All language subtitles for 8. Tracker Color Tab Kolder Creative

All right.

So in the last lesson,

we learn everything we need to know about
creating windows within the colored tab.

But most of the time,
windows are going to be pointless to us

if they're not tracked to anything
within our scene.

In this case,
if I scrub through, we can see this window

doesn't follow anything
and it would be kind of pointless, right?

And that's
where the tracker comes into play,

which is the next button over here.

If we click on it, we are presented
with the tracker interface over here.

And this is one of those major reasons
that a lot of people were switching over

to Da Vinci for color grading
because the tracker is so good,

you're able to very quickly and easily
make selections to any part of your image,

and by doing so, you're able to manipulate
the colors of very specific areas.

Now, the tracker within the color
tab is capable of doing much more

than just tracking windows.

We have two other interfaces over here.

We got stabilizer
and we also have effects.

Now I'm going to leave those
for a separate video.

In this video,

we're only going to be talking about
using the tracker to track our windows.

Now, over here

to the top left of the tracker,
we have a bunch of different buttons.

The first button is to track one
frame reverse.

Then we have track reverse.

We have stop tracking,
we have track forwards and reverse.

We have track forwards
and we have track one frame forward.

So most of the time when I come in here,
I'm just going to use this button here

in the middle track forward and reverse.

This is actually a new feature.

Before what we had to do was track
forwards from whatever frame we start on,

then go back to that
frame and track backwards.

So it's really nice
that we have this new option here

to just press one button
and it automatically goes forwards

and then backwards

because the thing is, most of the time

you're not going to be starting
your tracking at the end

or the start of your clip

because the best place to start is
wherever your subject is the most visible.

So in this case, in this clip,
this wouldn't be the best place to start.

I feel like it would
probably still do a good job.

But I started later on here
where we can see the most surface

area on the mask here.

You want to find the best frame
within your clip

that will have the most information
of whatever it is that you're

trying to track.

So in this case,
this is a great frame to start with.

So by default, we're going to have
all of these checkboxes turned on.

So essentially what we're doing here

with these checkboxes is
we are telling the tracker what transform

we want applied to our window
automatically after we've tracked.

So if I just have one of these checked
off, so let's just have pan selected

and let's track forwards and backwards

so we

can see that the window didn't
follow the goggles within the shot.

All it did was follow
the pan motion of the goggles.

So it did track the goggles,

but it only applied the pan information
from that track to our window.

So this is just to demonstrate
what's going on.

I'm going to hit Command Z over here.

Let's go back to our point right here.

I'm going to reset this curve.

I'll always start
with all of these just checked on.

And if I don't like
what it's doing to my window,

then I'll experiment with uncheck
in some of these.

So with all of these selected,

let's hit track forwards and reverse
and see what happens.

So notice

how there's a bunch of these points
over here that's called the point cloud.

And you
can see with all of those selected,

it did a really, really good job
at following those goggles.

It looks really good.

Even though my head turns here
and things are going off axis.

It did a great job
of tracking those goggles.

So one thing I want you to take
note of is once

we've actually created the tracking data
for our window, we can see that we have

this little icon on our node right here.

And that just tells us
that there is tracking information

applied to our window.

And we can also see these four lines
within our tracker.

Each one is a different color,

and each one of these lines
is just a visual representation

of the tracking data
that we've gathered from our track.

Now, if at any point your track
didn't turn out the way you wanted it to,

you can just go up here to the top right
of the tracker panel and just reset it.

You can go back to the frame
that you started at,

or you could try a completely different
frame.

You know, you can change, change
up your mask completely,

and then you can try it again.

But in this case, it worked perfectly.

So I'm going to leave it the way it is.

So the next thing I'm going to share with

you guys
is very important for you to understand.

So if I take my window over here
and I move it over,

what do you think is happening?

Well,
you would think that the tracking data

has created an animation
path for our window.

And it has.

And by moving it over here,
you might think that

we've messed up our animation path.

But if we scrub through here,
let's see what happens.

We can see that that mask stays locked on.

It's just in a new position.

It's following the exact same motion.

We didn't actually miss anything up.

And that's something
that's really important to understand.

When we are in the clip option here,
we can do these kind of changes.

So once our window is already tracked to
our footage, we can play around with it.

We can even change the shape of it.

