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Autodesk 3ds max 2015 the software license checkout failed error 20 free
This class is for anyone who wants to learn how to manage network licenses. You will learn the steps required to install and configure Autodesk Network License Manager 3rs use the Options file to manage group license permissions. We will also cover command-line tools, how to troubleshoot and diagnose problems, optimization, limit borrowing, and upgrade licenses.
You will learn how to list current users and create usage reports. This class will benefit everyone new to network licenses and those that want to learn more.
This document is cheeckout and complemented after the class with more information and any recent changes. Checkoout the end of this class, you will be able to:. He is the owner of JTB World, and works with software development, customization, and consulting. Faailed and configure Autodesk Network License Autodesk 3ds max 2015 the software license checkout failed error 20 free. Configure License Borrowing with the Options File.
Combining and Configuring Package License Files. FlexNet feature code нажмите чтобы прочитать больше for Autodesk products.
How to change the lmgrd port number on a FlexNet server and client. No Valid License Error [1. Corrupt CascadeInfo. Using the licpath. AutoCAD network unavailable license alerts. Industry Collections Concurrent Access Titles. The network license manager is the software that makes licenses available to users. Network licensed software installed on workstations does not require individual registration and activation.
Network licenses are also called “floating licenses,” because they are not tied to a particular workstation or user. Most network licensed Autodesk products allow you to run unlimited concurrent sessions of a product on a single workstation while using only one network license. With network licenses windows enterprise 2019 ltsc free download can have more installations of software than you have licenses for.
Network licenses are more expensive than single licenses. Make sure to get a good return of investment ROI for them. The more users the easier it is to save money by using network licenses. Depending on how much the users are using the Autodesk product, network licenses can make sense even for companies with just users.
For companies with more users there is almost never a reason to have single licenses. When you fre a network licensed Autodesk product, it requests a license from the license server. If the number of softwaee licenses has autodesk 3ds max 2015 the software license checkout failed error 20 free been exceeded, the Network License Softwate assigns a license to the computer, and the number of available licenses on the license ereor is reduced autodesk 3ds max 2015 the software license checkout failed error 20 free one.
Likewise, when the last session is closed, the license is released and checked in to the License Manager. The Network License Manager can be installed on one or multiple servers. There are three possible server models that http://replace.me/2082.txt the Network License Manager. Liicense into consideration factors like the autodesk 3ds max 2015 the software license checkout failed error 20 free of users, how much they will use the software, how many part time users and full time users are there, a user might be a lot on meetings or on site, another user might use the software almost all the time while another user spends a lot of time using other software.
What does frfe existing network look like, are there multiple offices, what is the network connection speed and reliability between the offices? How should you handle chdckout downtime and what does it cost? Autodesk Network License Manager software does not cost anything but hardware and other software does plus the extra time it takes to manage multiple servers. This has to be compared to the cost of a potential server failure where users will not have livense to their software.
There are advantages and disadvantages of each model and sometimes a mix of the models autldesk the best choice. Normally this model is used where there are just a few licenses, users at one office and the overhead of using multiple servers cannot be justified. If you already have a single point of failure, such as one file server, the single server option may be ideal for you.
Fere the distributed license server model, licenses are distributed across two or more servers. A unique license file is required for each server. Each server can have different features and number of licenses. The strategic placement of the distributed servers provides fault tolerance of server and infrastructure failures. Put the distributed servers close to the users. For example one per each physical office location or city. Distributed servers can also function simultaneously failev single servers if you combine the license files.
In the redundant license server model, three servers are used. Licenses can be issued as long as at least two license servers are functional. The Network License Manager is installed on each server, and the license file is identical on each server. The redundant server pool does not provide network fault tolerance. Recommendation is to have all servers in the same data center. Mixing server operating systems or using workstation operating systems such as WindowsXP, Vista or Windows 7 is not supported.
Autodesk Product Support strongly recommends the distributed server configuration softwxre most applications 3cs I agree on that. GNUL licenses are more expensive than standard network licenses.
MultiFlex licenses are more expensive than standard network licenses. Token Flex T-Flex is autodesk 3ds max 2015 the software license checkout failed error 20 free enterprise licensing offering where product usage is metered by hour and billed appropriately. For example ReCap Pro is 4 tokens per fres, 20 tokens per day or tokens per month. Tokens are based on product family and user only. There might be possible to deal with Autodesk to have a cut of time so that if the softwsre per day is amx than say 10 minutes there are no tokens consumed.
