BCC Match Move

Match Move 1

Overview

With the BCC Matchmove filter, we have added to the compositing style filters in the BCC set. Use the BCC Matchmove filter to lock the movement of one image clip to another image clip using the built-in motion tracking function. One of the great advantages of using the BCC Matchmove filter to composite within your host editing application is that it includes full DVE functions such as tumble, spin, rotate, along with interesting lighting and light wrap compositing features that are normally found only in full compositing applications.

Function

  • Sony Vegas Workflow Tip:  To use the Light Wrap feature in Sony Vegas you must apply the filter as a “Custom Composite Mode” (also known as a “2 to 1 Transform” effect).  For more information on working with Custom Composite Modes in Vegas, Click Here.
  • Note: Scroll to bottom for parameters.

We’re going to use the BCC Match Move filter to match the crane-up camera movement of one clip to that of a clip which was shot with a locked down camera and generate a seamless composite of the two clips making them appear as though they were shot with the same camera – all right within the Match Move filter. We’ll start the project by importing the two clips that we need into a new project within After Effects. let’s take a look at the two clips that we are using – one is a crane shot of a street scene taken on Fisherman’s Wharf in San Francisco while the other is an underwater scene of a fish swimming near some coral along the California coast. In the crane scene, there is a clock on a post and we are going to comp the fish scene into the clock face. The fish clip has a circular alpha cut-out shape so that only the pixels within the circle are opaque.

Match Move 2

To start, we create a new comp of 5 seconds duration and drag the fish clip into the comp. Drag the street scene with the clock into the timeline below the fish clip. Let’s preview to RAM and study the clip for a moment so that we can successfully apply the filter and comp in the fish. Upon review of the clip, we can see that the letters at the bottom of the clock appear to remain on screen for the duration of the effect,

Match Move 3

Stop the clip playback, select the background clip (the clock) and apply the filter by selecting it from the pull down menu – Effect>BCC 5 Distortion and Perspective>Match Move.

Match Move 4

Now let’s track the background clip. Move the CTI to the start o the clip, and twirl down the motion tracker group in the BCC Match Move filter controls. By default the filter will set itself to track the clip to which it was applied and in this case that it what we want to do, however it is possible to track and recover the motion from one clip, then apply that tracking data to composite two entirely different clips together.

Match Move 5

To set-up the tracker, enable the track-on-the-fly feature. Next we need to set the search and target regions in the tracker. Drag the tracker center to the bottom of the letter F on the sign. Then expand the target area (the inner box) to 15 pixels and leave the search at it’s default value of 40. Now that the search and target regions have been set, we are ready to track. Click on Clear Render Cache button to clear any bad caches. [In Vegas – Mark the range of the clip & select Build Dynamic RAM Preview from Tools menu in Sony Vegas.]  Just click on the play button in the AE time controls and the filter will analyze / track the feature. Tracking is complete when the clip has played through every frame in the comp. There are indicators at the bottom of the composite window that provide information regarding the integrity of the tracking process – a solid green bar indicates that all frames were tracked, while the color purple is used to indicate a non-tracked frame. A red bar is displayed to indicate the current time. When tracking has completed, you may want to monitor the tracker running through the frames to make sure that the tracker did not drift or move off target. Once satisfied with the tracking data, you can disable the track-on-the-fly feature.

Match Move 6

So … now that we have recovered the camera motion, we need to instruct the filter to use this motion to control the movement of the foreground clip in the composite, which in this case is the fish clip. Twirl down the Match Move parameter group and set the MM foreground to the shot of the fish, which we have already masked and precomped. The fish will move correctly now to match the camera movement

Match Move 7

We’ll reposition the fish so that it is more closely aligned with the clock in the background. By using the offset parameters from the motion tracker group, we can change the relative position offset of the foreground clip to the recovered tracker data. Remember that we tracked the letter at the bottom of the clock and now the center of the fish precomp is locked to the letters so we just want to offset the tracker data as a group. We’ll set the offset x to 0.050 and the offset y value to -0.330. This places the precomp directly over the clock. But there is perspective distortion in the background shot that we need to apply to the foreground to make a convincing composite. To fix this, we let the filter do the work by using the built-in DVE controls to match the perspective in the background shot.

