Mocha VR Interface
Mocha VR New! A new plug-in bringing high-end visual effects workflows to 360°/VR filmmakers. Based on Imagineer’s Academy Award-winning planar tracking algorithm, Mocha VR features native 360 optimized effects tools designed to simplify cinematic VR post challenges.
  • 360° Planar Motion Tracking
  • Advanced Roto & Masking Tools
  • Automatic Object Removal
  • Horizon Stabilize & Reorient Module
  • 2D Insert Module for Tracked Graphics
  • Plug-in Option for Adobe, Avid & OFX
  • Includes all the features of mocha Pro
Mocha VR is available as a standalone application or plug-in for Adobe After Effects, Premiere Pro, Avid Media Composer and OFX Hosts: Foundry's Nuke & Fusion. Own mocha Pro 5? Upgrade to Mocha VR for $300.

Features

  • 360° Planar Tracking

    Academy Award-Winning Planar Tracking Engine

    Mocha VR brings the power of mocha to native 360° for cinematic VR post-production. Robust planar tracking engine drives the workflow for advanced masking, graphics inserts, object removal and new reorient/horizon stabilization module.

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  • 360° Workspace

    Work Across Lat/Long Seams

    Optimized workspace and toolset works simultaneously in rectilinear and equirectangular lat/long views bringing 360° capability to a variety of applications. Editors and artists can easily track, roto, create effects and insert graphics without worrying about equirectangular seams or distorted pixels.

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  • 360° Roto & Masking Tools

    Reduce Manual Keyframes

    Unlimited X-Spline tools for articulate shape creation and masking, saves hours of time versus traditional keyframing techniques. Masks can be rendered back to the host application for isolated color correction and many effects tasks. Animated masks can also be converted to native masks in Adobe After Effects, Premiere Pro, Nuke & Fusion.

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  • 360° Object Removal

    Remove Camera Rigs, Shadows and Unwanted Pixels

    Mocha’s famous Remove Module now works on 360° video by analyzing temporal frames and “automatically removing” unwanted camera rigs, shadows, crew members and more for massive time-savings. Clean Plates can be linked for removing when clean pixels are not detected in the shot. Illumination filtering analyzes luminance shifts for proper lighting and scene compositing.

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  • Horizon Stabilization & Reorient

    Reduce Shakey Motion for Improved VR Viewing

    Designed to reduce unstable motion, the new Reorient Module can drastically improve nausea-inducing VR experiences by smoothing or stabilizing shaky, handheld and drone captured footage. Driven by robust planar tracking, a user can even track and stabilize difficult and “out of focus” footage. Reorient on its own can be used to reposition equirectangular footage.

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  • Lens Workflow for 360° Compositing

    Convert Lat/Long to 360 to Add Effects & Graphics

    A plug-in based lens correction workflow converts between lat/long and rectilinear for a streamlined workflow to add titles, graphics, patches and non-360 enabled filters to your 360 project. Undistort footage and position the view, add 2D elements, then redistort for an easy to master workflow.

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Industry Support

Support for post-production and visual effects software: 

As a plug-in, Mocha VR currently supports Adobe After Effects CC, Adobe Premiere Pro CC, Avid Media Composer, Nuke and Fusion.  As a standalone application that can render video files, Mocha VR can work with almost any editing and effects software including FCPX, Autodesk Flame/Smoke, DaVinci Resolve and many more.

Getting Started: Mocha VR

The mocha Quick Start Guide! 

Getting started in mocha VR requires a basic knowledge of mocha’s planar tracker. For brand new users, we recommend viewing this guide and watching some of the Mocha Fundamentals video tutorials )

Imagineer’s Planar Tracker technology provides 2D tracking data by tracking planes rather than points. The key to getting the most out of the Planar Tracker is to learn to find planes of movement in your shot which coincide with the object that you want to track or roto. Sometimes it will be obvious – other times you may have to break your object into different planes of movement. For instance if you were tracking a tabletop with a vase on top of it, you would want to draw the spline to avoid the flower arrangement in the center of the table — the vase is not on the same plane as the table and will make your track less accurate.