There’s a service called Core NLRS fauled for Network License Reporting Service on each license server which uploads the report logs to Autodesk directly and reports are available to see online through softwwre Autodesk account page. What is NLRS? The results are sent to Autodesk daily to support Token-Flex licensing. Reporting can be viewed from the Autodesk Account Portal. Internet licenses is something that has been piloted by жмите сюда companies and requires approval of Autodesk.
Because the licenses are available on the open Internet, license borrowing on the Internet license server needs to be restricted. Premiere pro cc 2014 free Machine Support is available.
Refer to Autodesk TS Dialup is not supported but might work even though several tries might be needed to start a product and find ma license server. You can install the Network License Manager before or after you install the products that will use страница. Network License Manager must configure autodesk 3ds max 2015 the software license checkout failed error 20 free license servers before any products can obtain licenses and start running.
If an earlier version of the Network License Manager is already installed on the computer, you should upgrade by stopping the license server in LMTOOLS, uninstall and then install the new Autodesk Network License Manager into the folder where the old version was located. Uninstall Autodesk Network License Manager. Optionally manually delete files that been created afiled use with the Network License Manager, such as log files, license files, and the options file. Do not install the Network License Manager on a remote drive.
When you install the Network License Manager files, you must provide a path to a local drive. You must specify the drive letter; the universal naming convention UNC is not permitted.
Have your serial numbers for your Autodesk product, hostname and ethernet address of the license server ready. Autodesk uses the server host name, host ID, and product fred number to generate a license file. Record the Host Name and Physical Address line. Eliminate dashes from the physical address e. This is your twelve-character host ID checckout. If your server has more than one licehse adapter, select the one that corresponds to a physical network adapter.
View the Description field above each physical address. If there is more than one physical network adapter, it does not matter which one you liceense. Copy the host name and paste the information into a text editor.
If your server has more than one Ethernet adapter, select one that corresponds to a physical network adapter. Autodesk products do not support the Configuration Using License File method. In the Service Name list, select the service name failde want to use to manage licenses. By default, the service name is Flexlm Service 1. If FlexNet is managing other software on your computer in addition to Autodesk, you can change the service name to avoid confusion.
This name will also appear as a Windows service and can be monitored accordingly with for example Autodesk 3ds max 2015 the software license checkout failed error 20 free System Licenee Operations Manager.
If you have more than one software vendor using FlexNet for license management, the Service Name list contains more than one option. Make sure that only one Autodesk service is listed. In the Path to Lmgrd. In the Path to the License File box, locate or enter the path.
This is the path to the license file obtained through autodesk. In the Path to the Debug Log File box, enter a path to create a debug log, or click Browse to locate an existing log file.
Autodesk Network License Manager – JTB World – New features in Mocha Pro 2021 v8.0.0
Reset In-Point: Set the in-point back to the start of the clip. Current Frame: The frame the playhead is currently on. Enter a new value to jump to that frame. Reset Out Point: Set the out point back to the end of the clip. Zoom Timeline to full frame range: Resets the timeline scale to the full range of frames. Play Controls: Controls for playing back and forth and moving one frame at a time. Tracking Controls: Controls for tracking back and forth and tracking one frame at a time.
Go to Previous Keyframe: Jump to the previous keyframe set in the timeline for that layer. Go to Next Keyframe: Jump to the next keyframe set in the timeline for that layer. Add New Keyframe: Add a new keyframe at the current position for the selected layer. This only appears if you are not hovering over an existing keyframe. Delete New Keyframe: Deletes the keyframe at the current position for the selected layer. This only appears if you are hovering over a keyframe.
Delete All Keyframes: Deletes all keyframes on the timeline for the selected layer. Autokey: Toggles automatic key insertion when moving points or adjusting parameters. Align Selected Surfaces: Aligns the selected layer surfaces to the dimensions of the footage at the current frame. Toggle Active at current frame: Activates or Deactivates the layer on the current frame.
Group Layer: Groups the currently selected layers. If no layers are selected, creates an empty group. Blend mode: Dropdown to add or subtract your spline to the current layer. Invert flips this. Insert Clip: Insert a demo clip to preview your track. You can use one of the defaults or import your own.