Match Move 8

Let’s twirl down the Transform control group. This is where we apply transform operations to the foreground clip. First unlock the scale and set the scale x to 81 percent and the scale y to 98 percent. Observe now that we’re getting close to a match. Fine tune the scale parameters so that the clip fits the perspective scale of the clock face. Set the Tumble parameter to – 14 degrees and set the Spin parameter to + 25

Match Move 9

Twirl down the Composite group and then twirl down the Light Wrap group, set the Wrap Lightness value to 50 and set the Wrap Width parameter to a value of 3. We can leave the wrap softness at it’s default setting of 10. We’ll change the wrap mode from Normal to Add. The edge of the foreground object have now been set to grip the edge of the clock in the background object. To complete the composite we will make a change to the apply mode that the filter is using. We’ll set the Apply Mode for the filter to Scale Multiply and we’re finished. Let’s now preview to RAM to view the final result.

Match Move 10

How to Use the Filter in a Typical Scenario in Avid XPress Pro:
We’re going to use the BCC Match Move filter to match the camera pan movement of one clip to that of a clip which was shot with a locked down camera and generate a seamless composite of the two clips making them appear as though they were shot with the same camera – all right within the Match Move filter. We’ll start the project by importing the 2 clips that we need into a new project in Avid. Let’s take a look at the two clips that we are using – one is a crane shot of a street scene of a clock taken on Fisherman’s Wharf in San Francisco while the other is an underwater scene of a fish swimming near some coral along the California coast. In the crane scene, there is a clock on a post and we are going to comp the fish scene into the clock face. The fish clip has a circular alpha cut-out shape so that only the pixels within the circle are opaque.

To start, we create 2 video tracks in the timeline and then we drag foreground clip of the fish into the timeline on video 2 track, and drag the background clip with the clock into the Avid timeline in the video 1 track, directly below the fish track. Let’s review the movement of the clip in the clock scene – there is a slow camera crane up that we will capture with the BCC Match Move filter. We’ll set the current frame indicator to the start of the clip. Then we add the BCC MatchMove filter by selecting it from the effects bin and dragging it onto the fish clip in the timeline. We then select the clip with the filter, and click the effect mode button to access the filter parameters.

Set the timeline quality to green mode and promote the effect to AVX 2 by clicking on the promote effect button in the Avid controls window. Twirl down the Title Matte group and enable the Apply to Title Matte button.

Now let’s track the background clip. Twirl down the motion tracker group in the BCC Match Move filter controls. By default the filter will set itself to track the clip to which it was applied and in this case that is not what we want to do, we want to track and recover the motion from the background clip with the crane and apply that to the fish shot. So, set the To set-up the tracker, enable the track-on-the-fly feature. Now set the Motion Tracking Source layer to First Below. Then enable the track-on-the-fly button. Drag the tracker center so that it is centered over the the bottom of the letter F on the sign. Then expand the target area (the inner box) to 15 pixels and leave the search at it’s default value of 40.

Now that the search and target regions have been set, we are ready to track. Just click on the play button in the Avid viewer window and the filter will analyze / track the feature. Tracking is complete when the clip has played through every frame in the comp. There are indicators at the bottom of the composite window that provide information regarding the integrity of the tracking process – a solid green bar indicates that all frames were tracked, while the color purple is used to indicate a non-tracked frame. A red bar is displayed to indicate the current time. When tracking has completed, you may want to monitor the tracker running through the frames to make sure that the tracker did not drift or move off target. Once satisfied with the tracking data, you can disable the track-on-the-fly feature.

So … now that we have recovered the camera motion, we need to instruct the filter to use this motion to control the movement of the foreground clip in the composite, which in this case is the fish clip. Twirl down the Match Move parameter group and set the MM foreground to the shot of the fish. The fish will move correctly now to match the camera movement from the background clip, but it is not in the correct position over the clock face that we wanted to comp it onto.

