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In this lesson, we're going to learn how to execute a two point track.
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So I'm starting off here in zero five underscore begin,
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and that is another blank file in your project files.
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You can also just start with a brand new NUKE
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script and that's going to give you, basically,
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the same thing as what we have here.
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So what I want to show you in this lesson is how to do a two point track.
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So let's go ahead and grab our Reference Files folder,
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inside of our project files.
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We're going to bring in the two point tattoo track.
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So go ahead and just click and hold that.
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Drag it onto your node graph.
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And we'll just pull this away.
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Let's go ahead and hook up our viewer node so we can see this.
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And just go ahead and play this through.
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So we have quite a few frames here to deal with.
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And you can see that we have a tattoo on our actress' arm here.
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So she's just kind of talking to the camera and moving her arm around.
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And a lot of times, if you're working on some kind of a project,
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actors will have tattoos that don't really,
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maybe, go with their character.
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And so you may end up having to rotoscope out a tattoo
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and use tracking data to cover it up.
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So instead of creating a rotoscope that you have to
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move around with every single motion,
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using that tracking data is going to be a lot more effective.
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And in the end, it's going to save you some more time.
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So why use a two point track?
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Why not a one point track?
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A two point track is going to give you the ability
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to get rotation and scale data, as well as translation data.
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So just as I scrub through this,
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you can see that the elbow is a pretty good demonstration of this.
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So,
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her hand up here is going to move a lot more quickly than
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things that are closer to her elbow.
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So this area up here is going to get a lot more translation
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information than this area down here.
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And then we also have the rotation as this kind of comes down this way.
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So this is going to stay closer to that fulcrum,
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or that joint, where her elbow is attached,
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and then this area up here that's closer to her hand,
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that's farther away from the joint, is going to move more.
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So things that have just kind of that straight nature like this,
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that have rotation are great for two point tracks.
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So let's go ahead and start setting up our tracker to track this data.
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So I'm going to go ahead and we'll start on the first training,
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see just as we scrub through this, the tattoo is visible the whole time.
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But in this area right here,
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she moves her hand pretty quickly and we get a lot of motion blur.
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So we're probably going to have to go in and do a little bit of that by hand.
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So go ahead and just hover over our node graph here.
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Hit the Tab key and type in "tracker.
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" And we've just added that tracker node.
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You can drop it in between the viewer node and your read node,
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just to connect that.
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And then we're going to add a track.
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We'll just come up here.
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Let's start with this n area.
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Now, I've tracked this a few times,
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just to figure out what the best data comes from.
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And you always want to try to get some contrast.
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So we have quite a bit of contrast in her arm here already,
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just between the ink and the skin.
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So that's maybe not going to be a huge problem.
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But, if we were trying to track a small area,
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like maybe this little spot right here,
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it's maybe going to have a little bit of a harder time.
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So I actually found that tracking this whole word on her arm was better.
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And sometimes you're just going to have to experiment around.
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So what I'm going to do is just move this pattern area,
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so that it encompasses that whole word.
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And we've moved this up a little bit.
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And then just remember, we kind of have it on the downstroke of this letter n,
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next to this last letter g here.
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And then let's go ahead and maybe increase the search area just a little bit.
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We don't want it too large,
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because we don't want it accidentally jumping around and tracking this.
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Now we're starting out with our track 1.
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And if I just pull this over here to the side,
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you can see that we have the TR and asks for our translation,
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rotation, and scale.
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So our first tracker is only going to be looking at that translation.
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Now we need to get a second tracker in here that's
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going to look at rotation and scale.
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So let's go ahead and pull this up a little bit.
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And we need to add another track.
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So that's going to be for this lower part of the tattoo down here.
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So go ahead and add a second track.
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We'll just pull this over here.
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Now,
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the middle area is probably going to actually be closer
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to where this c comes up onto the r, so we'll put that right there,
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and then pull this up a little bit,
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maybe make that search region just a little bit smaller.
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Just like that.
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So, now we're ready to start tracking.
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So,
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one of the things that we need to tell it before we start our track is
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that we want this to track our rotation and our scale,
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but we also need it to track our translation if we want to get maybe a
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little bit more accurate data for that translation.
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You don't have to check that, but I find that sometimes it helps.
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So let's go ahead and make sure you have both of your tracks selected.
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So,
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you want both of those to be highlighted for this to
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track both of those at the same time.
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Now, if you get one of the tracks right,
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you're happy with it and you want to adjust the other one,
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you only want to have the one highlighted that you're working with.
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And I'm sure we'll work on that here in a moment.
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So with those two selected, let's just come up here.
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We're on our first frame that's on frame zero.
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And I'm going to go ahead and just hit track to end,
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and we'll just see what happens.
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So it looks like it's sticking with the track pretty
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well throughout the beginning of this.
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And then it kind of goes a little crazy.
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So I'm just going to go ahead and cancel this to stop it.
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Because once she does that large motion,
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it looks like track two popped off, and track one just started going crazy.
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So, what we'll do is just select track one, and we'll come back to frame zero.
