Ive certainly had a lot of fun with them here, with our drone footage with final cut pros new integrated approach to motion tracking, we identify some pixels in our composition. We analyze and track those pixels and then were able to attach some objects to those pixels, its a good approach in many scenarios, but there are limitations so lets say i want to take that object off the screen. Things can get a little bit tricky with that. In mind in this video im also going to show you a plugin that allows you to 3d map your footage, thereby allowing you to drop elements into that footage. 3D text, for example – and it becomes one with the underlying footage, irrespective of the camera movement. That then, takes place. Everything responds perfectly perspective. Shifts are aligned, everything stays where you want it. Its really really cool to be able to do this inside final cut pro Music Applause Music. So just to clarify the difference. Final cut pros motion tracking allows me to track movements within the frame, so youve seen that example. Now let me jump behind the camera for a second. What, if i wanted to put something on this table here something artificial on this table, but i wanted to move the camera at the same time. Let me take the camera off the tripod. Okay, there we go now. How you may ask is that staying put as part of the footage as i move this camera well, the answer is 3d motion tracking and were going to talk about that now.

Music, stuart carroll here pleasure to talk to you as always. If you want to jump ahead to the three dimensional side of things, theres a timestamp below theres, a link to that plug in below its for final cut pro this isnt a sponsored video. But we do earn some commission on that link its not that thats. A better approach to motion tracking its a different approach to motion tracking as ive, hopefully demonstrated thats for putting things into your composition. First, things first lets look at how to actually physically track movement thats already taking place within your original footage. So here we are inside final cut. Pro 10.6.1 make sure you update your final cut pro to get access to the new tracking features. Theres alina standing on what looks like the surface of the moon lets say: we want to track her movement across the frame there and then attach something arrow or circle or icon, or something like that to her as shes moving through the frame in the inspector window. On the right hand, side scroll all the way down to the bottom and youll see trackers hit the plus marker and up comes a grid on your footage, drag that grid over your target and resize to fit hit the analyze button and let final cut pro work. Its magic now im playing this back in real time. Its actually doing this at double speed, its really quick and you can see the green frame around elena tracking, her movement.

Now we have our tracking data and, if we scrub through the footage, you can see the grid tracking elena in your title, browser find what it is that you want to be attached to your tracked subject in this case, well use a kind of pop up circle. Here with that dragged down on your timeline, go to the transform panel and click on the transform grids, the drop down arrow next to the new tracker button lets us select object, track, thats. The tracking data that we just extracted from that underlying clip of alina were now going to attach that tracking data to our circular title select, object, track and then reposition whatever. It is, youve overlaid to suit the underlying clip. In this instance, it is alina because shes what we are tracking and now when we hit play, we have perfect alignment of that circle. With the motion of alina quick and easy, i think you will agree, and now free within final cut pro in this example, ill show you how to get around a common pitfall, with this kind of motion tracking, so weve drawn our grid around the shadow of myself. Walking on this hill were here to analyze and its doing a pretty good job of following me up that hill. Although you can see right at the end there, the tracking jumps from the shadow to myself so thats going to cause us problems down the line. Lets set up a little title, saying: stuart carroll explorer well resize.

All of that and using that little drop down arrow. We will attach the tracking data that weve just gleaned or extracted from the underlying footage to this new title reposition above my head and lets see what weve got okay so far, so good thats, looking okay, oh but its kind of wobbling about oh okay, thats, not Right, its wobbling about all over the place, and the reason for that is because theres rotation data in there, which can be fine, but in this instance we dont want that. We just want the title. Moving along at the angle that weve set with the title selected go up to the transform panel hit that little icon there in the top right hand, corner and youll see, weve got some options there down at the bottom. Weve got four tracking parameters. Position and rotation are selected, lets unselect rotation. We dont want the rotation of the title, but we do want the movement or the position to change play again. Up comes the title. With the rotation option. Unticked you can see. We have nice smooth, positional movement of the title, but no rotational movement thats how you track elements that are already moving within your footage, but lets say you wanted to drop a spin sign on the top of the hill and rotate the camera around it. We wanted three dimensionality on that spain sign. We wanted all the perspective shifts to be accurate. We wanted to look like it was a vfx part of that clip.