Move the CTI to the middle of the clip. We’ll reposition the fish so that it is positioned over the clock face. By using the offset parameters from the motion tracker group, we can change the relative position offset of the foreground clip to the recovered tracker data. Go to the Motion Tracker group and set the offset x to +0.020 and the offset y value to -0.354. This places the fish with alpha directly over the clock face. The fish will also move correctly now to match the camera movement from the background. But there is perspective distortion in the background shot that we need to apply to the foreground to make a convincing composite. To fix this, we let the filter do the work by using the built-in DVE controls to match the perspective in the background shot.

Let’s twirl down the Transform control group. This is where we apply transform operations to the foreground clip. First unlock the scale and set the scale x to 74 percent and the scale y to 84 percent. Observe now that we’re getting close to a match. Set the Tumble parameter to -10 and the Spin parameter to + 34 degrees. Bingo – the foreground clip now sits right on top of the background clip with matching perspective distortion.

Now we’ll just go in and blend the edges of the foreground clip so that it looks like the two clips are one shot. The controls for this function are located in the Composite group. Twirl down the Composite group and set the Wrap Softness to 10 and the Wrap Width to 3. Play back the result and observe that the foreground clip is locked to the background clip in a seamless composite.

How to Use the Filter in a Typical Scenario in Adobe Premiere Pro:
We’re going to use the BCC Match Move filter to match the camera pan movement of one clip to that of a clip which was shot with a locked down camera and generate a seamless composite of the two clips making them appear as though they were shot with the same camera – all right within the Match Move filter. We’ll start the project by importing the two clips that we need into a new project in Premiere Pro. Let’s take a look at the two clips that we are using – one is a camera pan shot of buildings along the waterfront in San Francisco while the other is an underwater scene of a fish swimming near some coral along the California coast. We’re going to comp the fish onto the side of one of the buildings.

To start, we drag foreground clip of the fish into the timeline on video 1 track, then drag the background clip of the buildings into the Premiere Pro timeline in the video two track, directly above the fish track. Let’s review the movement of the clip in the scene – there is a slow camera pan that we will capture with the BCC Match Move filter. We’ll set the current frame indicator to the start of the clip. Then we add the BCC MatchMove filter by selecting it from the effects tab and dragging it onto the clip with the buildings in the timeline. We then select the clip, and click the button to enter into effect mode.

Now let’s track the background clip. Twirl down the motion tracker group in the BCC Match Move filter controls. By default the filter will set itself to track the clip to which it was applied and in this case that it what we want to do, however it is possible to track and recover the motion from one clip, then apply that tracking data to composite two entirely different clips together. To set-up the tracker, enable the track-on-the- fly feature. Next we need to set the search and target regions in the tracker. Drag the tracker center to the top left corner of the white building at the far left of the screen. Then contract the target area (the inner box) to 10 pixels and set the search to a value of 34 pixels. Now that the search and target regions have been set, we are ready to track. Just click on the play button in the time controls and the filter will analyze / track the feature. Tracking is complete when the clip has played through every frame in the clip. There are indicators at the bottom of the composite window that provide information regarding the integrity of the tracking process – a solid green bar indicates that all frames were tracked, while the color purple is used to indicate a non-tracked frame. A red bar is displayed to indicate the current time. When tracking has completed, you may want to monitor the tracker running through the frames to make sure that the tracker did not drift or move off target. Once satisfied with the tracking data, you can disable the track-on-the-fly feature.

So … now that we have recovered the camera motion, we need to instruct the filter to use this motion to control the movement of the foreground clip in the composite, which in this case is the fish clip. Twirl down the Match Move parameter group and set the MM foreground to the shot of the fish. The fish will move correctly now to match the camera movement from the background clip, but it is not in the correct position over the building that we wanted to comp it onto. Move the CTI to the middle of the clip. We’ll reposition the fish so that it is positioned over the building that is directly to the right of the spire. By using the offset parameters from the motion tracker group, we can change the relative position offset of the foreground clip to the recovered tracker data. Remember that we tracked the corner of one of the other buildings so we just want to offset the tracker data as a group. We’ll set the offset x to -0.172 and the offset y value to -0.211. This places the precomp directly over the building that we are interested in. But there is perspective distortion in the background shot that we need to apply to the foreground to make a convincing composite and we also want to stretch the fish image so that it covers more of the building. To fix this, we let the filter do the work by using the built-in DVE controls to match the perspective in the background shot.