Think of your objects as if they are low poly models and track the planes most relevant to the data you need. Since There Are No Point Trackers in mocha, splines are used for both tracking and rotoscoping. This is a different method from standard 1-point, feature, or multi-point tracking tools. If you try to use mocha like older tracking technology, you will not get successful tracks.

Take some time to learn the software by reading this section, watching our videos, and checking out the documentation. We are confident that you will speed up your workflow. It’s time to get mocha added to your toolbox!

Download This Footage to Follow Along

Free Motion Tracking Clips for Training (Non-Commercial) from Imagineer Systems on Vimeo.

Basic Tracking:

1. Import your footage. 

New File

Try to only use what you need, use individual shots rather than an entire edit. Working with very long files can be time consuming for the artist and can slow down tracking as it searches for more frames.

2. Select your preferred spline tool, either X Splines or Beziers. 3. Draw spline around the planar area that you want to track.

spline2

You can be fairly loose with your spline because the Planar Tracker is intelligent enough to discard the pixel movement that does not move similarly enough. Scrub through the timeline and find the largest, sharpest, and most parallel to the camera area to begin tracking from; draw your shape there to start with.

4. Track the spline.

track

You can use backwards and forward tracking from wherever it is that you have drawn your spline. You can often get a great result with default settings, but if you’re getting a lot of drift, try increasing the Min % Pixels Used. Remember to turn layer cogs (AKA: gears) off when you are done tracking, as those cogs tell you which layers are being used for tracking!

5. Set the Surface Tool.

setsurface

The Surface Tool represents the corner pin data where you want an inserted image to be, or the center point of the surface tool becomes your transform data when you export from mocha. Generally, it is better to align the surface roughly to the area you are tracking so you can easily see how your track is going!

6. Adjust your track if necessary.

adjust track

Adjust track is a four point correction that animates over the top of your track. Adjust track is a more advanced section that can be found here.

7. Export the completed track to whatever format you need.

export

You can do this via copy and paste for After Effects and Nuke, or you can save and load this data for all other programs.

 

When you paste or load your mocha tracking data into the final composite or edit, make sure you are pasting or loading your data in at the first frame of the clip, otherwise your data will not line up.  Frame rate, dimensions and pixel aspect ratio must be correct. Make sure these values match the settings in your compositor or editor and inside of mocha, otherwise your tracking data will not match when you export it. If your transform data doesn’t match up in your compositing program of choice, you may need to delete your imported anchor points or recheck your settings. Find more export instructions here.

 

Basic Rotoscoping:

1. Roto follows the basic workflow of the first 6 basic tracking steps.  

start_roto

However, you will need to track everything in individual planes. This means that you need to rotoscope people and animals “paper doll” style. Split everything up at it’s movable joint for best results and less keyframes.

2. Draw a new, more detailed rotoscoping shape.

detailed_roto

Once you have a good track (as outlined in the Basic Tracking section above), you will need to trace the edges of the objects that you need to rotoscope in detail. Complex roto shapes are not good candidates for tracking.

3. Link your new rotoscoping shape to your original track.

linktotrack

In the layer properties, you can use the dropdown menu called “link to track” to attach your finer, more detailed roto shape to your original track. The new shape will now move along with the original tracking layer.

4. You can also just track and roto at the same time. 

trackandroto

This method only works for simple shapes. This is not recommended for complex roto shapes like heads, hair, and wrinkled shirts. However, buildings, walls, smooth organic objects, and any inorganic objects can be tracked and rotoscoped this way.

5. Adjust shapes where necessary.

adjust shape

You will only have to adjust where mocha shapes slip off your object. Make sure to animate on the “bounce” or “squash and stretch” areas in order to minimize keyframes, like you would in traditional animation.

6. Export the rendered mattes or the shape data in whatever format you need.

export_shape

You can do this via copy and paste for After Effects and Nuke, or you can save and load this data for all other programs.

