Tuesday, 14 December 2010
Monday, 22 November 2010
Curious Turtle training present this free tutorial on mocha Pro's stabilize module. To download the original video go to our site:
To purchase a in-depth training videos from out store go here: http://www.imagineersystems.com/products/training
Thursday, 18 November 2010
This past week, we launched our new web site with many new improvements and functionality. Please take note of these new links:
mocha Pro: combines all monet, mokey and mocha into one 64 bit application.
read more view tutorials
mocha v2.5: Free update of mocha v2 (full version). Improved Nuke support and OpenEXR.
mocha AEv2.5: Nw upgrade for After Effects & Final Cut users. On sale for $99.
Saturday, 6 November 2010
mocha Pro is here
The Launch Events:
November 11: Holllywood
November 16: London
November 17: New York
Eight years of research, development and perfecting planar tracking has come to this. And we think that's cause to celebrate.
64-bit planar tracking performance combined with object, wire and rig removal, lens distortion correction, insert compositing, mesh warper, roto tools...the list goes on. And it all comes together in a single, affordable, intuitive desktop app. Come see what all the excitement is about. mocha Pro.
Friday, 24 September 2010
We've had a great opportunity to partner with VFX industry veteran and Telly Award winning master trainer, Steve Wright, to develop a series of in-depth, workflow themed tutorials designed to provide you with a comprehensive understanding of the techniques to master planar tracking and rotoscoping with mocha.
These tutorials use Steve's relaxed, easy style to get you into the meat of how the tracker does what it does, and then how to use it to it's fullest capabilities.
Steve is currently rolling these out at a fast pace! Go check them out here:
Wednesday, 8 September 2010
Wednesday, 1 September 2010
For those that haven't seen the software update pop up yet, we've released mocha 2.0.2, and it comes with some handy improvements:
- Files with large amounts of layers load much faster. In some cases 25 times faster.
- Performance improvements for reading and tracking QuickTime files on 64-bit Windows.
- Keyframe by spline/point re-implemented.
Monday, 19 July 2010
Thursday, 17 June 2010
Imagineer Systems, creators of the mocha family of planar tracking & roto tools, is happy to support the Boston Final Cut community & attendees of the Boston SuperMeet with an exclusive discount on mocha for Final Cut. Built on patented 2.5 D planar tracking technology, mocha for Final Cut is designed to complement your Final Cut Pro editing workflow, offering a powerful, intuitive and innovative planar tracking solution.
Add advanced motion tracking and roto to your FCP kit!
Offer expires on June 30, 2010
- mocha for Final Cut ...... $110 (50% off!)
- mocha shape FxPlug .....$55 (50% off!)
- Visit Imagineer's on-line shop (http://www.imagineersystems.com/store/) to buy your special discounted license.
- Add desired mocha for Final Cut and mocha shape FxPlug to your cart.
- Go to checkout
- Fill in the customer information page
- On the order details page add the following coupon code to get the discount: bosfcpug
- Finish check out.
Questions? Email firstname.lastname@example.org
Tuesday, 8 June 2010
The mocha 2.0.1 update includes:
- Various viewer and GUI fixes
- Nuke export is now based on the frame offset to avoid timing issues with read nodes
- Significant performance improvements.
Monday, 7 June 2010
Earlier this year, Italian director Francesco Calabrese and VFX freelance artist, Fabrizio Bonaga were thinking of ways to collaborate with Amari, an aspiring band from Udine, Italy, with whom they’d become quite friendly with in recent months. Calabrese wanted to do something funny, creative, challenging, and even a little crazy. So the idea was hatched to make a film-style music video based on a series of classic science fiction movies and to realistically insert the band members into as many shots as possible.
The full article can be read here along with breakdown videos:
Wednesday, 26 May 2010
Friday, 14 May 2010
He had these kind words to say:
“Nowadays, I think of mocha as the incredibly fast optical flow tool that I've never had, but always wanted - it's Digital Glue. I know I’ve said this before, but what I love about mocha is this: it makes the deceptively simple stuff actually simple!”
See the full article here.
Friday, 9 April 2010
From Creative Cow:
"In short, this is easily the best tracking software I've ever used, and its roto tools are so simple and innovative that it almost makes me look forward to rotoscoping. Almost. This is a solid, production-ready tool that is priced to kill."
Read the review.
From Filmmaking Central:
"mocha v2 is faster and sexier than ever!"
Read the review.
From Micro Filmmaker Magazine:
"9.3 out of 10 points!"
Read the review.
