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How can we inspire yours? It has a unique way of solving which radically accelerates your results, solving more shots in less time. Two clicks and the majority of your shots can be matchmoved automatically. No manual tracking required, saving you time and resources. Those sections can then be used to improve other areas. Target Tracking now can specify a pattern on a single frame as well as tracking multiple patterns simultaneously. If you are using an older version of Vicon software, please contact Vicon to ensure there are no issues or driver limitations if you are upgrading your PC. Your choice depends on your application requirements and the size of your system. For each Vue (or Bonita Video) camera connected, there will be additional network port used. The Local Area Connection Properties window will open.For example, the second VUE camera will be 192.168.10.3. And OK again to close out of the Local Area Connection Properties. This will make sure all changes have been saved. Such as ViconMX, VUE1 or VUE2 Two clicks and the majority of your shots can be matchmoved automatically. No manual tracking required, saving you time and resources. Those sections can then be used to improve other areas. Target Tracking now can specify a pattern on a single frame as well as tracking multiple patterns simultaneously. The processor must support Two clicks and the majority of your shots can be matchmoved automatically. No manual tracking required, saving you time and resources. Those sections can then be used to improve other areas. Target Tracking now can specify a pattern on a single frame as well as tracking multiple patterns simultaneously. Two clicks and the majority of your shots can be matchmoved automatically. No manual tracking required, saving you time and resources. Those sections can then be used to improve other areas. Target Tracking now can specify a pattern on a single frame as well as tracking multiple patterns simultaneously.
http://mrpressconsulting.com/UserFiles/capresso-mt500-owners-manual.xml
Advances in Vicon’s technology IP allow Vantage to hit resolution and speed sweet spots that make it truly unique. Like its bigger brother, Vantage, Vero has on-board sensors that monitor camera position and temperature to ensure optimal performance at all times. We’re happy to provide more information, answer questions and help you find the solution you need. Get in touch with our experts today. See privacy policy. Discover everything Scribd has to offer, including books and audiobooks from major publishers.Browse Books Site Directory Site Language: English Change Language English Change Language. The main problem that I’m having is that I can’t seem to do it in Boujou. I’ve checked the manual and the tutorials PDF and not too much help there. Is what I’m trying to do even possible with Boujou? The tracking points that I created on the subject’s head are all created and fully tracked through the sequence. Either way I don’t know how to get the data out of Boujou. I have a problem with a shot and when I try to solve my feature with BOUJOU the result is not good. When my footage presents the problems of rolling shutter or it’s blurred my dots are not stabilized. You know a solution I can try. Beyond this I have see your Italian’s name and I would ask you if I can send you a mail in italian lenguage to ask you information for Vancouver. Thanks I have a problem with a shot and when I try to solve my feature with BOUJOU the result is not good. Beyond this I have see your Italian’s name and I would ask you if I can send you a mail in italian lenguage to ask you information for Vancouver. Thanks If you wish to continue the discussion, please create a new thread in the appropriate forum.
http://copy2d.com/ftp/image/capresso-mt600-manual.xml
It enables sophisticatedThe software has become anAndrew Zisserman, FRS (whoBetween 1999 and 2001, heIt does this by taking into accountPrior to Boujou's development,Working in the fieldA mathematical model was constructed that couldThis was achieved by detecting outliers, andOne crucial step involvedThis represented theThe team went on toEuropean Conference on ComputerEuropean Conference onComputer Vision andThere was one shot in particularBoujou has always been my weapon ofPart 2 alsoIn 2009, Vicon tookBy using it, special effects sequencesEndorsementsIn fact, itOnce shots are tracked, we canWithout Boujou, striking sequences like this. The software developers of these apps give us some technical insight as well as tips and suggestions how to get great tracks. Almost all trackers are now biased to a luminance of black and white version of the track box. Digital Fusion alone amongst the leading packages uses colour information automatically. When a track is performed in Digital Fusion, the user interface shows the stength of each of the three colour channels and then which it has decided to use. While most 2D trackers also do corner pinning and 4 point tracking, DF offers a weighted solution. If you need to track a large object but not just one individual point on it and the object motion causes problems (such as tracking any object floating on water), DF allows several points to contribute to one solution. So even though an an individual point may have tracking errors due to perspective change, the overall movement of the object can be tracked from mulitple points and combined to provide one single track solution. While most tracks are correctly done using the normal tracker, if a monochrome version of your image has poor contrast, try a hue track. Adobe’s Michael Coleman notes that “After Effects uses luminance as the preferred color channel for the track, but there is a user control to switch to RGB or saturation.
