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To do this, you can copy and paste the data from the imported clip onto any other. Drop your imported clip into the timeline, then select it and press Cmd-C to copy it to the clipboard.

Now select the clip you want to apply the tracking data to and press Opt-V Paste Attributes. You will see a dialog asking you to choose which data to paste. Depending on the kind of data you exported, tick either ‘Basic Motion’ or ‘Distort’ and untick all the other boxes. To use our tracking data for stabilization in Final Cut, follow the same procedure as for a basic motion export, but tick the Invert checkbox in the export dialog. You can also copy the stabilized data onto another clip using Copy and Paste Attributes as before.

Many issues of track misalignment can be corrected by choosing the right film type, frame rate and interlacing settings in our software.

These controls are on the Clip page in the Film, Interlaced and Time tabs. In Final Cut, check the sequence settings to confirm the correct PAR for the clip, then use the equivalent setting when tracking in our software.

If you have already tracked with the wrong film type setting, you will need to re-track after changing it. This is usually caused by a frame rate mismatch. Check that the frame rate and interlacing settings match between final Cut and our software. This can be caused by a mismatch in the Final Cut Anamorphic setting. If you are working with anamorphic footage, ensure that you have the ‘Anamorphic’ setting checked in your Final Cut sequence settings, and in the clip properties.

You also need to use one of the anamorphic film types when tracking: any of the film types with ‘Anamorphic’ in the name should give correct results when importing the data into Final Cut. Next, choose ‘Motion basic transform. Inside Motion, you can either choose to open the exported file as a new project or drag it into an existing project. You will see a Group containing the footage you tracked as well as a blue solid called “Surface”.

If the surface layer does not automatically apply to the behavior, drag the surface layer onto the Match Move behavior. If you are just using transform, Match Move defaults to this option and you can set transform, scale and rotation. If you are using corner pin, select the ‘Four Corners’ option from the ‘Type’ drop down.

Check that the frame rate settings match between Motion and Mocha. This is normally due to the layer you are inserting not being the same frame size as your project media. You can fix this by either changing the insert to fit the dimensions, or scaling the insert inside motion to match the dimensions.

If you are going to scale the layer to fit, you should do this step before you apply Match Move. This section explains how to export tracking data in a format readable by Apple Shake, how to import the data into Shake and how to use it for match move, corner pinning and stabilization tasks. To load the tracking data in a file into an existing Shake Script follow these steps:. At this point you have successfully imported your tracking data from Mocha into Shake.

But what exactly did you import? The MatchMoveLayer is used to apply the tracking data to a foreground element that you wish to matchmove to a background. It consists of two inputs, the background and the foreground. The foreground element will be the element you wish to apply the match moving data to.

The foreground is connected to the left side input of the node while the original tracked background element goes into the right hand side. The next node is the CornerPinLayer node. This node has a single input and works just like the left input of the MatchMoveNode. It takes your foreground element and applies the scaling, rotation, and translation data to it and prepares it for compositing into your next layer.

The last exported node is the Stabilizer Node. Just as the name implies, it takes all of the exported tracking data and uses that data to stabilize your input clip. With this node, for example, you may apply this data to the background element you tracked to make for an easier composite. Now that you have successfully exported and imported your data into Shake you are ready to continue working on your project.

This section explains how to export tracking data in a format readable by Nuke, how to import the data into Nuke and how to use it for match move, corner pinning and stabilization tasks. In Nuke, append a tracker to the background clip, e. On the import Ascii dialog, press the folder button next to the file name, browse to the file you exported, select it, click ‘Open’ and then click ‘OK’.

If you choose Copy to Clipboard you can immediately switch over to Nuke and Paste the data. Alternatively you can import your saved Nuke Script from the File menu. You can export a Corner Pin straight to the clipboard or to a. If you choose Copy to Clipboard you can immediately switch over to Nuke, select the node you wish to apply the corner pin to and Paste the data.

This section explains how to export tracking data in a format readable by Fusion, how to import the data into Fusion and how to use it for match move, corner pinning and stabilization tasks. Now import the clip that you want composited onto the background and tie the output of the clip to the input of the tracker node.