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And then we'll just watch this and make sure it stays on target.
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So I'm just going to scrub through.
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And it looks like right away we kind of move from the top of that n,
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or the middle of the n to the bottom.
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And it's not really distinguishing much of that area there.
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However, we don't need to maybe be as specific with this part.
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I think it might be OK that that drifts just a little bit, as her arm moves.
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Now, if you want to, you can go in there and fix it.
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And a great way to fix it is that you noticed this area here
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sticks really well to the bottom of that n.
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So let's go to the first frame, where it really is sticking to that area.
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Looks like it's right about here on frame seven.
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And we'll actually track this backwards to fix this.
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So we'll come back up here to our Clear Backwards button, and choose that.
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So that's going to clear everything from frame seven to zero.
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And then we'll just track this frame by frame.
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So come up here, choose Track Previous.
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And you can see that now it's getting much better information.
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Now, we might need to move this back just a little bit, so it's back in place.
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And just because we tracked it backwards,
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it got better information than when we tracked it forwards the first time.
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Just it had a little bit better place to stick to.
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Now, right in here, it gets crazy.
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So, let's say just right here on frame 54 is where this starts to go bad.
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So we'll clear everything forward to 54.
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And then just take this on a frame by frame basis.
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So go ahead and track forward one frame.
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And you can see, it starts to get a little hazy,
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but it's mostly just motion blur.
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It's still relatively in the right place.
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So, go ahead and track forward another frame.
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And again, kind of a little bit just hard to see exactly where it's going.
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But it's still in place, basically on the edge of that n.
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And I think for this part it's going to be OK that that's a little blurry.
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So, again let's just go ahead and track forward one more.
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Now, it's not really on the black anymore.
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So we need to move this over here.
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And I'm just guessing where this is going to be.
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So, sometimes you're going to run into that.
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I've gone ahead and tracked forward another frame.
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We'll just move this into place,
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and then just continue this process of tracking forward one frame at a time,
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and repositioning the tracker just kind of where we
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think that n is going to end up, based on what it looked like at the beginning.
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And it looks like it's kind of starting to come back into position.
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I can just click this.
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I'm not having to move it a lot.
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And it looks like we're kind of on the g instead of on the n.
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So what I'll do is go ahead and move this tracker down onto the n again.
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And then let's move backwards a frame.
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And we'll just kind of readjust that.
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And instead of clearing everything this time,
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I don't want to do that because I know I have good tracking data behind me.
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So I'm just readjusting these points by hand,
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to get them into position where I feel like they should go.
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And then once it gets really blurry,
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it's going to be OK for this to be a little bit off.
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OK, so right about here, everything before that we know is good.
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So now let's come over here to frame 67.
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And just try to track forward again.
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So I'll just track to the end.
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We know we're on 67.
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And I'm just watching this track through.
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It looks like it's sticking really nicely on that n.
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Then it looks like she kind of moves a little bit fast again.
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And we lose it.
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So we'll go ahead and cancel that.
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Let's go back over here to frame 67.
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And we'll just select track one, just so we can see this.
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Scrub forward, and it looks like right in here, we get a pretty big jump.
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So, looks like we're 81 right here, before we get that big move.
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So what we'll do is just clear everything forward of 81.
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You can see, that got rid of all those frames.
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Then we'll just track forward to the next frame.
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And we'll just do this by hand until we get back into position.
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Now it looks like this could move over just a little bit,
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to grab the back of that n again.
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And this one again, we'll move over just a bit.
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You can see, now it's sticking pretty well,
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so let's go ahead and try to track to the end.
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Looks like that's staying on that n quite nicely.
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Looks really good.
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OK, so now we have our track one complete.
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If I scrub through here watching this area here,
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we stay on the lower part of that n for pretty much the whole shot.
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Now we do get a little bit of some crazy motion blur in here,
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but we made it work.
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So that looks like that stuck pretty well.
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Now unfortunately, we have two tracks.
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So we need to go in and do exactly the same process for
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track two that I did for track one.
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So again, just selecting track two,
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coming in here and making sure that it's sticking to the
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same place throughout the rest of the shot.
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So what I'm going to do,
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now that I've shown you pretty thoroughly how to work
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with fixing that tracking data,
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kind of going back and forth using the Track Next and the track to n,
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I want you to try to tackle track two in between lessons.
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Then we're going to come back in our next lesson and I'm
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going to show you how to blur out the tattoo and then apply
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the tracking data to that blur, and just kind of where to go from here.
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So, try to tackle fixing track two in between lessons.
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If you can't get it,
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I'm going to have that data ready for you in the next lesson.
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So you can just go ahead and open up your project
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file for zero six underscore begin, and we'll be ready to go,
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if you don't want to attempt that in between the lessons.
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Now, it's not going to be any different simply because it has translation,
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rotation, and scale.
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You're still just going to be moving that tracker
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around to track the same point.
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So see what you can get done between lessons.
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I'm going to meet back up with you in the next lesson,
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and we'll just start from having track two ready to go.
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