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In practice, most hand-made tracking markers work best using luminance”. Discreet’s Lustre has tracking and Quantel’s QColor integrates into eQ and iQ to give multi-layer non-linear in-context color correction. Both applications bring effects tools to the colorist, which is something traditional color correctors haven’t offered. Their replies and tips may surprise you. “Well, for a start make sure your tracking markers don’t blow away”, jokes Quantel’s Steve Owen. “Framestore (has) a lovely story about a money shot in Walking with Dinosaurs. It was a helicopter fly past and they would have to comp in the 3d dinosaurs walking off towards their eventual extinction. They used baseballs as markers but unfortunately overlooked the down draught from the helicopter which promptly moved all the markers around. It was fixed with great skill in post.” The jury is out between the various experts, perhaps due to each product having a different algorithm. Coleman mentions that “AE doesn’t really prefer one object shape over another. I’ve always been pleased with results of using the cross or the dot, but this is probably personal more than technical. From a technical point of view, the AE matching algorithm has a technique for discovering the shape of the target. I believe that this technique is based off of the center of the feature region. This means that there is a benefit to putting the center of the feature region directly over the middle of the mark.”. Eliminating rotation variance is, therefore, a big plus. A circle also tracks better with zoom and focus changes. Curious Software’s David Franklin agrees. “The most important thing is that the shape of the tracking marker doesn’t change significantly during the motion. You want to minimise the alterations caused by rotation, perspective changes etc.,” says Franklin. “Therefore, I would say that a simple sphere or circle is best.
http://huntincesma.com/images/bwa-technical-operations-manual.pdf
” Digital Fusion’s Rony Soussan comments “let’s just say that there is no right or wrong answer, it all really depends on many factors. How close or far are the trackers, is the camera doing a dolly or pan?.I’ve done music video’s where we had nothing but gaffer tape and we tracked it perfectly. It’s less about the tape or circle or square than it is about the artist driving the tracking software. Nothing’s automatic regardless off what people say. That being said, I’ve had a lot of success with a triangle myself, there a pattern that’s stronger then a circle so the tracker does have angles to track for scale as the marker changes size.” The tracking algorithms generally already have some sort of color correction or contrast stretching built-in. Ron Brinkman points out “there is nothing much you can do that the internal algorithms of Shake’s tracker can’t also do”. In fact, color correction done by an artist could have negative impact on the track by increasing the signal-to-noise ratio and interfering with tracking, says Discreets’s Schioler. Fighting noise by reducing jitter or providing a cleaner track is a key aspect of doing successful tracks, especially in 4 point camera tracks. Tracks in their basic form can simply be edited by hand to remove spikes or errors. “Our tracker produces standard motion paths which can be used and edited anywhere in gFx” says Franklin. “You can remove jitter by deleting keyframes and allowing the curve interpolator to fill in the gaps, but we don’t currently have any specific tools in the tracker for removing jitter. We are adding these though.” Discreet already has a jitter removal option, introduced with version 4 of the software. A small blur could reduce noise while maintaining the important image information for tracking. “AE can reduce noise and jitter in the track data using our “smoother” palette, which does just what it says,” according to Coleman. The AE expression engine can also be used to filter the track data.
Once you’ve tracked in Fusion it basically becomes a path that the tracker reads. All paths, and shapes in fusion, including effects mask, curves in your spline editor and the track data can be smoothed down using our reduce points system. It will average the shape of the track down as far as you want to push it until it’s a smooth spline curve. Another way is to de-grain an image prior to tracking, then replace back the original footage, I’m sure you’ve heard that one before. Our tracker has option based on sub-pixel accuracy that help compensate for noise, the default settings work great, but if you need to really fight the grain then bumping up the sub-pixel accuracy is definitely the way to go.” These are specially designed algorithms that act similar to a median filter but maintain all edge detail. In essence they can be likened to high quality grain reduction tools. For example, some 3D trackers will produce a better camera track for film resolution material by actually tracking a video size resolution image instead. This is not so in 2D, says Discreet’s Schioler. “There is no reason to scale down the image. Under most circumstances, you should simply use larger tracker boxes. Image resolution doesn’t really change anything as far as motion blur is concerned. The important thing here is tracker box size.” Match moving, optics, photogrammetry, and perspective drawing are all part of an area of mathematics called projective geometry. Applied to various spatial problems, it can provide solutions for measuring objects at a distance, locating objects in space, and extracting 3D models from photographs. Projective geometry has been used since the dawn of cinema in the form of glass matte paintings and false perspective sets. Camera angle projection, which is the process of extracting a perspective view from architectural plans and elevations, was the standard method used to visualize specific camera angles and views based on blueprints of a set.