Friday, 2 April 2010
Thus begins the white paper written by the founders of In-Three and the creators of an innovative 2D to 3D conversion process they’ve created called Dimensionalization.
What started as a R&D initiative in 2000 to discover methods to convert 2D movies to 3D developed over the next five years into an evolving practice. By 2005, In-Three had developed a workflow and a deep understanding of what goes into a successful 3D conversion. And their timing couldn’t have been better.
While In-Three has been perfecting Dimensionalization, demand for 3D content has been steadily rising, and Hollywood has been answering the call with an impressive string of block buster 3D films which are not only driving an accelerated 3D production schedule for new films, but is also making the industry look at their catalogue titles films in a new light and think about how they can be repackaged in 3D.
Alex Torres of In-Three explains: “At the heart of 3D Dimensionalization is a process for creating stereoscopic depth, in which we isolate literally hundreds of objects within a single image.
As this process evolved, we realized that, at its core, was a substantial roto effort. Typically, VFX is a procedural, layered process. You keep working on a project - layering in effects - until you come to the desired look.
But with Dimensionalization, we already know what we’re trying to achieve; the best 3D effect possible, while maintaining the artistic and technical integrity of the original material. So, a ton of roto and paint, combined with some of our own proprietary software, which we call Intrigue, is required to create the ultimate 3D effect.”
After many iterations of R&D, the workflow was perfected, and by 2007, In-Three realized that since roto played such a large role in the process, it was time to find a solution that better fit their needs, could handle the massive amount of roto and tracking, and most importantly, could start cutting down the incredible number of hours that went into the process. That’s when we found mocha from Imagineer Systems. It’s powerful planar tracker and easy to use interface made it a shoe in when we first started testing with it.”
In 2008, Disney and Bruckheimer films were readying the release of G-Force and turned to In-Three to handle the live-action 2D to 3D conversion while Sony Imageworks handled the conversion of the CG animation integrated scenes. “This was our opportunity to go full scale with our newly developed workflow. With all the pieces in place with our proprietary solution, and with mocha integrated nicely into our pipeline, we could confidently take on this challenge.”
The results were a huge success. Just last month, the entire G-Force 3D team was recognized by the International 3D Society, winning the 2D to 3D Conversion Project of the Year for their groundbreaking work on G-Force.
“In fact it was so successful, Disney came back to us with their newest challenge: Alice In Wonderland!”
The Challenge is in the Details
“Alice in Wonderland proved to be a fairly challenging film. Some of the greatest challenges we experienced were not in the grand, large action scenes, but rather in the finest of details. Women had wispy hair, there were leafy trees, and lots of organics.
Disney and Burton wanted to retain these details in the final stereo result, so we had to plan out carefully as to which techniques would be used on each shot. We must have gone through every matte creation process out there. This also meant a ton of roto was needed. mocha was integral in this facet, it’s a speedy little app and it fits snuggly in our pipeline.”
In-Three was again charged with converting scenes from the prologue and the epilogue of the film that were primarily live action. Elements created at Matte World Digital and Café FX were integrated into some shots as well. In the series of shots in which Alice is receiving a marriage proposal in a gazebo, the depth of field made the edges of Alice slightly soft.
“Fortunately, our roto team could handle the majority of the object and body work, while another team took care of the wisps of hair that were poking out of her bobbed hair style. What made the wisps so interesting in this example was the gazebo behind her. Alice has thin, semi transparent blond hair. It is completely visible every time she is directly overlapping the gazebo, but less so when she overlapped the sky. When we created the stereo pair, hair that overlapped the gazebo was now overlapping the sky, and vice versa. We had to make sure we compensated for this in our final stereo composite to give it realistic stereo contrasts.”
“During the epilogue of the film, Alice is getting ready to set sail abroad. The shot began with a camera close-up, then craning away to a wide shot. Consequently, the depth of field starts somewhat shallow and goes very wide. The schooner she is on has riggings and sails moving with the wind and, of course, there is her own hair again. Needless to say, this shot took some time and effort to complete; tremendous amounts of roto, matting, camera tracking, depth grading and paint work went into making that one. The cherry on top was a stereo CG butterfly added by Café FX after we finished the stereo conversion. These types of shots need such special attention, not just because of the elements involved, but because of the nature of the shot itself. These shots look great in 3D and people have a tendency to let their eyes wander around the scene. The shot looks great; we were very pleased with the result.”
“Alice in Wonderland was full of these types of challenges. We are very fortunate to have such talented artists who are trained to look for these types of details. Having good toolsets, such as mocha and our own proprietary applications, helps considerably as well.”