For preview purposes only. Can also be set to None. You can select multiple layers before choosing this option. In Mocha v5 we introduced manual cache clearing to allow you to clear the Mocha cache at the project, render or global level. Some interface elements change when using Stereo footage. This section covers what new icons appear and how to interact with them.
In stereo mode you will see 3 buttons in the View Controls next to the clip view drop down on the left:. Two buttons to show individual Left or Right views L and R. These button names change according to the abbreviation you assign them in Project Settings. You can preview stereo work at any time by turning on the 3D button in the view controls. Clicking and holding on the 3D button will give you a range of stereo view options.
Active : If you have an active shutter monitor available, you can view in this mode Note: Only tested on Windows. Anaglyph : Probably the most common mode to view stereo work through. Difference : A difference mode of the views laid over each other.
This view also has additional functionality explained below. Keyframe on All Views: Toggle this button in the timeline to maniuplate keyframes in both eyes. The Mocha Pro plugins are separate from the standalone Mocha and can be applied as an effect directly onto layers in host applications. This reduces the need to swap out of your host application and streamlines getting data in and out of Mocha. The biggest advantage is you can set up layers and module settings in Mocha as normal, and then have the results render directly to the host timeline without having to export.
In addition to the controls below, VR features also contain a separate area in the Module Renders section to control lens distortions without having to first open the Mocha Pro GUI:.
The Mocha Pro plugin supports different types of and Stereo footage via the “Views” drop down:. Stereo Separate eyes : This takes two separate footage streams. When chosen, the option to choose another source for the right eye is enabled. If you are using the ‘Stereo’ option, you will need to select the “Stereo Output” view Left or Right that you want to apply output to. When used, Mocha will split the footage exactly in half horizontally and use the Top and Bottom halves for each eye.
The output to the host will automatically double up to the split views. When used, Mocha will split the footage exactly in half vertically and use the Left and Right halves for each eye.
The output to the hosr will automatically double up to the split views. Choosing one of the options automatically sets your Mocha project to be Equirectangular This will enable VR features:. If you have separate left and right eye sources, apply a “Join Views” node to combined them and feed the output into the Source input of the Mocha node.
Vegas Pro: Vegas Pro also has native stereo support. You will only see two options: Mono and Stereo. As you go through the user guide, you will see sections on how to apply Mocha techniques to your stereo footage where relevant.
Simply apply the effect to the layer you want to work with. Launch Mocha. This will load a full version of the Mocha interface that you can use just like the standalone version. Use Mocha as required and then close and save. No rendering is required inside Mocha unless you want to.
Choose whether you want to use mattes, renders or any other data from Mocha back in the plugin interface. Once you have applied the Mocha Pro effect, you can click on the Mocha button to launch the main interface. This then becomes exactly like working in the standalone version of Mocha, with a few exceptions. The source layer is automatically loaded and ready to track in the view.
You just close and save the Mocha view when done and the project is saved inside the Effect like any other Adobe effect. By default, the starting timeline frame will always be zero, which will not affect your data generation back in After Effects.
For users using timecodes instead of frame numbers in After Effects, the correct timecode offset will display inside the Mocha GUI. Once you have tracked layers in Mocha, you can then control the mattes for these layers back in the plugin interface. View Matte: Show the black and white matte from the Mocha layers chosen. This is very useful if you want to just see any problems with the matte, or you want to use the output as a track matte.
Visible Layers: This button launches the Visible Layers dialog so you can select the layers you want visible as mattes. You can also edit the Layer names in this window. Shape: This drop down lets you switch between All Visible and All mattes. All Visible mattes are controlled by the Visible Layers dialog. Feather: Applies a blur to the matte. This feathering is independent of the feathering of the individual layers inside Mocha.
This function is only available in After Effects. If you are using the ‘Stereo’ option in After Effects, you will need to select the “Stereo Output” view Left or Right that you want to apply output to.
Once you have set up layers in Mocha, you can then control the renders for each module back in the plugin interface. Note that you do need to have set up and tracked the correct layers in order for a render to work back in the host. Module: The module render you want to see. It controls the render quality of the warp. See the Warp Mapping section of the stabilize module. Insert Layer: For any inserts you want to apply to a layer surface and render back to the host.
If left to “Default” it will render what has been set inside the Mocha project. If changed, it will override all insert layers in the project.
