends on details about the lenses and the recording format. Many cameras don't use the full sensor for certain recording resolutions, because a small subsection makes the pixels line up nicely and area easier to scale. So the effective chip size is smaller. Don't worry about the film back, except as an integrity check. All the parameters just scale together. A 35mm chip with a 50mm lens and a 16mm chip with a 30'ish mm lens produce the same matchmoving math, it's the same image, just recorded on smaller equipment. So don't get hung up on chip size.

thank u so much

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