 

 When you paste or load your mocha shape data into the final composite or edit, make sure you are pasting or loading your shape data in at the first frame of the clip, otherwise your data will not line up. Frame rate, dimensions and pixel aspect ratio must be correct. Make sure these values match the settings in your compositor or editor and inside of mocha, otherwise your shape data will not match when you export and import it. Find more about matte export here.

 

Quick Tool Reference:

ICON_Select_001 Selection Tool: This tool selects points of the spline and edges of the surface tool for manipulation.
ICON_XSplines_001 X-Spline: In general X splines work better for tracking, especially with perspective motion. X-Splines have only one control handle for every point, this makes X-Splines faster to use for many people. The shapes still export as bezier splines to any software that mocha supports. All splines can be feathered with inner and outer edges.
ICON_AddXSpline_001 Add to X-Spline:  Adds another X Spline to the same tracking layer to add or subtract information. Subtraction of tracking areas happens where shapes overlap, and addition happens where shapes do not overlap.
ICON_BezSplines_001 Bezier Spline:  We also provide Bezier Splines as they can be versatile and is the industry spline standard. Beziers have two control handles for every point on the spline. The shapes still export as Bezier splines to any software that mocha supports. All splines can be feathered with inner and outer edges.
ICON_AddBezSplines_001 Add to Bezier Spline: Adds another Bezier Spline to the same tracking layer to add or subtract information. Subtraction of tracking areas happens where shapes overlap, and addition happens where shapes do not overlap.
ICON_Surface_001 Surface Tool:  The ‘Surface’ Tool represents the corner pin data where you want an inserted image to be, or the center point of the surface tool becomes your transform data when you export from mocha.
ICON_Grid_001 Grid Tool:  The grid follows the track and surface tool, and lets you know in detail exactly what your track is doing. It cannot be exported.
ICON_TransformTool_001 The Transform Tool: The bounding box can select either multiple points from multiple splines in the same layer, or multiple layers. Translation, Scale and Rotation and Distortion is all handled by selecting the correct area of the box.

 

Quick Tips!

  • A planar surface does not necessarily have to be flat: We have a Planar Tracker which specifically tracks planes of motion, but this is not limited to tables, walls and other flat objects. Distant background is considered flat by the camera where there is no parallax. Faces can be tracked very successfully around the eyes and bridge of the nose. Rocky ground, rumpled cushions, clumps of bushes, human torsos and curved car bodies are all good candidates. The key is low parallax or no obvious moving depth. When in doubt, try quickly tracking an area to see if it will work, as you can quite often trick the planar tracker into thinking something is planar.

  • You can change tracking parameters or spline shape in the middle of a track: If the track is slipping because of skew or perspective, turn those parameters off for the problem area and on again after you’re out of the trouble spot. You can also increase the amount of pixels you are tracking in the middle of the track or even change the shape of the spline or what you are tracking in the middle of the track. Don’t be afraid to change something to get the best track.

  • Always watch for occlusions: Moving objects or people that slowly move in front of the area you are trying to track need to be avoided. Also look out for obvious or even “barely there,” consistently moving reflections or shadows; mocha will notice them even if you don’t!

  • Use shots instead of entire scenes: The mocha workflow is designed around a project structure. It is good practice to only work on one shot per project file to minimize layer management and to keep the work streamlined. Don’t load your entire rendered out edit into mocha, that will only slow you down.

  • Scrub your time-line: When starting a new project, go through your footage a few times to see what your best options are for tracking. You will save yourself a lot of time by making note of obstructions and possible problem areas in advance.

  • Use edges: When tracking surfaces you will usually get a much better track if you include the edges and not just the interior of an object. This is because mocha can define the difference between the background and the foreground and lock on better. For example, if you are tracking a greenscreen, it is better to draw your shape around the entire screen rather than just the internal tracking markers. In some cases this means you can avoid tracking markers altogether and save time on cleanup later.

  • Draw more shapes: Remember you are not limited to one shape in a layer. Use a combination of shapes to add further areas or cut holes in existing areas to maximize your search. If necessary, make an additional layer to track and mask out foreground obstructions before tracking the object you need.