We could scale it
up, rotate it, do whatever we want,

and it's going to stay locked on
with that same tracking information.

This is really awesome
because in some situations

you're not going to get a good track
by tracking the entire thing

that you're trying to track.

Maybe there's not enough

contrast points or details
for the tracker to work properly.

So in those situations, what you can do
is actually track a smaller portion

of whatever it is
that you're trying to track

and then that way you'll have accurate
tracking data and afterwards

you can expand your window
to whatever shape or size you want.

So I'm just going to undo this

to get back to our original window here.

So when we move our window
around in our preview over here

in Clipped View, it doesn't change
any of the tracking data at all.

If we start making changes
to our window in frame mode,

it will disrupt
the original tracking data.

So this can be useful
in a lot of situations where maybe

your window didn't track properly
for a certain amount of frames,

so you can just manually go in there
and fix it yourself.

So I want you guys to watch the timeline
down here in the tracker.

And if I make an adjustment here
on this frame, watch what happens.

It created a new keyframe.

So it's now recording the change
of the tracking data.

At this point in time, I'm basically
creating a new keyframe for the position

and the shape of the window
at this point in time.

And therefore
I am changing the tracking data.

And this is awesome
because you can see I've kind of refined

the window
to better fit the glass of the goggles

and the rest of the tracking
data stays the same.

I've kind of just like optimized it
for the points that need

a bit of optimization.

So maybe over here we can zoom in.

We could probably make this
a little bit better.

We can see it's kind of slipping here.

So what I can do is move this over
and notice how it's made a keyframe

at this point here as well
to record these changes that we're making.

And now

let's see if that translates
for the rest of the clip here.

You can see it starts
to slide a little bit over here, too.

So let's go to the first keyframe here
and let's modify that one

so we can just move this whole thing over.

Actually,

something like that.

Awesome.

So if I scrub through,

we could see it's now doing

a much better job at that starting point.

And this looks pretty good to me.

I feel good about that.

So that's really important for us
to understand the way that we interact

with our window in the clip mode versus
the frame mode is very different.

Frame
mode will actually record the changes.

In effect, the tracking data,
whereas in clip mode we're able to freely

move our window and not worry
about affecting our tracking data.

So now that we have a really solid track
around these goggles,

we can make any changes that we want to
our second note over here,

and it will only affect whatever
is inside of our window over here.

So let's go to our curves,

let's bump it up, let's brighten that up.

That looks good
and that looks very realistic.

It looks like we actually have a lot
more light coming into the goggles here

when in reality
it was actually looking like that,

it was much darker.
So we've managed to bring back

a lot of the information
from inside of the goggles.

And we can we can see my eyes here,
which were pretty hidden before.

So this is a bit
more of a tasteful change.

But of course we can do
anything that we want now.

We can change the temperature of this.

We can go crazy,
play around with different effects, and

it looks pretty good.

I'm stoked on how
well this was able to track the goggles,

so I'm
going to go back to my tracker over here

so we can reset up here in the top.

Right,
and it clears all of our tracking data.

I'm going to move forward
so that our window is in the right spot.

Now, down here,
we can see there's this little dropdown

we can choose Cloud tracker
or point tracker.

Now by default, it's set the Cloud tracker
and what we saw when it was tracking

was a bunch of different points
within our window.

And all of those points are just showing
us what specific points in our image is.

The tracker you're going to use
to actually get tracking data from.

So if I go over here to the bottom left
and I turn on interactive mode,

then we'll be able to see that point
cloud over here.

So these are all the individual points
that the tracker

is going to use to get
tracking information for this window.

Now, let's say that
maybe we had a bunch of different things

happening within this window that we don't
want to be pulling information from.

So let's say

maybe this was a lot brighter in my eyes,
were moving all over the place.

And because we have, you know,
a moving object within the object

that we are wanting to get tracking data
from that could mess up our track.

So for this reason, the tracker has
something called the point tracker,

and this basically allows us
to select specific points

within our window
to pull tracking data from.

So in this case, I wouldn't

use the point tracker,
but I'm going to demonstrate how it works.

So down here to the left,

we have this button here and
it will allow us to add a tracker point

once we do that, we can see it's
this little crosshair right here.

Then we can click and drag it, move it to
anywhere that we want within our window.