We need something a little bit more sophisticated shall we say – and this is where the motion v fx plug in m tracker 3d comes in with the clip selected. Lets drag the m tracker 3d onto it, and you can see. We now have the option of tracking the footage there on the clip itself or in the inspector panel there we can track the clip so lets do just that. M tracker is analyzing all of the frames to extract the camera movement data and its this data that we will copy and then paste onto our title or whatever it is that were trying to embed into our scene analysis completed. So we can copy the tracking data and then we go into our m tracker plugin and we can find a title or a drop zone or particles, pointers, theres so much depth in here that were not even going to scratch the surface. To be honest with you, but lets drag a title on first of all, and then we adjust the length of it so its exactly the same length as the source clip select it. No tracking data available paste track. Thats us pasting, the tracking data that we just extracted from the underlying clip onto our title, done: tracking data saved successfully first things first lets change the text to spain, okay and obviously its not where we want it to be so lets hit this little cross hairs. Lets put it somewhere well, somewhere there that looks a bit small so over here in the inspector panel, we can adjust so many parameters, so lets make it a little bit bigger on the content scale.

There well drop down the content, position and content rotation markers because we want to do a little bit of work here and well play around to get a kind of effect or kind of position that we want lets see what weve got so far. Okay, right in the animation comes thats, pretty cool. You can see, spain is locked off there on the ground and it goes away pretty sweet for this example. I dont think we want the animation coming in so lets get rid of the animation coming in and out. We just want it to look like its actually there on the hill and weve got a great starting point, but the key to this is getting your shadows and your light to match up with the environment in which youre adding that text and things arent. Quite right here look at the shadow on me, its a really dark shadow. You can tell that im getting hit by direct sun. No clouds, no diffusion, no, nothing, and here with spain its a little bit different, so lets scroll down to our shadow settings and change that shadow opacity to something more like 95, okay, thats more in keeping with the shadow on myself. As it happens, the position of the shadow is pretty good already, but we can go to light rotation here and we can move that shadow around adjust the position of the sun so lets try and get the alignment similar to whats.

Going on with my shadow. That looks about right id say: the length of the shadow is pretty good, but we can adjust that here as well and if you did have diffused soft shadows, you can hit the shadow softness here just to blend things out a little bit, but here theres. Basically, no diffusion, so i think ill put that to two actually just to take a little bit of the edge off it, but now weve got something a lot more in keeping and i think to be honest with you, we are basically done lets see what weve Got okay round we come the spain sign is revealed the shadows. Moving. Everything is moving. The spain is locked off in the soil. That is super cool lets play that again im moving there everythings moving the camera. Oh, i love it fantastic because the motion vfx m tracker plug in tracks the entire scene were not restricted to keeping the movement of our new object in the frame. So, for example, we can fly through the object we can fly over it. We can bring it into the frame theres not going to be any collision with the perimeter of the frame. In this instance, we fly through the ranikmur sine, for example, and you can just adjust that very simply just by moving the position of the various parameters of the title in this instance its the z axis. So we can push it further away.

We can bring it towards us, and this is what allows us to actually fly through the sign in this instance. In this one, we took advantage of the initial animation of the text. Fidra lighthouse up it comes there in the image and weve got an animated robot on the island for good measure. What about a shot of me watching myself as a hologram in glenn cole weve motion tracked that hologram effect down to that path, its stuck there and because of the way this 3d mapping works. It doesnt matter that that wasnt, in the shot to begin with, were able to introduce it into the frame. I love this one, its simple, but the text comes up. Its absolutely locked off weve got a gentle diffused shadow. If i pause that coming towards us just around the base of the text there, just as a little bit of depth and then as we get a little bit closer, the animation drops the text away and we look at the house with a little bit more complex Motion we can really see the perspective shift thats taking place here, so hike spain off the beaten path. It looks the way youd expect to see it with motion graphics, but the ease with which we can achieve. It is really what gets me here for a longer more ambitious clip. We have turnberry lighthouse. Okay were pointing at the top of the lighthouse, but were going all the way around behind it.

Surely its not going to track all the way around, but it does and because these are 3d titles we get to see the back of the title as well. Heres another one showing perspective shift as the drone comes in lower to the ground, were looking up more at the castle and were looking at more at the sign, and we can tell that were looking up it tilts back and then disappears, like i say, theres, no Good or bad approach to motion tracking two different approaches for different desired outcomes. The reason im so excited about the motion vfx plug in is because ive been trying to get this outcome with the wrong approach. The original normal. If you like, approach to motion tracking and you dont really get the results that youre looking for so i love it, im dead excited by it and if you are too do check out the link below to the motion vfx plug in if there are any downsides To speaking of the first would be that you have to pay for it, i guess thats just the way the world is on this one, and the second is its quite resource intensive on your computer, so youre gon na have to see if you have a fast Enough machine for this kind of stuff, anyway, definitely worth trying out ive, certainly had a ton of fun with it. I think you will as well. It works particularly nicely on this drone footage, its just its just good and i think youll enjoy it.