Filefactory | Fileserve | .mov | project files | 7.8Gb
SynthEyes offers a complete high-end feature set, including tracking, stabilization, motion capture, and mesh building. It handles camera tracking, object tracking, object tracking from reference meshes, camera+object tracking, multiple-shot tracking, tripod (nodal, 2.5-D) tracking, mixed tripod and translating shots, stereoscopic shots, nodal stereoscopic shots, zooms, lens distortion, light solving. It can handle shots of any resolution—DV, HD, film, IMAX, with 8-bit, 16-bit, or 32-bit float data, and can be used on shots with thousands of frames. A nifty feature simplifies and speeds tracking for green-screen shots. The image preprocessor can help remove grain, compression artifacts, off-centering, or varying lighting; improve low-contrast shots; or shoe-horn shots into available RAM for quicker handling.
SynthEyes offers complete control over the tracking process for challenging shots, including an efficient workflow for supervised trackers, combined automated/supervised tracking, incremental solving, a hard and soft path locking system, and cross-camera constraints for stereo. You can set up a coordinate system with tracker constraints, camera constraints, a line-based single-frame alignment system, or manually.
SynthEyes exports to about 25 different 2-D and 3-D programs. The Sizzle scripting language lets you customize the standard exports, or add your own imports, exports, or tools. You can customize the color scheme, keyboard mapping, and viewport configurations.
Our fxphd tracking specialist, Victor Wolansky, takes members through the economical but incredibly powerful Syntheyes 3D tracking application. This course will give you the base knowledge you need in order to solve various types of shot.
Professor: Victor Wolansky
Class 1: Tracking, solving, and using meshes in Syntheyes. Uses helicopter shot in desert.
Class 2: A bit of 3D tracking theory and a look at the manual tracker.
Class 4: A look at tracking stationary cameras on tripods with and without zooms. Also, a look at orientating the camera on a still or locked off shot.
Class 5: Stabilization and more tricks on orienting the 3D world with the footage.
Class 6: Tracking a DV shot and dealing with interlacing, compression artifacts, and an intro to masking.
Class 7: Brief on importing interlaced footage in a 3D app. A difficult handheld shot using manual tracking.
Class 8: Tracking a steadycam shot through the lab. Cleaning up trackers and prepping a shot for use in 3D.
Class 9: Tracking a shot with a lot of lens distortion. Adding distortion to CGI elements for use in compositing applications.
Class 10: Getting started with a very challenging shot. Instead of achieving a perfect track in one class, overall techniques are discussed that are useful when approaching more difficult shots.
fxphd - SYN201: Introduction to SynthEyes
Our Introduction to SynthEyes course got members up and running in the software as well as being able to address common problems that come up in post. This course will build upon the knowledge and tackle trickier and more complex tracks in SynthEyes than were addressed in the 101 course. Taught by our fxphd tracking expert Victor Wolansky, he'll dive into more detail in how to make sure you get the most accurate track possible and minimize camera drifting.
This course will also support the Advanced After Effects 302 course, providing 3D tracks for use in the main project for the term.
Professor: Victor Wolansky
Class 1: A preview of the shots that will be tracked throughout the term. Manually tracking to guide and improve an auto track. Fine tuning manual trackers. Cleaning up the auto track, and solving the camera. Stabilizing the background, adjusting the trackers to match, and resolving.
Class 2: Working with tracking markers that leave and re-enter the frame. Adjusting Feature Size to get smaller, more accurate tracking points. Using the graph editor to identify and fix or delete bad tracking points. Using Lines to establish x, y, and z axis. Adding geometry for the screens, and exporting to 3DS Max.
Class 3: A continuation of the look at tracking for monitor replacement, using a new shot with many monitors. Dealing with motion blur. Using lines to calculate lens distortion. Additional methods for creating screen geometry.
Class 4: Continued practicing of previously learned techniques on a long, difficult shot, to master the basics before moving on in subsequent classes.
Class 5: Tracking of the car on the airport shot, learning about correct orientation and scaling so the car can be tracked and automatically be in the right place because of the correct scale between the two tracking.
Class 6: Second part of the car shot, now tracking the moving object
Class 7: Dealing with the "I Love Sarah Jane" bicycle shot, a shot that needs a lot of manual tracking and one of the most difficult ones to solve.
Class 8: Showing some tools that are very useful and unique like the green screen tool, the coalesce nearby trackers and the add many trackers with the lasso tool.