Stereoscopic 3D films have taken cinema by storm and will continue to dazzle audiences in 2010 and beyond. With the number of 3D cinema screens world-wide projected to rise from 2,500 to over 7,000 in 2010 and over 15,000 by 2013, In-Three is well positioned for new growth and is already managing an exciting line-up of projects for 3D films already in the pipeline.
Organized in 1999 to pioneer research and development in stereoscopic reconstruction of two dimensional images, In-Three, Inc. developed and patented a process called Dimensionalization® that makes it practical to convert 2D films into high quality, artifact-free 3D films.
In-Three is unique in offering a director the ability to select the dramatic impact appropriate to each scene. It does this by providing a range of style and degree choices (see white paper located in technical documentation). This capacity to incorporate artistic intent in 2D to 3D reconstruction is an inherent and distinguishing feature of Dimensionalization.
In addition to developing and continuing to refine Dimensionalization, In-Three has created the staff and systems that make Dimensionalization® by In-Three an appropriate choice for directors and studios.
Tuesday, 23 March 2010
Friday, 19 March 2010
Wednesday, 3 March 2010
mocha tutorial: Unlink & RG Warp on Vimeo.
Today I cover a unique tip to track long camera pans and finish the shot using Red Giant's Warp plug-in for After Effects. Feel free to ask further questions in the comments!
*footage provided by Artbeats.Com
Friday, 5 February 2010
mocha - Top 5 workflow tips on Vimeo.
*footage provided by Artbeats.Com
Wednesday, 3 February 2010
|When:||Tuesday, February 16, 2010|
|Where:||Barnsdall Gallery Theater, 4800 Hollywood Blvd|
Hollywood, CA 90027
Tuesday, 2 February 2010
The unplugged series often brings out really interesting insights into the artists and developers of the industry. We always look forward to seeing who Dickinson is going to interview next!
Friday, 29 January 2010
Thursday, 28 January 2010
Thursday, 21 January 2010
Check out the CGSociety Article here for further information.
Monday, 18 January 2010
Cinema screens around the world flickered with startling images of wolfmen, zombies, nuclear-mutated monsters, and bug-eyed aliens with a penchant for probing. The 25th CGChallenge: "Attack of the 50ft CGChallenge" asks you, the artist, to bring these gems back to life, or create your own in their spirit, via a still image, video, or, for the first time, audio."
Thursday, 14 January 2010
Tuesday, 12 January 2010
Now, Rob has teamed up once again with Martin Scorsese on the soon-to-be released, Shutter Island. Leonardo DeCaprio, Ben Kingsley and Mark Rufalo star in Scorsese’s new psychotic mystery-thriller in which an artful blend of cinematography and visual effects not only create an edge-of-your-seat, skin crawling experience, but also a series of challenges for Rob.
When working with the iconic director Martin Scorsese, as the VFX supervisor, you’re challenged to match his vision with what actually can be done; and in most cases, you can’t be sure until you get to post. And in most cases, that’s often way too late. So Legato had an idea.
What if you could plan your shots based on what you already know is doable? “How much easier would it be if we could produce a shot and say ‘yes, we can do that’ while you’re in production? Well, I was recently introduced to a tool that could help me do just that. mocha from Imagineer Systems,” Rob continued.
In a series of scenes - many appearing in the movie trailer - Legato was challenged to determine if the desired illusions could be done in a believable way; would the viewers be immersed in the scene or would they be noticing the effects? And any VFX artists will tell you, the best visual effects are the ones you never even realize.
“To test these shots, to see if they could be created effectively, there was a huge amount of roto and tracking necessary. And everyone hates roto,” Rob continued. “Roto and point tracking are tedious, painstaking raw labor tasks and I’ve always felt bad for the people who I forced to do it for me!”
Monday, 11 January 2010
From Hancock’s point of view, creating digital make-up not only helped the speed of the shoot but was a boon to editorial. “Make-up ties you down to a certain order of shots,” he says. “In this case, they could re-order shots and play with things in editing and create continuity afterwards.” To track the rugby players as they move around the field, CIS Vancouver used Imagineer Systems’ mocha, which, says Hancock, “does planar tracking really well and accurately. Whether it’s a cheekbone or a face turning or tilting, it lies in the 3D plane of the body and was accurate enough so we could have more detail closer-up. We could put the scrape or cut wherever we wanted to see it, and we didn’t have to avoid close-ups.” The blood-and-guts team — who were artists experienced in creating organic effects — then integrated the effects with Shake. CIS Vancouver partnered with CIS Hollywood on 150 out of a total of about 200 shots.