  • Use the grid while tracking: It’s common to use the surface and the grid to line up your corners after you track, but it can be much more advantageous to set up your surface before you track and leave the grid on to watch for any subtle drift while you are tracking. This way you can stop your track early to fix any issues and spend less time trying to find them later.

  • Figuring out tracking order: When you track a layer, the mattes of any active layers above the layer itself are subtracted from the matte of the layer and hence influence the area being tracked. To keep your tracking predictable, it is recommended that you keep your tracking layers on the top of the stack unless you specifically wish to use other layers to subtract from the tracking area of layers beneath it. To monitor what the tracker “sees” as a tracking area, select the Track Matte button in the view control. With this layer order, as long as your track objects from the foreground to the background, you will always have holdouts for the tracks behind them.

  • Tracking multiple objects: You can track multiple layers at once, but you need to make sure the shape order does not interfere with your tracks. Remember: any layers above other layers will prevent layers underneath them from tracking where they intersect. We do not recommend you track more than two or three layers at a time.

  • In the end, there is no magic bullet: While mocha is a very flexible tracker and will save a lot of time, you will eventually, and very occasionally, run into a piece of footage that just will not track. Large or continuous obstructions, extreme blur, low contrast details and sudden flashes can all cause drift or untrackable situations. If something just isn’t tracking no matter what you try, consider using mocha to track as much as possible then move to manual work. You can often get a lot more done fixing shots by hand or using Adjust Track in mocha rather than trying to tweak your shapes and parameters over and over again to get everything done automatically.

 

Between mocha AE, mocha Plus, and mocha Pro, we have a lot of options for our users! Not sure what version of mocha you need? You can find more about what software mocha supports and which features are in which version of mocha here.

 

In depth training!

Want to see more? Stream all the exercises below or Purchase Premium Download Now.

Fundamentals of Mocha Example 01: Fundamentals of Tracking
Fundamentals of Mocha Example 02: User Interface
Fundamentals of Mocha Example 03: How Planar Tracking Works
Fundamentals of Mocha Example 04: Track Mattes
Fundamentals of Mocha Example 05: Rotation
Fundamentals of Mocha Example 06 - Shear and Perspective
Fundamentals of Mocha Example 07a: Using Transform Data for After Effects
Fundamentals of Mocha Example 07b: Using Transform Data for Apple Final Cut and Motion
Fundamentals of Mocha Example 08a: Using Corner Pin Data for After Effects
Fundamentals of Mocha Example 08b: Using Corner Pin Data for Apple Final Cut and Motion
Fundamentals of Mocha Example 09a: Stabilization for After Effects
Fundamentals of Mocha Example 09b: Stabilization for Apple Final Cut and Motion
Fundamentals of Mocha Example 10: Creating Mask Shapes 01
Fundamentals of Mocha Example 11: More Complex Mask Shapes 02
Fundamentals of Mocha Example 12: Camera Solver – Pan Tilt Zoom
Fundamentals of Mocha Example 13: Camera Solver – Parallax Change
Fundamentals of Mocha Example 14: Camera Solver – Moving Shapes

 

If you still need more help, check out our full documentation here, or contact support here.