Class 9: Again the bike shot, but the very start, going through the big cloud of smoke with almost no visible trackers, how to deal with it.
Class 10: A BIG distortion shot and the whole workflow to deal with it.
SynthEyes offers complete control over the tracking process for challenging shots, including an efficient workflow for supervised trackers, combined automated/supervised tracking, incremental solving, a hard and soft path locking system, and cross-camera constraints for stereo. You can set up a coordinate system with tracker constraints, camera constraints, a line-based single-frame alignment system, or manually.SynthEyes exports to about 25 different 2-D and 3-D programs. The Sizzle scripting language lets you customize the standard exports, or add your own imports, exports, or tools. You can customize the color scheme, keyboard mapping, and viewport configurations.
Our fxphd tracking specialist, Victor Wolansky, takes members through the economical but incredibly powerful Syntheyes 3D tracking application. This course will give you the base knowledge you need in order to solve various types of shot.
Professor: Victor Wolansky
Class 1: Tracking, solving, and using meshes in Syntheyes. Uses helicopter shot in desert.
Class 2: A bit of 3D tracking theory and a look at the manual tracker.
Class 4: A look at tracking stationary cameras on tripods with and without zooms. Also, a look at orientating the camera on a still or locked off shot.
Class 5: Stabilization and more tricks on orienting the 3D world with the footage.
Class 6: Tracking a DV shot and dealing with interlacing, compression artifacts, and an intro to masking.
Class 7: Brief on importing interlaced footage in a 3D app. A difficult handheld shot using manual tracking.
Class 8: Tracking a steadycam shot through the lab. Cleaning up trackers and prepping a shot for use in 3D.
Class 9: Tracking a shot with a lot of lens distortion. Adding distortion to CGI elements for use in compositing applications.
Class 10: Getting started with a very challenging shot. Instead of achieving a perfect track in one class, overall techniques are discussed that are useful when approaching more difficult shots.
fxphd - SYN201: Introduction to SynthEyes
Our Introduction to SynthEyes course got members up and running in the software as well as being able to address common problems that come up in post. This course will build upon the knowledge and tackle trickier and more complex tracks in SynthEyes than were addressed in the 101 course. Taught by our fxphd tracking expert Victor Wolansky, he'll dive into more detail in how to make sure you get the most accurate track possible and minimize camera drifting.
This course will also support the Advanced After Effects 302 course, providing 3D tracks for use in the main project for the term.
Professor: Victor Wolansky
Class 1: A preview of the shots that will be tracked throughout the term. Manually tracking to guide and improve an auto track. Fine tuning manual trackers. Cleaning up the auto track, and solving the camera. Stabilizing the background, adjusting the trackers to match, and resolving.
Class 2: Working with tracking markers that leave and re-enter the frame. Adjusting Feature Size to get smaller, more accurate tracking points. Using the graph editor to identify and fix or delete bad tracking points. Using Lines to establish x, y, and z axis. Adding geometry for the screens, and exporting to 3DS Max.
Class 3: A continuation of the look at tracking for monitor replacement, using a new shot with many monitors. Dealing with motion blur. Using lines to calculate lens distortion. Additional methods for creating screen geometry.
Class 4: Continued practicing of previously learned techniques on a long, difficult shot, to master the basics before moving on in subsequent classes.
Class 5: Tracking of the car on the airport shot, learning about correct orientation and scaling so the car can be tracked and automatically be in the right place because of the correct scale between the two tracking.
Class 6: Second part of the car shot, now tracking the moving object
Class 7: Dealing with the "I Love Sarah Jane" bicycle shot, a shot that needs a lot of manual tracking and one of the most difficult ones to solve.
Class 8: Showing some tools that are very useful and unique like the green screen tool, the coalesce nearby trackers and the add many trackers with the lasso tool.
Class 9: Again the bike shot, but the very start, going through the big cloud of smoke with almost no visible trackers, how to deal with it.
Class 10: A BIG distortion shot and the whole workflow to deal with it.