So maybe something like this little dot,

this little speck on the goggles itself,

maybe this one down here,
because it's more brighter,

it might be able to pick that up
a little bit easier

and we can just continuously add these.

So by clicking this button
here in the bottom left, we can add

as many of these as we want,
so we can manually go in and choose

what points we want to use
to get tracking information from.

Now, in this case,

I wouldn't say that this is a smart method
to pull tracking data from this scene,

especially because the point cloud
did such a good job.

And that's the thing.
I would always start with the point cloud.

Just see how it does
because it is the fastest option

and if that just doesn't work,
then you can go this route.

So let's add one more here.

Let's add one to maybe like here.

And in order for us
to get like a good track

here, we're going to have to add

a bunch of points and you can see
how much more time consuming this is.

Now I'm not going to do that,
but why don't we just track

what we have here so far
just for fun, just to see what happens?

Okay.

So it did a decent job when the goggles

are facing straight forward
in front of the camera, it's not too bad.

But then it like freaks out there

because of those bubbles
that come into the frame.

And that's the thing.

When we're using the point
cloud, it's able to, you know, average out

all of the points within here,
and the track wouldn't be

as affected by occlusions
entering our window over here.

So in occlusion is
whatever is between the camera

and the subject
that you're trying to track.

So in this case,
these bubbles are occlusions.

And because we have so minimal
tracking points,

these are heavily affecting our track.

So I'm just going to reset this
and I want to show you guys

a different way
that we can interact with the point cloud.

So let's go back to the cloud tracker
over here

and notice that interactive mode
is enabled by default.

It is not enabled.

So if we turn it on, it is enabled

and we can see that
we have our point cloud here.

We can see all the points that it's
going to be referencing

to get tracking data from now,
because we've enabled interactive mode

we can interact with like the default
point cloud that it's made here.

So with interactive mode enabled,
we have some buttons over here

that allow us to modify the point
cloud over here.

So with the first button here,

what I can do is draw a little box
anywhere within my window here.

So let's say
I wanted to add more points to this area.

What I could do is draw a little box

and then down here
I can click this button, insert

and it's going to insert points
within that little box that I just made.

So now we have more tracking points
that we can pull data from

and I can do this
to any part of my window.

I can go down here if I want to add
more tracking points, create that box

click insert, and it's going to insert
more tracking points to where it thinks

that it can actually latch on
within that space that I drew here.

And if there's a section
where I think the tracking points

are not going to do too well, for example,
maybe this bottom section over here,

because later on we have bubbles
like flying into that area.

What I can do is draw
that same kind of bounding box like this

and go down here and select delete,

and it's going to delete all the points
within that box that I just drew.

So this is just another way
for us to interact

with the tracker itself
and maybe lead it in the right direction.

If it's latching on to certain points
that we know might cause issues later on,

we can just delete them
or we can add some more points to places

that we know are going to work
well for a track.

So why don't we press the track forward
and reverse

button and see how good of a job
it does here?

So we could see
some of those tracking points

actually followed my eyes at one point.

We can see them moving as I blink

right over Where is it?

Right there.

So that is an example

of where
we would want to draw that bounding box

and delete some of those points,

because that is not helping
with our overall track.

We really just wants to track the hard
shape of the goggles and that is something

that is moving, that isn't part
of the goggles, it's something behind it

and would interfere here with the mask
in a lot of different situations.

But in this case,
it didn't really mess with it that much.

But that's a great example of where
we would want to delete

some points and not pull
the tracking information from.

So in this case, we can see
it wasn't a great idea for me to mess

with that point cloud because it actually
did a worse job than what we had before.

This is a lot more skewed.

It's not as attached as it was on there
the first time.

Now, coming from After Effects,

I'm used to seeing the animation
path of my mask or window,

and the way that we can enable

that here is to go to the three dots
in the top right and select show track,

and that is going to show you
the animation path of your window.

So if I grabbed my play head
and I scrub through here,

we can see the path
and we can see the point at which

we're on along that path represented
by this one little square right here.

And one

last thing I want you guys to know
is if you want to delete one of these

keyframes on your timeline in here,
you can't just select it and delete it.

That doesn't work.

What you're going to have to do

is go up here to the three dots and select
delete, keyframe, and it's

going to delete just that one individual
keyframe that the play head is on.

So that's it for this video.

I hope you guys enjoyed

Hope you learn something new
and I'll see you in the next one.