Insert Opacity: Overrides the default insert opacity set inside the Mocha project. There are also parameters for controlling the view in Lens:Distortion rendering for VR footage. Pick the layer you want to use as an insert from the ‘Insert Layer’ drown down in the Mocha Pro effect. If you have a tracked layer in Mocha you can see the output of its surface back in the After Effects interface.
Each point in the Tracking Data section is a point from the layer surface that automatically updates when you modify it inside Mocha. To choose a layer to create tracking data from, click the ‘Create Track Data’ button in the Tracking Data section of the plugin. Then choose ether the name or the cog of the layer you want to read tracking data from in the dialog that appears.
Once you click ‘OK’, the plugin will generate keyframes to populate the tracking parameters in the plugin. You can then use this data to copy to other layers, or link via expressions. The plugin interface also allows you to apply tracking data to other layers without needing to export from the Mocha GUI. Do do this, you generate the tracking data from a layer, as described above in Controlling Tracking Data. Corner Pin: Support Motion Blur : A corner pin distortion with separate scale, rotation and position.
If you are generating from a vertex-heavy mesh, Mocha will show a progress bar while generating the nulls. Each Null will be created separately with its own keyframes. Pick the video track you want to use as an insert from the ‘Insert Layer’ drown down in the Mocha Pro effect. You just close and save the Mocha view when done and the project is saved inside the Effect like any other AVX effect. Choose from the current layer or below the current video track. This will most commonly be “1st Below” the current layer with the effect applied.
In many cases some functionality may be possible for unsupported hosts, but there is no guarantee of functionality or stability, so please take care when experimenting! Once loaded into the flow graph, simply plug the image node you want to work with into the ‘Source’ input of the Mocha Pro effect node.
Once loaded into the node graph, simply plug the image node you want to work with into the ‘Source’ input of the Mocha Pro effect node. Once loaded into the tree window, simply plug the image node you want to work with into the ‘Source’ input of the Mocha Pro effect node. Silhouette includes Linear support for the Mocha plugin.
When using EXR or Cineon images, this preference should remain off. Once loaded, you can begin with the ‘Launch Mocha UI’ button at the top of the effect panel. Mocha uses two sources from the timeline for inserting clips: The main background image source to track from and a secondary image source to insert into a tracked layer. To use a secondary source input in Vegas for Insert clips you need to composite your tracks together:. Set the Insert clip you want to use as the parent layer and the plate you want the insert to be rendered over as the child.
This will then load the secondary source into any layer Insert clip dropdown as a clip called ‘Insert Layer’. See Rendering Insert Layers below. Select any additional source you want to use as an insert in Mocha and plug it into the ‘Insert’ input See Rendering Insert Layers below. Launch the Mocha UI using the button at the top of the panel.
Choose whether you want to use mattes, renders or any other exported data from Mocha back in the plugin interface. Once you have applied the Mocha Pro effect, you can click on the ‘Launch Mocha UI’ button to launch the main interface.
You just close and save the Mocha view when done and the project is saved inside the effect. Visible Layers Button: This button launches the Visible Layers dialog so you can select the layers you want visible as mattes. You can use secondary clips in the host application to render tracked inserts into your shots.
See the User Guide Chapter on the Insert Module for more details on manipulating and warping inserts. For node based compositors you can plug the insert image into the ‘Insert’ input on the the Mocha Pro effect node. In Vegas you need to make the insert image the parent in compositing mode. See Using the Insert Layer clip in Vegas for this method.
In HitFilm, you select the insert image from one of your other layers in the comp listed in the “Insert” dropdown. You can also adjust the Insert Blend Mode and the Insert Opacity from the plugin interface without needing to go back into Mocha:. In cases where your input source has an alpha channel, you may wish to change the Alpha view inside the Mocha GUI. You can either turn Alpha off entirely by toggling off the button, or choose from one of the following options:.
Auto alpha: Reads in alpha if it is not opaque or premultiplied. This is the default setting. When rendering back out to the host, there are cases where you may also need to premultiply the alpha using the premultiply options in the plugin interface. If you are using the ‘Stereo’ option, make sure you are applying the effect to the Left eye footage and choose your right-eye source input.
This includes:. To add Mocha, simply locate it in the Effects panel like any other effect and drag it onto your layer. Once your layer is hooked up to your Mocha Effect, the general workflow for the Mocha Plugin is as follows:. If you are using Mocha Pro, choose the renders you wish to use from the “Module Renders” section and check “Render”. Once you have applied the Mocha effect, you can click on the ‘Launch Mocha UI’ button to launch the main interface.
