All language subtitles for 04. Setting up for 3D camera tracking

in this lesson

we will create our 3D camera track

based upon a live action background plate

first off what we have here

is what we left off with in our previous lesson

what we're going to bring in now

is our actual image sequence

of live action background plate

so if you go to your file browser

you can then find

navigate to where that is located

and in this case

it is the mountain footage folder for me

and so I'm gonna drag that folder into the nuke node

graph drop it

and you'll see that it's already created a read node

that has the image sequence already set up in it

now what we're going to do is

we're just gonna do a quick

layer composite

of our still frame images that came from Photoshop

with our background map

or with our background live action plate

so we just need to switch those inputs

so then we have a over B

sorry apologies

there we go

now we just

a over B it

and our reference frame

that our map painter took from this image sequence

was frame 100

so if we switch to frame 100

and we go full screen

you'll see that we have basically everything lined up

in an approximate location

now there's

there's some changes that are gonna be made

you can see the color doesn't line up quite right

if we if we check this against that

you can see if there's a significant color grade

that is going on that

that hasn't been applied

just based upon the fact we're layering things

but you can kind of see where various elements

are lining up

and should be in proper location

so that that's really all we wanted to know we're

we're not gonna go any further with that at the moment

so now what we're going to do

is we are going to then

utilize this element

the image sequence

and if you scrub through

you can see what's going on with that

so let's just

full frame here

and do just a quick scrub through

so you can see at frame 0

starting at frame zero

it's it's starting to pan to the right

and you can see that the camera is panning

panning panning

and it's basically a very simple camera pan

now there isn't a ton of parallax

there is a little bit

you can see just a little bit of subtle shifts

between this mountain ridge

and the background mountain ridges

but I wouldn't worry too much about

any types of parallax

the moment cause that

that will determine

how detailed we go

with our 3D image projection

with our building

once we have already set everything up

and are able to preview

so at the moment

what we're going to do is

begin to do our actual camera track

so if we go out of this

we can see here on node

I'm just gonna break

any connections

cause we're not gonna actually work with any of our

elements from Photoshop at the moment

and what I'm going to do now is

I'm going to create

the camera tracker node

so if you hit the tab key in your node graph view

you'll see basically

it'll come up looking like this

where it'll just be an empty spot

waiting for you to type in

the name of the node that you're

you're looking for

so in this case

we can start typing in camera

and you'll see the various camera related nodes

that we have as options

so in this case

we want the Camera Tracker node

select that

now there's something to note about this

the camera Tracker node

does not work

in terms of allowing you to analyze

the scene that it will be connected to

it will not work

in the regular version of nuke

you need to utilize Nuke X

so just keep that in mind

as you're working

that you will need to be working within Nuke X

to be able to

actually analyze the track

and solve for the track

so if we select

the input source

and connect that to our

our background plate

and then we

view at the camera tracker node

you're going to

see a few different option

setups here so

so what we're going to be utilizing

for the camera tracker

is a few settings

so you're gonna see that

if you look through here

your source is a sequence

cause you're not working with stills

so that is correct

so you're going to select the sequence

you don't have any mask inputs

so you don't need to worry about that

now the point of the mask inputs

is to basically say hey

I don't want you to analyze certain areas of image

let's say you had

a building in the foreground

that was obstructing the view

of part of the background

that you wanted to track

you might want to create a

a mask or an alpha channel

that would be masking that out

so that you could specify

don't track within that area

because maybe

that will that the

potentially

or not maybe

but that would

potentially

if not obviously

mess up the camera

track your information that it's

it's analyzing

for for the

for the areas

that you're trying to create a track based upon

so so that's what the mask input is

you can set a range

if you want it to

check between a

various range

so you're like oh

I only want it to track from

let's say you know

you could either set it to global settings

or you could go custom

so I only wanted to track from frame 0 to

say frame 100

or something

in this case

we are going to track the entire

image sequence

so I'm just gonna set it to input

like it was defaulting to

and it will track from 0

to 1 80 now

your camera motion

you can see

there's a few settings in here

you can set it to

rotation only

free camera

linear motion

planar motion

in this case

we're going to leave it at

on the default of

free camera

but be aware

when you're setting this up

because a lot of times

when you're working within a

compositing department

at a studio

they're going to probably

provide you with

camera information

of what the

actual background plate

that you're working with

comes from so

it you know

it'll tell you

you potentially

would know what kind of motion it would be

is it linear

or the planar

rotational you know

rotational obviously

I mean these are

all obvious

uh camera movements

uh free camera you can

you actually can see

if you let the

mouse sit over

it'll kind of

give you a quick definition

um in this case

I am going to

leave it at

free camera

now the majority of

the movement

is mostly rotation

but based upon what I know

about how that shot

that was or

the camera was

was positioned

it was not just rotated

but there was a very

subtle amount of

linear motion on it

I believe it

was actually shot

on a monopod

instead of a tripod

so there was just a little

bit of movement

back and forth

so we're just gonna leave it on

as free camera

for the moment

now moving on

you can see

lens distortion

uh so we're gonna say

unknown lens

because we don't

really know

what lens were working with

now if we knew what lens we were working with

then we could

we could say

okay I'm gonna

I'm gonna either

set it to no

lens distortion or

in this case

lens distortion

so so we're just gonna stick with

unknown lens

at the moment

I don't know

I'm gonna assume

I have no idea

what kind of

lens was utilized

to create this

now the focal length

focal length

obviously you can

you can set to known

if you knew

exactly the length

you can you can

work with the various

other settings

approximate varying

approximate constant

unknown varying

unknown constant

I'm going to set it to

unknown constant

because I know

that it is not

that it is not changing

focal length

but I am unsure

of the actual

focal length

that was utilized

for that background plate

now your filmback preset

you have various options

you'll see that

some of them

are presets

that they give you

based upon various

more popular

brands or models out there

I believe this

was shot using a

Panasonic camera

so what we're going to do

is we don't

we don't have a preset

setting for that

but the filmback size

uh that for the

for the camera

that was utilized

I believe was

1 inch by 1 inch

so we're just

going to set that

right there

and you can now

begin the analysis

so we're just

going to hit

the track button

now that we have

all of our settings set up

we are going to

hit the track

button and again

like I said

make sure that you

using Nuke X

to do this otherwise

you're gonna

run into some challenges

being able to

use this cause

it will not

it will not be

functionable

um and once we have

run the track

then we will

determine if

the track is good

then we will

actually solve

that track and then

we will be able to

create our camera

so you can see how

for instance

the track button is active

we can press it

but the solve

button is grade

out right now

because there is no

track to base

the solve upon

and subsequently

we can't export a camera

you can see

it's grade out

as well because

there is no track

and there is

no solve so

at this moment

let's take a

quick break

and we will

come back and resume

and we will

hit that track button

and we'll run that

camera track

and we'll see

what kind of

results we get

but to do a

quick recap

we have just

discussed the input

uh controls

for the camera

tracker node

there are various other

tabs that we

can discuss

later if needed

but that will

be discussed

once we have

run the track

to see what

is going on

with with this

camera track

so to do the quick

quick recap of it

we have discussed

creating our 3D

camera track

based upon a

live action

background plate

and we will continue

discussing that in

our next lesson