Coming from the tracking system built into C4D, SynthEyes and your tutorials have literally changed how I work and eliminated so much frustration. Offset tracking is an absolute game changer. Thank you so much for these tutorials- they are fantastic!
Thanks for the great video! I've been binge watching all your content and it's great. You mention at the end of the video about how you could drop that tracker point onto a 3D mesh of a head and hand key the rotation and such while its position is being guided by the tracker. I would love to see a video on that, perhaps even using this same footage? By now I'm sure you've seen The Creator and the wonderful work ILM did with such minimal on-set preparation; often times working with footage that have at most 3 visible dots drawn on the actors' faces, and sometimes nothing at all, all the while producing wonderfully incorporated CGI that fits seamlessly into the live action. It would be such an amazing resource to see how you would go about tackling a similar job of accurately solving a head's motion and getting a CGI element to stick to that live action with zero drift.
I found u in the podcast of The VFX Artists Podcast, and then I found your channel, and then wow, "that's how the people who are in the industry work in matchmove." - that was what I thought. I love the way you share your skills, experiences to people (totally free). I learn about 3D in my university, but only 3D, not VFX. So I can't learn about matchmove, compositing,..... I saw your last video is about 2 year ago, that's so sad. I hope I can see your new video, they are really really helpful to me. Thank you so much for sharing to us.
Nice! I'd be very interested to see the next part you described where you lock that point to the ear on a mesh, and then hand animate the rotations. Would you do all of that in Syntheyes?
I would do all of it in SynthEyes. And yes, I'm going to do a short follow up video where I show what I mean by the rotomation stuff. It's frustrating because SynthEyes is so close to getting us there.
I've said it before, but it's worth repeating: to get those perfect silhouette match car tracks like on my reel, you really need perfect geometry for the car. The geometry acts like LIDAR would for a camera track. Without the geometry, it's just plain old, vanilla object tracking. If anyone wanted to shoot some car footage and then get the car geometry, perhaps off of Turbo Squid or some other site, I'd be happy to do just such a tutorial.
I have seen you using Blender sometimes. Have you tried Blender tracking system. I can’t get my hands on Syntheyes, but I can learn it on blender or Nuke nc. Would be cool to hear your insights of those trackers.
Most of the work I do is technically challenging. Blender's 3D tracking system just isn't there. A lot of it's interface was obviously "borrowed" from SynthEyes, but not the functionality.
I used to do my tracking in Blender. I was able to get by with it but it was a slow and difficult process. It wasn't great for complex shots. If Blender's all you have though, you can make it work. I recommend CGmatter's videos on it.
The entire VFX (and film/TV) industry is one big BlockBuster video waiting to be taken over by the next NetFlix. I wouldn't worry too much. It will always be like this.
methodology-wise, is By Hand any different in result than turning the track off, and then back on when it reappears? In this example, the subject was totally blocked anyway.
For GeoH tracking, you absolutely need the by-hand button during times like these. (I can take credit for the by-hand feature, by the way. I suggested it to Russ while doing a lot of extensive GeoH tracking.) I do NOT recommend using it for regular camera or object tracks. You may get away with using it for very linear camera moves for a few frames, but on shakier camera shots, using it would be a big no-no.
Coming from the tracking system built into C4D, SynthEyes and your tutorials have literally changed how I work and eliminated so much frustration. Offset tracking is an absolute game changer.
Thank you so much for these tutorials- they are fantastic!
Thanks for the great video! I've been binge watching all your content and it's great.
You mention at the end of the video about how you could drop that tracker point onto a 3D mesh of a head and hand key the rotation and such while its position is being guided by the tracker. I would love to see a video on that, perhaps even using this same footage?
By now I'm sure you've seen The Creator and the wonderful work ILM did with such minimal on-set preparation; often times working with footage that have at most 3 visible dots drawn on the actors' faces, and sometimes nothing at all, all the while producing wonderfully incorporated CGI that fits seamlessly into the live action.
It would be such an amazing resource to see how you would go about tackling a similar job of accurately solving a head's motion and getting a CGI element to stick to that live action with zero drift.
I found u in the podcast of The VFX Artists Podcast, and then I found your channel, and then wow, "that's how the people who are in the industry work in matchmove." - that was what I thought. I love the way you share your skills, experiences to people (totally free). I learn about 3D in my university, but only 3D, not VFX. So I can't learn about matchmove, compositing,..... I saw your last video is about 2 year ago, that's so sad. I hope I can see your new video, they are really really helpful to me. Thank you so much for sharing to us.
Thanks for awesome information ❤️
This is awesome. Thanks so much for doing these!
Thanks again Matt!
I love this toturial
Nice! I'd be very interested to see the next part you described where you lock that point to the ear on a mesh, and then hand animate the rotations. Would you do all of that in Syntheyes?
I would do all of it in SynthEyes. And yes, I'm going to do a short follow up video where I show what I mean by the rotomation stuff. It's frustrating because SynthEyes is so close to getting us there.
@@MatthewMerkovich I would love to see rotomation video. And I truly enjoy all your videos Matthew. Thank you very much for making them!
Like Always amazing, Thank you for the tutorial please make a car shot tracking
I've said it before, but it's worth repeating: to get those perfect silhouette match car tracks like on my reel, you really need perfect geometry for the car. The geometry acts like LIDAR would for a camera track. Without the geometry, it's just plain old, vanilla object tracking. If anyone wanted to shoot some car footage and then get the car geometry, perhaps off of Turbo Squid or some other site, I'd be happy to do just such a tutorial.
Ty for the tut
I have seen you using Blender sometimes. Have you tried Blender tracking system. I can’t get my hands on Syntheyes, but I can learn it on blender or Nuke nc. Would be cool to hear your insights of those trackers.
Most of the work I do is technically challenging. Blender's 3D tracking system just isn't there. A lot of it's interface was obviously "borrowed" from SynthEyes, but not the functionality.
I used to do my tracking in Blender. I was able to get by with it but it was a slow and difficult process. It wasn't great for complex shots. If Blender's all you have though, you can make it work. I recommend CGmatter's videos on it.
Hello Matthew
How is a future of tracking.
Will it end because of vartual production I am very worried about it
The entire VFX (and film/TV) industry is one big BlockBuster video waiting to be taken over by the next NetFlix. I wouldn't worry too much. It will always be like this.
methodology-wise, is By Hand any different in result than turning the track off, and then back on when it reappears? In this example, the subject was totally blocked anyway.
For GeoH tracking, you absolutely need the by-hand button during times like these. (I can take credit for the by-hand feature, by the way. I suggested it to Russ while doing a lot of extensive GeoH tracking.) I do NOT recommend using it for regular camera or object tracks. You may get away with using it for very linear camera moves for a few frames, but on shakier camera shots, using it would be a big no-no.