editorialbuencamino.com/userfiles_editorial/files/Bvm-manual-tongs.pdf
This branch of mathematics is used to describe the geometric relationship between two optical systems viewing the same subject and can be used to locate points in space. Because a moving camera offers a new view every frame, epipolar geometry works for a single moving camera as well, and each new view is understood as a separate optical system.” Epipolar geometry is a type of triangulation. When using photographs to determine the position of a point on an object using triangulation, it’s necessary to match the image location point in one image to the image location point in a second image. Matching these pair of points in two images is called correspondence. Finding these matches would appear to require searching the entire image. Epipolar geometry proposes that the point we are interested is actually constrained to a single line. This greatly limits the search for that point.” By using the path of the point to define a line, one can predict where a point is going and greatly reduce the amount of computation and hence speed up the tracking process. The exceptions are reducing the image size to reduce the effects of motion blur, and tweaking the linearisation settings of very dark cineon images to bring out more detail in the shadows.” Perhaps the most definitve comments on trackers comes from 2d3’s Hill who strongly advocates triangular trackers. “The advantage to the triangle in the circle is that it gives you three well-spaced, high contrast corners for boujou’s automatic tracker to pick up. The crash test marker has a high contrast area in the centre, and lower contrast areas around the edge. When this marker gets small and pixelated the central region starts to give four noisy tracks instead of one stable one (the detected features get pushed away from the corners by the blurring of the image at lower scales). The triangle in the circle works much better throughout a wider range of scales.
Boujou’s target tracker works well on both sorts of marker, but for best results place the crosshairs of your keyframes in the centre of an area of black or white rather than at a corner.” They aim to not so much give the 3D artist a camera track set of data points, but rather to “track the room to the camera” so the artist has a set with the camera moving through it. Noble’s TRACK software now usese optical flow and a range of solutions including Laser scans or “poor man’s LIDAR” (LIght Detection And Ranging). Many programs do both. That means that no previous frames are needed during the tracking process so no error accumulation happens. Marker tracking is very precise, but specialized.Unlike 2D tracking, automatic point generation is common in 3D tracking. This allows 3D camera tracks to solve seemingly impossible tracks. Perhaps the one of the most impressive and difficult tracks is to track helicopter moves over vast featureless oceans.Mayai?? Live, like some 2D trackers such as Digital Fusion, show percentage confidence levels for the trackers in the UI. King suggests the following tips for Mayai?? Live: Bi-directional tracking can be repeated from a lower confidence area that looks right in the point centred window. Repeating this will result in longer high confidence sections. One of these can completely ruin the Solve. If you aren’t getting a good solve, pointblast the tracking points again and correct any wandering points. Lens distortion generally has very little influence on the 2D tracking process. However, it can have a substantial influence on the 3D camera calculation process. For this reason it is wise to film a grid with each prime lens (or in worse case film a known angular shape like a building). Most 3D camera packages have tools to adjust for lens distortion. For instance, 3DE includes a special lens distortion tool called “warpdistort”.
It allows the user to remove and apply lens distortion to image sequences and can be useful throughout the entire production pipeline. REALVIZ MatchMover experts Luc Robert and Ronald Mallet comment, “In MatchMover, lens distortion is represented by a mathematical model, whose parameters are computed automatically based on the point tracks. This model handles most of the lenses with a high level of accuracy. MatchMover also exports distortion nodes to Shake. In some cases, in particular when dealing with high-res footage, lens distortion effects are too important and too complex to be represented by a simple mathematical model. In this case, distortion can be learnt using a calibration pattern, and images warped before tracking to work on distortion-free footage. Later this year, we will provide specific tools to perform this.” 2d3’s new verison of boujou handles lens distortion but according to Hill, many facilities prefer to take distortion out of the footage using Shake, Inferno or other products before giving it to boujou. “If you go down this route,” Hill states, “you should make sure you use the right pixel aspect ratio for the custom camera that you will have to create in boujou. We’re going to supply a Shake node with boujou3 that will allow you to use the boujou lens distortion model to add or remove distortion. “. Pixel Farm, which also produces a Shake, Digital Fusion and AE plugin, can deal with high and low order radial distortions as well as distortions that change over a number of frames. While a wider or larger picture will perhaps allow tracking markers to be valid longer before moving off screen, static resizes in telecine are not as disastrous as sometimes thought. Hill explains that while an accurate film back is important, it is not “as important as the pixel aspect ratio. If you get the filmback wrong then you’re going to get an inaccurate focal length value, but this is rarely a major problem unless the value calculated is way out.