Let’s twirl down the Transform control group. This is where we apply transform operations to the foreground clip. First unlock the scale and set the scale x to 13.4 percent and the scale y to 15.8 percent. Observe now that we’re getting close to a match. Set the Spin parameter to + 22 degrees. Bingo – the foreground clip now sits right on top of the background clip with matching perspective distortion. Now we’ll just go in and blend the edges of the foreground clip so that it looks like the two clips are one shot. The controls for this function are located in the Composite group.

Twirl down the Composite group and enable the lock blend control. Then set a value of 4 in the blend left parameter and observe that the composited clip now fits over the building. Play back the result and observe that the foreground clip is locked to the background clip in a seamless composite.

How to Use the Filter in a Typical Scenario within Apple Final Cut Pro:
We’re going to use the BCC Match Move filter to match the camera pan movement of one clip to that of a clip which was shot with a locked down camera and generate a seamless composite of the two clips making them appear as though they were shot with the same camera – all right within the Match Move filter. We’ll start the project by importing the two clips that we need into a new project in FCP. Let’s take a look at the two clips that we are using – one is a crane shot of a street scene of a clock taken on Fisherman’s Wharf in San Francisco while the other is an underwater scene of a fish swimming near some coral along the California coast. In the crane scene, there is a clock on a post and we are going to comp the fish scene into the clock face. The fish clip has a circular alpha cut-out shape so that only the pixels within the circle are opaque.

To start, we drag the background clip with the clock into the timeline on video 1 track, we don’t need to pull the fish clip into the timeline as we can use the filter wells to pull the clip directly from the project window. Let’s review the movement of the clip in the scene – there is a slow camera crane up that we will capture with the BCC Match Move filter. We’ll set the current frame indicator to the start of the clip. Then we add the BCC MatchMove filter by selecting it from the effects tab and dragging it onto the clock clip in the timeline. We then select double- click the clock clip in the timeline to bring it into the source monitor window, and click the filters tab to access the filter parameters.

Now let’s track the background clip. Click on the Hide Motion Tracker button in the filter UI to reveal the motion tracker parameters. By default the filter will set itself to track the clip to which it was applied and in this case that it what we want to do, however it is possible to track and recover the motion from one clip, then apply that tracking data to composite two entirely different clips together. For this exercise, we will drag the clock clip from the project window onto the Tracking Source Layer input well. Next we’ll enable the Track On The Fly option by clicking on the button with the same name in the filter UI. Set the tracker target to look at the bottom of the letter F on the clock face by setting the following values in the Tracker Center KF numeric entry boxes: +236, -165. Set the Target Width parameter to a value of 15 and leave the Search Width at it’s default value of 40.

Using the right arrow key on the keyboard, step through the timeline frame by frame until you reach the end of the clip. This process tracks the target as it moves across the record monitor and feeds the recovered motion to the filter. There are indicators at the bottom of the composite window that provide information regarding the integrity of the tracking process – a solid green bar indicates that all frames were tracked, while the color purple is used to indicate a non-tracked frame. A red bar is displayed to indicate the current time. When tracking has completed, you may want to monitor the tracker running through the frames to make sure that the tracker did not drift or move off target. Once satisfied with the tracking data, you can disable the track-on-the-fly feature.

So … now that we have recovered the camera motion, we need to instruct the filter to use this motion to control the movement of the foreground clip in the composite, which in this case is the fish clip. Click on the Hide Motion Tracker to hide the motion tracker parameters and click on the Hide Match Move Controls to reveal the match move parameters. Drag the fish clip from the project window onto the MM foreground image well to set the MM foreground to the shot of the fish. The fish will move correctly now to match the camera movement from the background clip, but it is not in the correct position over the clock face that we wanted to comp it onto.