In the settings of the tracker node, select the ‘Operation’ tab and select either ‘Corner Positioning’ or ‘Match Move’ to composite the insert clip on top of the background. Notice that you can switch ‘Position’, ‘Rotation’ and ‘Scaling’ on and off for different effects. This section explains how to export tracking data in a format readable by Autodesk Inferno, Flame, Flint, Smoke and Combustion.

Select ‘Autodesk Flame Axis. In Combustion, create a layer with the foreground graphic and set the layer shape to ‘Four-Corner’. Now select all four corners of your layer, enable the ‘Tracker’ tab and select ‘Import Tracking Data. Activate the insert layer visibility and you will see that the insert layer is now tracked to the background element, even though the image is not sized correctly yet.

Select all trackers and set the mode to ‘Absolute’ to resolve this. If you prefer to import your data one point at a time you can instead select one track point and import the Ascii file with the corresponding tracking data. Remember to switch to ‘Absolute’ mode once all data has been imported. Firstly, we will set-up a corner-pin composite in the Action module, to reproduce the basic compositing operation. Create a new Bilinear Surface. Go to Surface then click the S button next to Track.

You should now be in the familiar stabilizer module. For this example we are doing a corner-pin so we will need to use all four trackers. Now browse to the corresponding file, e. The files correspond to trackers as shown below. Repeat the process for the other three trackers, making sure that you use the correct files as shown in above. You should also mark each tracker as Active if it is not already. An alternative use for the tracking data is for stabilization.

You can use the Stabilizer module to do 1-, 2-, 3- or 4-point stabilization. In this example, we will do a 1-point stabilization to stabilize for position only, using the center point. You should now see the key-frames loaded and be able to process. If you want to use more points to stabilize zoom, rotation, affine and perspective moves, just load the corner tracks as described in the Corner Pin section. Create a scaffold with a the image you want to insert Make it a bicubic since you want a 4-corner pin deformation.

You can save the data as a text file and import it. On your DS v Now right-click “R1 Tracker Y” and select “Import tracking coordinates”. HitFilm will then load the Composite Shot with the footage you tracked in Mocha and layers with either a Quad Warp for corner pin or the layer with transform animation applied for Transform.

You can then either relink the media in the composite file to the desired insert, or copy the Effect or Keyframes to the desired media in your existing composite. In the Quantel system, select the TrackImport plug-in, and use the plug-ins file browser interface to select the tracking data file to import. Then click ‘Settings’ and choose ‘Tracker’ in the settings window and click ‘Save’.

The tracking data can now be used in a manner identical to tracking data generated within the Quantel system. To import the tracking data into the plugin, you start by selecting an available Data slot and then either paste from the clipboard or open the exported file:. Once imported, you can then adjust your scene to fit the data. It is important to make sure you check the warnings and correct any relevant items before setting up your rig:. If there is a warning about format mismatch, click the green “Import Format” link in the MochaBlend window.

If there is a warning about no camera rig, click the green “Create Rig” or “Set Active Rig” according to your needs. Finally make sure that you click the “Set Timeline to Data” if your project timeline is different from the frame range you tracked in Mocha. You can then go ahead and tweak individual settings in the MochaBlend plugin. See MochaBlend documentation for further information on working with tracking data in the plugin.

Exporting stereo Track data from Mocha is the same as exporting in mono mode, however when you are in multiview mode you can choose the view you want to export. Select the view you want to export or check “Export all views” if it is available for that export format.

Click “Copy to Clipboard” or “Save” depending on your preference. Note that some exports only allow you to save the data. Mocha exports a flat mesh with X and Y coordinates for each mesh vertex generated via the Mesh parameter in the Track module. The export also includes a camera to make sure the mesh is projected correctly to the original footage dimensions. Alembic meshes also contain UV mapping so you can easily warp a texture to the mesh without needing to set them up yourself.