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Pixel aspect ratio, on the other hand, can kill a camera track. It acts like a kind of 1D lens distortion and will have a very big effect on tracking accuracy. If the telecine process puts any squeeze on the frames then you’re in trouble”. If the image is adjujsted in telecine, it is important to know where the principal point (the projection of the camera optical center on the film back) lies in the image. With cropped footage, “it can even lie outside of the image,” jokes the RealViz team. “An error of a few pixels on the principal point will generally not affect the tracking too badly. Knowing the value of the camera focal length is helpful, both for accuracy and speed. Measurements on the set are also helpful. Any such measurement can be used by MatchMover to find a quicker and more accurate solution.” MatchMover allows stills as well as data issued from ImageModeler. “This is particularly useful when dealing with multiple shots of the same scene, because it guarantees that all the solves are compatible and part of the same 3D world coordinate system. It also makes tracking a breeze,” they point out. In optical flow solutions, every point is tracked and it produces a set of floating point data which can then be combined with traditional 3D tracking for far reaching solutions. One of the leading companies in this new field is England’s PixelFarm, who appear to be leading the pack in multiple application uses of a core data solution. The 2D features are used to calculate the 3D match move, and those same 2D features can also be used to calculate the optical flow. This gives a very reliable solution to the optical flow calculation. So for instance, with old problem of a hand passing a face, stick a couple of user features on the hand and you’ll create a very much improved flow calculation. You can also use splines (mattes) in a similar way or in combination to define edges.” The problem PixelFarm address is a common issue for other tracking programs.
3D tracking is really a camera solution, it is not fundamentally about tracking things in the scene. In factm programs such as boujou provide matte generation to hold out moving objects that will interfere with the camera track. While programs such as 3D-Equalizer can be used to track people’s faces or hands, it is not their primary purpose. PixelFarm is building out from a core of tracking data to provide object tracking (including motion capture), camera tracking, motion blur analysis and even 3D scene reconstruction. One particularly difficult problem for 3D camera trackers are zoom lenses. While boujou users are waiting until September for zoom lens solving tools in boujou 3, other packages such as 3D-Equalizer, SynthEyes and PFTrack already include it. Shots taken from a tripod do not permit a full 3D solution, but SynthEyes can solve them to determine the pan, tilt, and field of view of the camera. SynthEyes also determines the 3D direction to each tracker, resulting in a spherical shell of trackers (panning, tilting, and zooming) surrounding the camera within the user’s 3D package. 3D elements can be inserted into this environment more easily than using a small number of independent trackers in a conventional 2D compositing application. But perhaps SynthEyes’ most amazing feature is its speed. Just as Benoit Sevigny did at Discreet years before, Andersson has focused on solution speed as a key enabling aspect of tracking and has been designed from the ground up to be fast. While perhaps not quite as powerful as some of the bigger boxes, it remains one of the most-widely used effects solutions in the world. DS Nitris is a standard and high definition finishing tool which offers power similar to After Effects and Photoshop. Nitro has a powerful 3D DVE, vector paint, motion tracking, keying, compositing, title and Symphony-like color correction tools.
Nitro has come a long way since its relatively helpless title tool in the original Media Composer, but Avid still lags in marketing to the effects community. For example, Avid was the only equipment supplier who declined to contribute to this story. The Discreeet trackers are fast and very powerful and only lack multi-point solutions. Version 6 of inferno and flame contain an updated 3D tracker with much improved algorithims as well as auto-tracking. The lack of Maya export and a reliance on fbx as an interchange format is annoying and buggy. The 2D trackers are still the benchmark which other 2D trackers are compared to. Paint offered a vector based painting and cloning system for Mac and PC, while Effect offered compositing capabilities. Discreet redesigned the interfaces to make the applications more Discreet like, and merged the two applications into Combustion. Along the way, they also replaced some of the core functionality such as Keying, Color Correction, and Tracking with the same tool set found in Discreet’s Advanced Systems. This provided flame-level tracking at a much much lower price.Unlike other paint programs it is designed around a stong user interface that fully embraces moving footage, as such it can import, composite, track, or stablise footage easily. One of Curious’s founders is the man behind Parallax and Matador, which developed tracking on a PC back in 1995, and it shows in some of the depth of tools already available in the software. At one stage, a version of Fusion was provided with Alias 3D. Eyeon has two main products: Digital Fusion and DFX.DFX 4 is the 8-bit expandable version of eyeoni??s image processing software, Digital Fusion. DFX is based on the architecture of DF4 and offers a number of significant enhancements to its predecessor, DFX, including the flexible flow, superior character generation, PSD import into separate layers for animation, and more.
