Original subtitles

In this lesson, we're going to learn how to execute a two point track.

So I'm starting off here in zero five underscore begin,

and that is another blank file in your project files.

You can also just start with a brand new NUKE

script and that's going to give you, basically,

the same thing as what we have here.

So what I want to show you in this lesson is how to do a two point track.

So let's go ahead and grab our Reference Files folder,

inside of our project files.

We're going to bring in the two point tattoo track.

So go ahead and just click and hold that.

Drag it onto your node graph.

And we'll just pull this away.

Let's go ahead and hook up our viewer node so we can see this.

And just go ahead and play this through.

So we have quite a few frames here to deal with.

And you can see that we have a tattoo on our actress' arm here.

So she's just kind of talking to the camera and moving her arm around.

And a lot of times, if you're working on some kind of a project,

actors will have tattoos that don't really,

maybe, go with their character.

And so you may end up having to rotoscope out a tattoo

and use tracking data to cover it up.

So instead of creating a rotoscope that you have to

move around with every single motion,

using that tracking data is going to be a lot more effective.

And in the end, it's going to save you some more time.

So why use a two point track?

Why not a one point track?

A two point track is going to give you the ability

to get rotation and scale data, as well as translation data.

So just as I scrub through this,

you can see that the elbow is a pretty good demonstration of this.

So,

her hand up here is going to move a lot more quickly than

things that are closer to her elbow.

So this area up here is going to get a lot more translation

information than this area down here.

And then we also have the rotation as this kind of comes down this way.

So this is going to stay closer to that fulcrum,

or that joint, where her elbow is attached,

and then this area up here that's closer to her hand,

that's farther away from the joint, is going to move more.

So things that have just kind of that straight nature like this,

that have rotation are great for two point tracks.

So let's go ahead and start setting up our tracker to track this data.

So I'm going to go ahead and we'll start on the first training,

see just as we scrub through this, the tattoo is visible the whole time.

But in this area right here,

she moves her hand pretty quickly and we get a lot of motion blur.

So we're probably going to have to go in and do a little bit of that by hand.

So go ahead and just hover over our node graph here.

Hit the Tab key and type in "tracker.

" And we've just added that tracker node.

You can drop it in between the viewer node and your read node,

just to connect that.

And then we're going to add a track.

We'll just come up here.

Let's start with this n area.

Now, I've tracked this a few times,

just to figure out what the best data comes from.

And you always want to try to get some contrast.

So we have quite a bit of contrast in her arm here already,

just between the ink and the skin.

So that's maybe not going to be a huge problem.

But, if we were trying to track a small area,

like maybe this little spot right here,

it's maybe going to have a little bit of a harder time.

So I actually found that tracking this whole word on her arm was better.

And sometimes you're just going to have to experiment around.

So what I'm going to do is just move this pattern area,

so that it encompasses that whole word.

And we've moved this up a little bit.

And then just remember, we kind of have it on the downstroke of this letter n,

next to this last letter g here.

And then let's go ahead and maybe increase the search area just a little bit.

We don't want it too large,

because we don't want it accidentally jumping around and tracking this.

Now we're starting out with our track 1.

And if I just pull this over here to the side,

you can see that we have the TR and asks for our translation,

rotation, and scale.

So our first tracker is only going to be looking at that translation.

Now we need to get a second tracker in here that's

going to look at rotation and scale.

So let's go ahead and pull this up a little bit.

And we need to add another track.

So that's going to be for this lower part of the tattoo down here.

So go ahead and add a second track.

We'll just pull this over here.

Now,

the middle area is probably going to actually be closer

to where this c comes up onto the r, so we'll put that right there,

and then pull this up a little bit,

maybe make that search region just a little bit smaller.

Just like that.

So, now we're ready to start tracking.

So,

one of the things that we need to tell it before we start our track is

that we want this to track our rotation and our scale,

but we also need it to track our translation if we want to get maybe a

little bit more accurate data for that translation.

You don't have to check that, but I find that sometimes it helps.

So let's go ahead and make sure you have both of your tracks selected.

So,

you want both of those to be highlighted for this to

track both of those at the same time.

Now, if you get one of the tracks right,

you're happy with it and you want to adjust the other one,

you only want to have the one highlighted that you're working with.

And I'm sure we'll work on that here in a moment.

So with those two selected, let's just come up here.

We're on our first frame that's on frame zero.

And I'm going to go ahead and just hit track to end,

and we'll just see what happens.

So it looks like it's sticking with the track pretty

well throughout the beginning of this.

And then it kind of goes a little crazy.

So I'm just going to go ahead and cancel this to stop it.

Because once she does that large motion,

it looks like track two popped off, and track one just started going crazy.

So, what we'll do is just select track one, and we'll come back to frame zero.