Technical Specs: Mocha VR

Product Version: mocha VR (5.5)
Software Requirement: Mac: Mac OS X 10.7 or higher on IntelWindows: Windows 8, Windows 7, Windows XP Professional SP2 or higher, Windows Vista Business or Ultimate, on x64.Linux: Red Hat Enterprise Linux 5, CentOS 5 or a compatible Linux distribution on x86_64.
Hardware: Recommended Hardware Processor: Intel Core 2 Duo or equivalent Memory: 4 GB + Disk: High-speed disk array Graphics Card: NVDIA Quadro FX 1500 or equivalent Monitor: 1920×1080 or higher Network: Must have an enabled network adapter (wifi or ethernet)Minimal Requirements:  Processor: At least 1-GHz Pentium IV Disk: At least 1 GB Memory: At least 1 GB Graphics card: Must support OpenGL Monitor: Minimum resolution 1200×800 pixels Network: Must have an enabled network adapter (wifi or ethernet)
Licensing options: Plug-in os Standalone application. Nodelocked or cross-platform, floating license.
mocha VR Plug-in Host Support:  Adobe Premiere Pro CC 2014-2017, Adobe After Effects CC 2014-2017, Avid Media Composer v8.5, Foundry Nuke v8+, Fusion Studio 8, Sony Vegas Pro 13
Features
Resolution & Frame Rate Independent Visual Effects Software
GPU Accelerated Planar Motion Tracking
New Plug-in Options for Adobe and Avid
Roto & Masking Tool Set
X-spline and Bezier roto tools with per-point edge feathering
Roto: Transform Tool, Join Layers, Project Merge
Layer Manager: color spline, color fill, group layers, multi-select & project merge
Export Roto & Track data to industry standard formats
3D Camera Solve Module: export to AE and FBX
Dopesheet keyframe editor
OGL accelerated matte rendering with motion blur
Customizable Keyboard Shortcuts
Removal Module: Auto-object removals with optional clean plate inserts
Lens Module: Lens distortion analysis with distort & undistort render function
Render Distortion Maps (Rasterized ST Maps)
Import and use External Distortion Maps in all mocha Pro modules
Insert Module: 2D match move compositing with motion blur render
Offset & 3D offset surface composting & track export
Mesh Warper distortion tool
Color Fill Shape Rendering (Export to Nuke Rotopaint and mocha shape for After Effects)
Python Scripting Module
Export track data
Autodesk: Flame, Smoke, Flare
Adobe After Effects CS3 – Creative Cloud 2015
Apple: Final Cut Pro v7
Apple Motion 4, 5
Apple Shake
Avid|DS
Assimilate Scratch v7
Quantel generationQ
Eyeon Fusion
Nuke & Nuke X
Boris FX: BCC Continuum Track Format: (supports Adobe Premiere, After Effects, Avid Media Composer, Symphony & Sony Vegas Pro)
Export roto data
Apple: Final Cut Pro 7 (with mocha shape for Final Cut plug-in)
Autodesk Flame, Smoke, Combustion: GMasks – now updated for batch export
Nuke & Nuke X
Adobe After Effects CS3 – CC 2015
Silhouette FX (import/export)
Adobe Premiere Pro (paste to mask)
Blackmagic Fusion
Shake
Export 3D Camera
Adobe After Effects CS4 – CC 2015
FBX for Nuke
FBX for Autodesk Maya, Flame & Smoke. Cinema 4D
HitFilm 2 Ultimate
Export to MochaBlend for C4D
Export Lens Data
Adobe After Effects CS4-CC 2015 (with mocha Lens plug-in)
Nuke, Flame, Fusion (with rendered ST Maps)
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Case Studies

Compare: Mocha VR

Upgrade Guides: Mocha VR

Tutorials: Mocha VR

Reviews: Mocha VR

  • Mocha VR Beta Makes 360 VR Removal Easy – Student Filmmakers

    Now Mocha, famous for its amazingly easy planar tracking, is working on a new version that could change that drastically. The software, Mocha VR, is still in beta, but I have fortunate to be involved in testing the software, and the results are impressive.

    Read More

FAQ's: Mocha VR

  • mocha VR

    Q. What is mocha VR?

    A. Our newest product, designed for 360/VR projects.

    • 360° Planar Motion Tracking
    • Advanced Roto & Masking Tools
    • Automatic Object Removal
    • Horizon Stabilize & Reorient Module

    Mocha VR is available as a standalone application or plug-in for Adobe After Effects, Premiere Pro, Avid Media Composer and OFX Hosts: Foundry’s Nuke & Fusion.


    Q. I own mocha Pro 5, can I upgrade to mocha VR?

    A. Yes, owners of mocha Pro 5 can upgrade for $300.  Contact us OR you can purchase your upgrade on BorisFX.com webshop.