If you are using the Mocha Pro version of the plugin, controlling renders is exactly like the standard OFX rendering controls. This is because all Mocha VR features have been rolled into Mocha Pro and a Mocha VR plugin stub is kept to avoid breaking compatibility with your old projects.
When you want to start a new VR project, we highly recommend using the Mocha Pro plugin rather than the legacy Mocha VR plugin, as this compatibility feature may be removed in future versions.
Mocha workflow is designed around a project structure. It is good practice to only work on one shot per project file to minimize layer management and to keep the work streamlined. When you start the application you are presented with an empty workspace. No footage is loaded and most of the controls are consequently disabled.
To begin working, you must open an existing project or start a new project. This will bring up a file browser, where you can select almost any industry standard file formats. Image sequences will show up as individual frames.
You can select any one of the frames and the application will automatically sequence the frames as a clip when importing. A project name will automatically be generated based on the filename of the imported footage, but you can change it by editing the Name field. This is created in the same folder your clip is imported from. The range of frames to import. We recommend to only work with the frames you need, rather than importing very large clips or multiple shots edited together.
This is set to the starting frame number or timecode by default. You can also define a fixed frame You can set a default for the fixed frame in Preferences. You also have the option to view as Timecode or Frame numbers. If your clip has an embedded timecode offset and you switch to Timecode, the offset will be used in your project. If you need to adjust this value later, you can open Project Settings from the file menu.
Normally this is automatically detected, but you have options to adjust if necessary. Make sure you check the frame rate before you close the New Project dialog.
If you are using interlaced footage, set your field separation here to Upper or Lower. Make sure you check your fields match your footage before you close the New Project dialog.
If you wish the clip to be cached into memory, check the Cache clip checkbox here. Caching is recommended if you are working a computer that has fast local storage, but your shot is stored in a slow network location.
More often than not, you can leave this setting off. If working with log color space, set soft clip value here. Default is zero making falloff linear, rather than curved. Mocha Pro supports Equirectangular Footage. To set the project to be in mode, check the ‘ VR Footage’ checkbox after you import your clip. When you start a New Project you are also presented with the option of creating a multiview project in the Views tab.
If you check Multiview project you are then presented with the view names and their abbreviated names. The abbreviated name is used in the interface for the view buttons, but is also used as the suffix for renders. You can also choose the hero view. By default this is the left. Defining a hero eye determines the tracking and roto order for working in the views.
If you want to define separate streams of footage for the stereo views, you can add additional footage streams view the Add button below the initial clip chooser. If you forget to set up Multiview when you start a new project, you can set it in the new Project Settings Dialog from the File menu. Once you are in Multiview mode, you will see a colored border around the viewer based on the current view you are in. This is to help artists to identify which view they are currently in without having to refer to the buttons.
You can switch between Views by pressing the corresponding L R buttons in the view controls, or using the default 1 and 2 keys on the keyboard. You can swap views or change the Split View mapping from the View Mapping subtab under the Clip module:. The Mocha Pro plugin has a slightly different project workflow to the stand alone Mocha applications.
This action loads the footage from the host clip you applied the effect to. It automatically applies the correct frame rate and other clip settings, so there is no need for the standard new project dialog. After you have done the usual work inside the Mocha Pro interface, you simply close and save the Mocha Pro GUI and then you can control the output from the effect editor interface.
For setting up a new stereo project with the plugin, see Plugin Stereo Workflow. The plugin has a slightly different project workflow to the stand alone Mocha applications. If you will only be working on a section of the shot you can use the In and Out points to set the range on the timeline. You can zoom the timeline to only show you the part between you In and Out points by clicking the Zoom Timeline button.
Frame offsets are important to get right in Mocha so that they export correctly to your target program. Project Frame Offset: This frame offset sets the starting frame for keys in your timeline. For example if you have imported a sequence of frames and you need the index of frames to start at , you can change this under the Project Settings in the file menu.
Clip Frame Offset: This frame offset is to offset the actual clip frames to slide the starting point of the clip back and forth. You can adjust clip frame offset under the Display tab in the Clip module.
For the vast majority of cases the Project Frame Offset is the value you want to adjust for working with data. The frame offset is usually already set correctly at the New Project dialog stage, but there may be cases where offsets change, such as adding new clip frames.