Track a layer using PowerMesh by selecting the “Mesh” parameter and generating a mesh. See the PowerMesh section for more details on Mesh tracking. Choose “Alembic Mesh Data. By default the number in the field is the frame you generated the mesh on. You can use the ReadGeo in combination with the Scanline Renderer node to composite warped textures over the top of the original footage:.

If you view the node, the mesh should now be correctly projected over the top. Add an image or material to the ‘img’ input of the ReadGeo node. This will then project the texture onto the Mesh. You can use the ABC node in combination with the Renderer3D node to composite warped textures over the top of the original footage:.

Merge the Renderer3D node over the top of your source footage node. If you view the Merge node, the mesh should now be correctly projected over the top. Add an image or material to the input of the mesh node that is the same as your mocha layer name.

The render dialog will give you options to choose either the currently selected layer, all visible layers or all the layers in the project. Index Start: The number to start the exported sequence from. By default this is the first frame in the timeline. This currently only supports ProRes.

The render dialog also allows you to render to single footage streams or a combined stream via EXR. All Visible: Only the layers that have visibility turned on in the layer controls. By matte color: The same as Grayscale, only the mattes are colored according to what you defined each layer matte color to be in the Layer Controls.

To single footage stream: Renders all views to a single file. If you have chosen to render the current view or separate footage streams, the view abbreviation will be suffixed to the rendered export automatically, so there is no need to define this in the file name.

The ‘plane’ that was generated by the Planar Tracker. This defines the overall movement of the shape s. When you are ready to export, select Export Shape Data button. On the dialog that opens, choose if to export the selected layer, all visible layers or all layers. When you have made the right selection, click Copy to Clipboard , then switch to After Effects. In After Effects, import the same footage and ensure that the frame rate and pixel aspect ratio are the same as those used when generating the shape.

Bring the footage into a composition, then select Edit Paste to add the shape effects to the composition. Each shape exported will come across as its own plug-in effect. You can choose to change the blend mode from the one assigned to the shape by selecting Multiply, Add or Subtract from the dropdown menu.

If you have created the shape with feathered edges but wish to switch these off, untick this parameter. Note that if you have not created feathered edges this will have no effect. This setting allows you to choose between various render effects. The default is the ‘Shape cutout’ which uses the matte to cut out the corresponding area in the background footage. Note that the Opacity setting affects this color fill, allowing you to blend it with the background footage.

Defines the color of the color fill applied when selecting the ‘Color composite’ render type. Defines the opacity of the color fill applied when selecting the ‘Color composite’ render type.

You can also apply the masks to most effects, by adding the effect to your clip, selecting the effect in the Effects panel and pasting. When you have made the right selection, click Save and select a destination to save the XML file to, then switch to Final Cut.

To use the shape to composite the rotoscoped object over a new background, simply place the Mocha shape sequence in a video track above the background sequence. If you want access to the actual matte, individual layers of the matte or control that affect the appearance of the matte, double click on the Mocha shape sequence to reveal the two main sequences it consists of – the original sequence and the ContourSequence.

Double clicking the ContourSequence will reveal the individual layers that the ContourSequence consists of. Dragging a layer into the viewer and selecting ‘Controls’ will give you access to controls of that layer, as shown below. This makes it easier to change the mask data in Flame or attach other nodes to the Axis tracking data. Flame Tracer [Basic]. Flame Gmask Script. A dialog will show with a drop-down containing 3 different saving options. Choose the target application and hit Save.

The data going into the file is not binary, and is shown in the dialog so that you may copy and paste it directly into a text editor if you prefer to work that way.

Because of differences in the way Splines are handled in the application, maintaining accurate keyframe interpolation between our software and the other applications requires that the exported shapes have a keyframe on every frame. HitFilm will then load the Composite Shot with the footage you tracked in Mocha and layers with shape masks. If you choose Copy to Clipboard you can immediately switch over to Nuke, select the node you wish to apply the shape data to and Paste the data.

You have the option of exporting Basic Roto data which bakes the keyframes, or Transform and Shape data which separates the tracking data from the manual keyframes. The SplineWarp node exports each layer as a joined set of splines with the spline keyframes separate from the tracked data which is set in each curves transform.

