“I started Cinetic Studios to offer high-end specialized color grading and finishing without the additional fluff,” says Jason Bowdach, founder, colorist, and online editor. The LA-based boutique works on shorts, features, and interactive advertising campaigns. Quick turnarounds, often a week or two, necessitate a time-saving workflow. The team uses mocha in conjunction with Adobe After Effects, Premiere Pro, and Blackmagic DaVinci Resolve.
“In higher end fashion and beauty work, almost every shot includes motion tracking and cleanup,” notes Bowdach. “mocha literally cuts our time in half. It has been a crucial aspect of our workflow since I first discovered the bundled After Effects versions in CS6.”
“We use mocha for the majority of our tracking work outside DaVinci Resolve, and sometimes in collaboration,” continues Bowdach. “It’s amazing what you can do with planar tracking and knowing how to use the data provided as it can be repurposed in numerous ways from corner pins to shapes. I also find the After Effects script from Mamoworld, MochaImport+, absolutely essential as it enhances mocha’s functionality even further.”
Cinetic recently worked on two projects using mocha in different ways. The first project involved having to tint and adjust a pair of glasses during a moving shot. “mocha was used to track both the lenses and render out mattes that I used in DaVinci Resolve to isolate and add the animated tinting without any further windowing or tracking,” remarks Bowdach.
The second project required a logo removal on a soccer ball in motion with a camera flying around it. “I was able to seamlessly remove the logo from most shots after tracking it and created a single clean frame for each shot,” adds Bowdach.
Cinetic also uses Boris Continuum Complete OFX , a new addition to their toolkit, together with mocha to put the final touches on projects. (BCC is the only 3rd party plug-in that imports mocha’s tracking data directly into its filters.) “We use imported mocha data to drive elements such as a flare from BCC Lens Flare 3D,” comments Bowdach. Once mocha’s data has been imported into BCC, Cinetic no longer has to worry about round-tripping for color grading and finishing. “I can now do it all within DaVinci Resolve thanks to BCC OFX. It allows us to be more flexible and creative,” says Bowdach. “We also use the FX Browser to quickly and easily preview effects for clients before working on a full, finalized workflow.” Cinetic also uses BCC for common image problems such as flicker and noise. “And Magic Sharp is literally a shot saver,” adds Bowdach.
Recently, Bowdach swung by the Imagineer Systems and Boris FX booth at NAB in April to see new tech demos of what’s coming up in mocha Pro 5 and BCC 10 – and he’s excited about what he saw. “The upcoming integrations will truly add some amazing tools – for more sophisticated beauty work and compositing – that will greatly extend what we can offer clients,” ends Bowdach.