Digital Fusions’s 2D trackers are some of the most advanced, and well integrated into every part of the product. It features combined real-time video paint, animation, and effects functionality. There have been some relatively small (hidden) changes in the tracking function with a view to smoother paths. Mirage’s tracker can work in a RGBA, or consider just single color channel, as well as either Luma or Saturation. Mirage’s tracker panel provides a monochrome magnified image of the the tracking area, along with a channel menu. This can be useful to visually judge which channel is optimal for tracking pruposes in a given situation. All share the same code base and toolset including tracking. Quantel has made great advances in recent years in digital intermediate grading. Quantel has no 3D tracking but a comprehensive set of 2D tools in all products.Given Shake’s popularity this has caused many of the other specialist products to code special 2D export functions especially for Shake. This allows 3D tracking of complex camera moves and exporting special Shake data for tasks such as 4 point camera tracking.It is very much a high end feature film or major production tool. As such it has a serious learning curve but the web site has one of the most comphensive interactive teaching aids available of any company. The more data (focal length, survey points) which is recorded on set, the more information can be fed into 3D-Equalizer. This helps to reconstruct proper camera moves. Problems can arise when these data are wrong because of “human error”. 3D-Equalizer becomes confusedand it is difficult to debug by the user 3D-Equalizer is now avaliable for OSX and NT.Combined with options for per-pixel motion blur, focus blur and colour adjustment controls makes Monet an extemely power specialist application. Monet was developed specifically for Cinesite in London for tracking the 2D animated paintings into the picture frames in Harry Potter III.
Monet run on Windows, Linux and OSX.For instance, MatchMover, ImageModeler and Stitcher share estimation algorithms that compute point and camera parameters based on correspondences across images. ReTimer is a little different since there is no 3D involved in the estimation process. It computes varying zoom as well as distortion and handles multiple shots and secondary helper pictures. The product incorporates both completely automatic tracking and supervised tracking, without limit in combining both approches. MatchMover can be adapted to any shooting situation: availability or not of survey data, information on camera lens, set constraints, motion control data, camera motion constraints (rail, tripod, fixed camera), different sequences from multiple viewpoints, 3D model-based tracking. Whatever data is available, you can take advantage of it within MatchMaker Pro. This versatility also extends to pricing through the Absolu pricing scheme. Image courtesy of Jeff Mottle i?? CGarchitect.com While numerous licences have been sold, it is not widely used in comparison to other leading packages.Nuke provides compehensive 2D tracking and stablisation. The PixelFarm’s PFTrack is at the core of The PixelFarm’s data centric workflow. No longer purely a match move application, PFTrack is a means to extract complex 3D and 2D data from footage which can then be used in many ways. The PixelFarm provides a number of applets such as PFStable, PFRetime, PFPlate and PFBarrel to utilise data from PFTrack to enable operations to be carried out in a host compositing or editing application.Aimed at the single desktop user PFMatch offers a low cost solution for markets such as architecture or video users who require occasional match moving facilities and do not require the rich feature set and cross facility production tools of PFTrack. PFMatch hasmore tracking features than many of the higher cost tracking applications.
PFMatch stands out against the competition due to it’s ability to use manual, automatic, or a combination of the tracking methods as well as solve all camera motions including zooms. It has not been developed much more in recent years but it is widely known for producing accurate z depth solutions. Maya live is packaged as part of the Maya complete package and is now available for both NT and OSX.Find out more This is done using simple text files called cookies which sit on your computer. These cookies are completely safe and secure and will never contain any sensitive information. They are used only by fxguide or the trusted partners we work with. OK. It also states that there is no way to combine multiple camera solves, due to the 3D nature of matchmoving. Re-track the scene again with different settings. If you still have problems try using manual target tracks in spots the automatic tracker has trouble with. It also states that there is no way to combine multiple camera solves, due to the 3D nature of matchmoving. If you still have problems try using manual target tracks in spots the automatic tracker has trouble with.In boujou 5 When ever I use the manual tracker it always gives me red and the tracker goes bonkers all over the screen. It's weird. Plus it gives me a lot of shaky tracks. Where as Boujour 4 gives me rock solid tracks in the same or worse footage. I just don't get it. I have gone through the manual and tutorials and the machine still gets crappy results. Ugh but o well it's what the studios use. I planning on just getting Syntheyes, I hear it gives excellent tracks. No worry! This page provides detailed instructions on how to completely uninstall Vicon boujou. When you want to uninstall the program, you can go to the Programs and Features to uninstall it. So when you want to uninstall Vicon boujou, the first solution is to uninstall it via Programs and Features. You can find this files in the installation folder of Vicon boujou.