For example if you only have 1 tracked layer to export, Mocha will export that layer to SplineWarp as two joined splines in A. To import the shape data into Fusion, either paste directly into the Fusion Flow View or open the comp file from the file menu. The Mocha layers will come in as separate nodes into the Flow View.

To import the shape data into the plugin, you start by selecting an available slot in MochaBlend and then either paste or open the data file:. You can then go ahead and create the splines under the Objects settings. See MochaBlend documentation for further information on working with shape data in the plugin. Exporting stereo Shape data from Mocha is the same as exporting in mono mode, however now you can choose the view you want to export.

If you would prefer the nodes to be separate, export using the different views instead of checking the all views option. The range of frames you wish to export. If you choose to export the full range but have not rendered all your frames, the next drop down, “Revert to clip” will be used. Choose how to export frames that have not been rendered.

If you choose None or the current clip to export, black frames will be exported for non-rendered frames. By default, this will just export the flattened render Color , but if your render has alpha you can choose this also. To single stream: Renders all views to a single file. This is particularly useful if you cannot get a good track on the plane you need, as you can track other planes in the shot and use them to give you track in 3D space instead.

As we are dealing with 3D calculations rather than 2D planar projections, the workflow is slightly different to a usual planar track. In order to get a good camera solve you must first identify what type of track it is. Mocha recognizes three types of camera situations:.

Pan, tilt. PTZ cameras are looking for overall movement in the camera plane, rather than changes in the physical planes within your scene. Small Parallax is where the camera is not fixed to one point in space and has a lot of mid-ground planes that can be tracked. Large Parallax is where the camera is not fixed to one point in space and has trackable planes very close to the camera.

It is referred to as Large Parallax because closer objects move at much greater perspective and distance to the camera than objects further away. PTZ solves are a little different from perspective solves in that they only need to look for how the camera is behaving when fixed, such as on a tripod.

Locate a large area in the shot that can be tracked. If your track pans around more than around 60 degrees, stop the track and create another shape to continue tracking. The second shape will need to start further back in time than where the first one stopped tracking, so their tracking information overlaps on the timeline. This will help the solver blend together the tracking information of multiple shapes. Turn on the process cog for all tracked layers you wish to use for the solve.

Do NOT select layers that track moving objects: The camera movement is determined by static objects. See Exporting Camera Solves for details on how to export moving objects to 3D after a solve. If you select Pan, Tilt, Zoom , set the focal length. Most commonly this will be mm. You can choose more than one if the focal length changes. Also choose Zooming if the is any camera zoom in the shot. Once Mocha finishes solving the shot, you can then export the solved scene. See Exporting Camera Solves for further details.

Small Parallax shots require at least 2 non-coplanar tracks to solve the scene. Non-coplanar means not on the same plane as each other. Examples of non-coplanar areas include:. Two camera-facing areas at noticeably different distances from the camera, such as one building in front of another. Locate planar areas in the mid-ground of the shot that can be tracked.

These objects should not be moving in the shot, so choose areas like walls, ground, tree trunks etc. Planes too close or too far away from the camera may not help a Small Parallax solve. Turn on the grid so you can see how the planes are moving. Adjust the surface to fit the planar perspective if you need to see this movement more accurately.

If you lose the track due to obstructions or the object moving off screen, stop the track and create another shape to continue tracking. Choose either Auto to let Mocha guess the right solve, or choose Small Parallax from the drop-down. If you select Small Parallax , set the focal length. Like Small Parallax, Large Parallax shots also require at least 2 non-coplanar tracks to solve the scene. See examples of non-coplanar areas above. Locate planar areas in the shot that can be tracked.

Choose either Auto to let Mocha guess the right solve, or choose Large Parallax from the drop-down. If you select Large Parallax , set the focal length.

When a solve is complete, the Solve Quality bar will tell you how accurate the solve has been. If you get a poor percentage check to make sure your tracks are locked on accurately, add additional layers to help the solver or try a different solve type or focal distance. Camera solves also work with Multiview footage.