Move the CTI to the middle of the clip. We’ll reposition the fish so that it is positioned over the clock face. The fish will move correctly now to match the camera movement from the background clip, but again it is not in the correct position over the clock face. We’ll reposition the fish so that it is more closely aligned with the clock in the background. By using the offset parameters from the motion tracker group, we can change the relative position offset of the foreground clip to the recovered tracker data. Remember that we tracked the letter at the bottom of the clock and now the center of the fish precomp is locked to the letters so we just want to offset the tracker data as a group. We’ll set the offset x to 0.050 and the offset y value to -0.330. This places the fish with alpha directly over the clock face. But there is perspective distortion in the background shot that we need to apply to the foreground to make a convincing composite. To fix this, we let the filter do the work by using the built-in DVE controls to match the perspective in the background shot.

Hide the controls for both the Motion Tracker Group and also the Match Move group. Then reveal the parameters from the Transform control group by clicking on the Hide Transform Controls button. This is where we apply transform operations to the foreground clip. First unlock the scale and set the scale x to 74 percent and the scale y to 84 percent. Observe now that we’re getting close to a match. Set the Tumble parameter to -11 and the Spin parameter to + 33 degrees. Bingo – the foreground clip now sits right on top of the background clip with matching perspective distortion.

Now we’ll just go in and blend the edges of the foreground clip so that it looks like the two clips are one shot. The controls for this function are located in the Composite group. Hide the Transform Controls and reveal the parameters in the Composite group by clicking on the Hide Composite controls and then reveal the Light Wrap controls and set the Wrap Softness to 10 and the Wrap Width to 3. Play back the result and observe that the foreground clip is locked to the background clip in a seamless composite.

 

Parameter Descriptions:

Presets and Common Controls

BCC filters come with a library of factory installed presets plus the ability to create your own custom presets and preview them with the BCC FX Browser™.

BCC filters also include common controls that configure global effect preferences and other host-specific effect settings.

For more information about working with presets and other common controls, Click Here.

 

Deep Color Rendering pop-up: Sets the deep color render values when working in higher bit depth (fxplug only) hide motion tracker controls – show/hide toggle for this group (fxplug only).

 

Motion Tracker

The BCC Motion Tracker allows you to track the motion of an object, then use the motion path to drive other geometric properties of the effect without the need for keyframing.

For more information on the Motion Tracker, Click Here.

Hide Preprocess Controls: Show/hide toggle for this group (fxplug only).

 

Preprocess Group

  • view – preprocessed source
  • input black – controls the black levels of the image
  • input white – controls the white levels of the image
  • gamma – controls the image gamme
  • blur/sharpen – negative values blur, while positive values sharpen the image

Tracking Source Layer: This pop-up is used to select the layer to track.

Track on the Fly: Enables motion tracking.

View: This pop-up contains UI display options for the motion tracker.

Show Path Over Render: Displays the motion path over the rendered image.

Path Frames: Sets the amount of frames that are displayed in the motion path.

Tracker Center KF: Sets the tracker center point.

Input Channel: This pop-up is used to set the channel from the media clip to be used for tracking.

Sub-pixel Accuracy: This pop-up is used to set the sub-pixel level of the tracker engine.

Start Tracking Frame: Used to set the first frame of the clip to be tracked end.

Tracking Frame: Used to set the last frame of the clip to be tracked target .

Width: Sets the width of the target tracking point.

Search Width: Sets the width of the search region.

Apply: This pop-up determines how the tracking data is used.

Offset X: Used to offset the tracking data along the X axis.

Offset Y: Used to offset the tracking data along the Y axis.

Extrapolate Motion: This pop-up controls whether the motion is extended automatically and extrapolated beyond the range of the tracker start and end frames.

Smooth Motion: Smooths the recovered motion path.

Smooth Falloff : Smooths the edges of the motion.

Smooth On: Enables the smoothing function.

Smoothing Lock: Contains options which are used to constrain the smoothing.

Tracker Time Offset: Moves the recovered tracking data in time use offset only.

Tracker Auto-man: This parameter controls how much tracking data is used for full manual using none of the recovered data and full auto using all of the tracking data.

Hide Match Move Controls: Show/hide toggle for this group (fxplug only) match move group.