And then we'll just watch this and make sure it stays on target.

So I'm just going to scrub through.

And it looks like right away we kind of move from the top of that n,

or the middle of the n to the bottom.

And it's not really distinguishing much of that area there.

However, we don't need to maybe be as specific with this part.

I think it might be OK that that drifts just a little bit, as her arm moves.

Now, if you want to, you can go in there and fix it.

And a great way to fix it is that you noticed this area here

sticks really well to the bottom of that n.

So let's go to the first frame, where it really is sticking to that area.

Looks like it's right about here on frame seven.

And we'll actually track this backwards to fix this.

So we'll come back up here to our Clear Backwards button, and choose that.

So that's going to clear everything from frame seven to zero.

And then we'll just track this frame by frame.

So come up here, choose Track Previous.

And you can see that now it's getting much better information.

Now, we might need to move this back just a little bit, so it's back in place.

And just because we tracked it backwards,

it got better information than when we tracked it forwards the first time.

Just it had a little bit better place to stick to.

Now, right in here, it gets crazy.

So, let's say just right here on frame 54 is where this starts to go bad.

So we'll clear everything forward to 54.

And then just take this on a frame by frame basis.

So go ahead and track forward one frame.

And you can see, it starts to get a little hazy,

but it's mostly just motion blur.

It's still relatively in the right place.

So, go ahead and track forward another frame.

And again, kind of a little bit just hard to see exactly where it's going.

But it's still in place, basically on the edge of that n.

And I think for this part it's going to be OK that that's a little blurry.

So, again let's just go ahead and track forward one more.

Now, it's not really on the black anymore.

So we need to move this over here.

And I'm just guessing where this is going to be.

So, sometimes you're going to run into that.

I've gone ahead and tracked forward another frame.

We'll just move this into place,

and then just continue this process of tracking forward one frame at a time,

and repositioning the tracker just kind of where we

think that n is going to end up, based on what it looked like at the beginning.

And it looks like it's kind of starting to come back into position.

I can just click this.

I'm not having to move it a lot.

And it looks like we're kind of on the g instead of on the n.

So what I'll do is go ahead and move this tracker down onto the n again.

And then let's move backwards a frame.

And we'll just kind of readjust that.

And instead of clearing everything this time,

I don't want to do that because I know I have good tracking data behind me.

So I'm just readjusting these points by hand,

to get them into position where I feel like they should go.

And then once it gets really blurry,

it's going to be OK for this to be a little bit off.

OK, so right about here, everything before that we know is good.

So now let's come over here to frame 67.

And just try to track forward again.

So I'll just track to the end.

We know we're on 67.

And I'm just watching this track through.

It looks like it's sticking really nicely on that n.

Then it looks like she kind of moves a little bit fast again.

And we lose it.

So we'll go ahead and cancel that.

Let's go back over here to frame 67.

And we'll just select track one, just so we can see this.

Scrub forward, and it looks like right in here, we get a pretty big jump.

So, looks like we're 81 right here, before we get that big move.

So what we'll do is just clear everything forward of 81.

You can see, that got rid of all those frames.

Then we'll just track forward to the next frame.

And we'll just do this by hand until we get back into position.

Now it looks like this could move over just a little bit,

to grab the back of that n again.

And this one again, we'll move over just a bit.

You can see, now it's sticking pretty well,

so let's go ahead and try to track to the end.

Looks like that's staying on that n quite nicely.

Looks really good.

OK, so now we have our track one complete.

If I scrub through here watching this area here,

we stay on the lower part of that n for pretty much the whole shot.

Now we do get a little bit of some crazy motion blur in here,

but we made it work.

So that looks like that stuck pretty well.

Now unfortunately, we have two tracks.

So we need to go in and do exactly the same process for

track two that I did for track one.

So again, just selecting track two,

coming in here and making sure that it's sticking to the

same place throughout the rest of the shot.

So what I'm going to do,

now that I've shown you pretty thoroughly how to work

with fixing that tracking data,

kind of going back and forth using the Track Next and the track to n,

I want you to try to tackle track two in between lessons.

Then we're going to come back in our next lesson and I'm

going to show you how to blur out the tattoo and then apply

the tracking data to that blur, and just kind of where to go from here.

So, try to tackle fixing track two in between lessons.

If you can't get it,

I'm going to have that data ready for you in the next lesson.

So you can just go ahead and open up your project

file for zero six underscore begin, and we'll be ready to go,

if you don't want to attempt that in between the lessons.

Now, it's not going to be any different simply because it has translation,

rotation, and scale.

You're still just going to be moving that tracker

around to track the same point.

So see what you can get done between lessons.

I'm going to meet back up with you in the next lesson,

and we'll just start from having track two ready to go.