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[img]http://gfxstation.com/wordpress/wp-content/uploads/2011/04/FXPHD-SynthEyes.jpg[/img]
[b]Filefactory | Fileserve | .mov | project files | 7.8Gb[/b]
[i]SynthEyes [/i]offers a complete high-end feature set, including tracking, stabilization, motion capture, and mesh building. It handles camera tracking, object tracking, object tracking from reference meshes, camera+object tracking, multiple-shot tracking, tripod (nodal, 2.5-D) tracking, mixed tripod and translating shots, stereoscopic shots, nodal stereoscopic shots, zooms, lens distortion, light solving. It can handle shots of any resolution—DV, HD, film, IMAX, with 8-bit, 16-bit, or 32-bit float data, and can be used on shots with thousands of frames. A nifty feature simplifies and speeds tracking for green-screen shots. The image preprocessor can help remove grain, compression artifacts, off-centering, or varying lighting; improve low-contrast shots; or shoe-horn shots into available RAM for quicker handling.
SynthEyes offers complete control over the tracking process for challenging shots, including an efficient workflow for supervised trackers, combined automated/supervised tracking, incremental solving, a hard and soft path locking system, and cross-camera constraints for stereo. You can set up a coordinate system with tracker constraints, camera constraints, a line-based single-frame alignment system, or manually.
SynthEyes exports to about 25 different 2-D and 3-D programs. The Sizzle scripting language lets you customize the standard exports, or add your own imports, exports, or tools. You can customize the color scheme, keyboard mapping, and viewport configurations.
Our fxphd tracking specialist, Victor Wolansky, takes members through the economical but incredibly powerful Syntheyes 3D tracking application. This course will give you the base knowledge you need in order to solve various types of shot.
[i]Professor:[/i][b] Victor Wolansky[/b]
Class 1: Tracking, solving, and using meshes in Syntheyes. Uses helicopter shot in desert.
Class 2: A bit of 3D tracking theory and a look at the manual tracker.
Class 4: A look at tracking stationary cameras on tripods with and without zooms. Also, a look at orientating the camera on a still or locked off shot.
Class 5: Stabilization and more tricks on orienting the 3D world with the footage.
Class 6: Tracking a DV shot and dealing with interlacing, compression artifacts, and an intro to masking.
Class 7: Brief on importing interlaced footage in a 3D app. A difficult handheld shot using manual tracking.
Class 8: Tracking a steadycam shot through the lab. Cleaning up trackers and prepping a shot for use in 3D.
Class 9: Tracking a shot with a lot of lens distortion. Adding distortion to CGI elements for use in compositing applications.
Class 10: Getting started with a very challenging shot. Instead of achieving a perfect track in one class, overall techniques are discussed that are useful when approaching more difficult shots.
[i]fxphd - SYN201:[/i][b] Introduction to SynthEyes[/b]
Our Introduction to SynthEyes course got members up and running in the software as well as being able to address common problems that come up in post. This course will build upon the knowledge and tackle trickier and more complex tracks in SynthEyes than were addressed in the 101 course. Taught by our fxphd tracking expert Victor Wolansky, he'll dive into more detail in how to make sure you get the most accurate track possible and minimize camera drifting.
This course will also support the Advanced After Effects 302 course, providing 3D tracks for use in the main project for the term.
[i]Professor:[/i] [b]Victor Wolansky[/b]
Class 1: A preview of the shots that will be tracked throughout the term. Manually tracking to guide and improve an auto track. Fine tuning manual trackers. Cleaning up the auto track, and solving the camera. Stabilizing the background, adjusting the trackers to match, and resolving.
Class 2: Working with tracking markers that leave and re-enter the frame. Adjusting Feature Size to get smaller, more accurate tracking points. Using the graph editor to identify and fix or delete bad tracking points. Using Lines to establish x, y, and z axis. Adding geometry for the screens, and exporting to 3DS Max.
Class 3: A continuation of the look at tracking for monitor replacement, using a new shot with many monitors. Dealing with motion blur. Using lines to calculate lens distortion. Additional methods for creating screen geometry.
Class 4: Continued practicing of previously learned techniques on a long, difficult shot, to master the basics before moving on in subsequent classes.
Class 5: Tracking of the car on the airport shot, learning about correct orientation and scaling so the car can be tracked and automatically be in the right place because of the correct scale between the two tracking.
Class 6: Second part of the car shot, now tracking the moving object
Class 7: Dealing with the "I Love Sarah Jane" bicycle shot, a shot that needs a lot of manual tracking and one of the most difficult ones to solve.
Class 8: Showing some tools that are very useful and unique like the green screen tool, the coalesce nearby trackers and the add many trackers with the lasso tool.
Class 9: Again the bike shot, but the very start, going through the big cloud of smoke with almost no visible trackers, how to deal with it.
Class 10: A BIG distortion shot and the whole workflow to deal with it.
[b]Filefactory:[/b]
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