MM foreground: This pop-up is used to select media from the host.

Render: This pop-up is used to render the match move only or the effect over the source media.

Opaque Source: Ignores the media alpha channel and enables faster rendering when enabled.

 

Transform Group

Hide Transform Controls: Show/hide toggle for this group (fxplug only).

Lock scale to X: Scales X and Y together when enabled.

Scale X: Sets scale along the X axis.

Scale Y: Sets scale along the Y axis.

Position XY: Sets the position of the media on the XY axis.

Position Z: Sets the position of the media on the Z axis.

Tumble: Sets angle of the media along the Z axis.

Spin: Sets the angle of the media along the YZ axis.

Rotate: Sets the angle of the media along the XY axis.

Shift: Used to offset the result.

Pivot: Used to set the pivot point for the result.

Motion Blur: Enable or disable motion blur with this checkbox.

Hide Motion Blur Controls: Show/hide toggle for this group (fxplug only) motion blur sub-group.

Smoothness pop-up: Contains 4 smoothness options:

  • rough
  • medium
  • smooth
  • smoothest

Shutter Angle: Sets the perceived shutter angle for the motion blur. higher values result in more blur.

Adaptive Motion Blur: Disable for a smoother result.

Hide Composite Controls: Show/hide toggle for this group (fxplug only) composite group.

Hide Crop and Blend Controls: Show/hide toggle for this group (fxplug only).

 

Crop and Blend Group

Crop Left: Crops the image along the left side.

Crop Top: Crops the image along the top.

Crop Right: Crops the image along the right side.

Crop Bottom: Crops the image along the bottom.

Blend Corner Shape: This pop-up sets either round or square corners for the cropped shape.

Cropped Shape Lock Blend: Locks the blend to the value set in the blend left parameter.

Blend Left: Blends the image along the left side.

Blend Top: Blends the image along the top.

Blend Right: Blends the image along the right side.

Blend Bottom: Blends the image along the bottom.

Hide Border and Shadow Controls: Show/hide toggle for this group (fxplug only).

Shadow On: Enables the drop shadow function.

 

Border and Shadow Group

Border Corner Shape: This pop-up sets either round or square corners for the border.

Border Width: Sets the width of the border.

Border Opacity: Sets the opacity of the border.

Border Softness: Sets the softness of the border.

Border Color: Sets the color of the border.

Shadow Distance: Controls the distance that the shadow is offset from the original.

Shadow Intensity: Controls the opacity of the shadow.

Shadow Softness: Controls the softness of the shadow.

Shadow Angle: Controls the angle of the shadow.

Shadow Color: Controls the color of the shadow.

Light on: Enables the light function.

Hide Light Controls: Show/hide toggle for this group (fxplug only).

 

Light Group

Light Type: This pop-up is used to set the type of lighting.

Light Source XY: Sets the position of the light source along the XY axis.

Light Source Z: Sets the position of the light source along the Z axis.

Light Target: Sets the target for the spotlight.

Light Width: Sets width of the spotlight.

Ambient Intensity: Controls the level of ambient light.

Diffuse: Controls the diffuse light quality of the image.

Specular: Sets the width of the specular highlight.

Specular Falloff: Controls the falloff of the specular highlight.

Sweep Angle: Sets the angle of the light sweep.

Light Color: Used to set the color of the light.

Point Light at Source: When enabled will aim the light at the image source.

Apply Mode: This pop-up contains all of the apply mode compositing options for lights.

Apply Mix: Blends the selected apply mode with the normal apply mode.

Hide Light Wrap Controls: Show/hide toggle for this group (fxplug only) light wrap group.

Wrap Lightness: Sets the lightness / darkness of the wrap.

Wrap Softness: Sets the softness of the wrap outer edge.

Wrap Width: Sets the width of the wrap.

Wrap Apply Mode: This pop-up contains all of the apply mode compositing options for the wrap.

Opacity: Controls the overall opacity of the effect.

Apply Mode: This pop-up contains all of the apply mode compositing options for compositing.

Apply Mix: Blends the current apply mode with the normal apply mode.


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