Working with very long files can be time consuming for the artist and can slow down the tracking as it searches for more frames. Try to only use what you need, and work on individual shots, rather than multiple shots in one piece of footage. Make sure these values match the settings in your compositor or editor, otherwise tracking and shape data will not match when you export it.
If you are unsure which field your interlaced footage is in, import it and check. If you quickly start your project with a guessed field order, you can check to make sure it is correct by using the right arrow key to step through the footage.
Interlaced footage is painful to work with. For your own sanity, try not to use it unless you have to! If you are working on a large roto project you will sometimes need to have more than one person working on the same shot. When it comes time to export out mattes or do final tweaks you can use the Merge Project option to combine any files that have been used on the same piece of footage.
Simply select the Merge Project option from the File menu, and select a project you wish to merge. You can only merge projects that are the same dimensions, aspect ratio and frame length as the shot you are merging into.
Open or create a project with matching footage and same dimensions as the Silhouette file. This is important. Your Silhouette project file will need to match the frame rate, dimensions and length of the Mocha project to correctly import. Choose a Silhouette sfx project file. If you are in OS X, you may need to navigate inside the sfx package to find the actual project file.
The Silhouette project will then convert any Bezier and X-splines to native Mocha splines and appear in the project. If there are any B-Spline layers in the project, these will not be imported as they are currently not supported. The key to getting the most out of the Planar Tracker is to learn to find planes of movement in your shot which coincide with the object that you want to track or roto.
Sometimes it will be obvious – other times you may have to break your object into different planes of movement. For instance if you were tracking a tabletop, you would want to draw the spline to avoid the flower arrangement in the center of the table — it is not on the same plane and will make your track less accurate.
To select a plane you simply draw a spline around it. In general X-Splines work better for tracking, especially with perspective motion. We recommend using these splines where possible.
The GPU option allows you to select any supported graphics card on your system to take on the brunt of the tracking process. The resulting speed improvement is especially noticeable on high resolution footage or when tracking large areas. One of the most important concepts to understand with the Mocha planar tracking system is that the spline movement is not the tracking data.
By default, any spline you draw is linked to the tracking data of the layer it is currently in. In hierarchical terms, the spline is the child of the track, even if there is no tracking data. When you begin to track a layer, the area of detail contained within the spline s you have drawn will be searched for in the next frame.
If the planar tracker finds the same area in a following frame, it will tell the tracker to move to that point. Because the spline is linked to the track by default, it will also move along with it and the search begins again for the next frame. Scrub the timeline and you will see that the grid and surface move with the spline. Now select all the points of your spline and move it around the viewer. This is because the spline is linked to the track, but the track is not linked to the spline.
The spline is merely a search area to tell the track where to go next. It is a common misconception that moving the spline while tracking is affecting the movement of the tracking data. It is not. Moving the spline is only telling the tracker to look in a different place and will not directly affect the motion of the tracking.
This makes the tracker very powerful, as you can move and manipulate your spline area around while tracking to avoid problem areas or add more detail for the search. With the Planar Tracker you simply draw a spline around something, as shown with the screen below. Select one of the spline tools to create a shape around the outside edge of the area you wish to track.
When drawing splines it is best to keep the shape not tight on the edge, but actually give a little space to allow for the high contrast edges to show through, as these provide good tracking data. If you are using the X-Spline tool you can adjust the handles at each point by pulling them out to create a straight cornered edge, or pull them in to make them more curved. Right clicking a handle will adjust all the handles in the spline at once.
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.
It also helps to remember that your spline shape is linked to your tracking data and not the other way around. First of all you want to reduce as much manual work as possible by tracking. In the example below, the front and side plane of the car is being tracked For a more detailed coverage of tracking, see the Tracking Basics documentation. This means the tracked shape will not be confused with any roto shapes you are making.
Once you have a track for a layer we recommend that you add a new layer to use for the actual roto spline, rather than refining the spline you used for the actual track as you might need to do more tracking with it later. You are at the right place! Your Gospel Team is a gospel choir, the first one in Switzerland, specialized in the animation of the weddings, concerts, The machine is in good working order.
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For complete details on activation, refer to the Autodesk 3ds Max and Autodesk 3ds Max Design Installation Guide available from the Documentation link in the installer. This option repairs the registry and reinstalls all files from the original installation.