Like with tracking, a stereo camera solve is designed to be as similar to the Mono process as possible. Select the layers in the layer control panel you want to solve with.

See full documentation for more information. You can then export out to left and right views, or for Standard FBX, you can export full Stereo cameras. The full stereo camera solve FBX presently works in Maya.

Select the layers you used to do the initial solve in the layer panel these are still selected if you have just completed a camera solve. These layers are normally tracked to static objects, such as walls, ground, a parked vehicle, a dinosaur fossil etc. When you paste into After Effects you will get a camera and a number of nulls depending on the type of solve you did. PTZ will only export a single null to help define the camera motion. The other 2 solves will create a null for each corner of your layer surface objects in Mocha.

Once you have exported a camera from the static solve, select any layers that you used to track moving objects in the shot. If you have not tracked any moving objects you can do this now. Any tracked layers with the cog on are assumed to move with camera motion only. If you have layers checked that are moving objects, Mocha will not solve the scene correctly. Check that there is enough overlapping frames in the layers if you have had to do more than one track along the timeline.

If you start one track exactly where the last finished, the solver may not be able to accurately blend the resulting data. You may not have enough layers tracked to get an accurate solve.

Try adding further tracks to help the solve. The Insert module is where you choose the image you would like to insert into your tracked layer.

You can import a still frame or a moving sequence. Once imported, the Insert module provides a comprehensive range of tools for matching this new image to the original background layer.

The skill here, naturally, is to make the newly imported image look like it was in the original shot all along. This is where you choose the Input Clip or background layer and the Insert Clip or foreground layer, and optionally a separate input clip with an alpha channel for compositing.

By default Mocha Pro selects the last clip that was tracked as the input. If you want to change the input, just select a different clip from the pulldown menu. This clip mirrors the Insert Clip inside Layer properties, i.

By default mocha Pro selects None as the foreground input, expecting you to make a choice of your own. To choose an insert select the Import button and use the file browser to locate a still frame or a file sequence that you would like to appear over the tracked background clip.

In the Mocha Pro Plugin, you can choose an ‘Insert Layer’ placeholder that reads from layers back in the host timeline to render in Mocha. Here you can select the name of the clip to be output. The remainder of the controls in the Insert module dictate both how much of the insert is displayed and how it is displayed during the course of the shot.

The Source region of interest ROI can move anywhere on the insert image, including outside it. It is the area of the insert that you would like to be displayed in the tracked layer. As you adjust the ROI, the insert is scaled to fit the surface.

There is also a Reset button to reset the ROI to the corners of the insert image. By default, the aspect ratio is locked. To adjust the ROI aspect ratio to match that of the background image given its current position and shape in the background image, click on Fit ROI to Surface. These controls will work best if you are in a frame where the insert is as front-on as possible. For them to work correctly, the pixel aspect ratio of both the input clip and insert clip must be correct.

A common issue is that if the resolution of either clip was not recognized when the clip was imported, it is assigned the PAL camera type. This often does not give the correct pixel aspect ratio.

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3ds Max The Software License Checkout Failed Error 41 – Freeware Base – Introduction

 
Expiration date is wrong. Incorrect Serial number used. Autodesk Account used to validate license doesn’t have active subscription. Solution: To. 3ds Max Software License Checkout Failed Error 20 · License Error 41 Autodesk Community Installation And · How To Fix Error 41 Server License. Not your computer? Use Guest mode to sign in privately. Learn more. Next. Create account. English (United States). Afrikaans; azərbaycan; bosanski; català.

 

Autodesk 3ds max 2011 the software license checkout failed. error 20 free

 
However term based multi-user license like collection will always get pulled first over any perpetual license if you continue to keep them. You cannot purchase a приведенная ссылка licensed version of an Autodesk product that does not rely upon the use of the Network License Manager software. Click Yes to continue creating the deployment using the default configuration. He is maxx owner of JTB World, and works with software development, customization, and consulting. I don’t know what is msx wrong здесь how to fix it.

 
 

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