Mocha Pro UserGuide

Mocha® 2022 User Guide
Table of Contents
Introduction .............................................................................................................. 10
The Art of Tracking .......................................................................................... 10
There Are No Point Trackers ........................................................................... 10
New features in Mocha Pro 2022 9.0.3 .................................................................. 12
Insert Module Updates ..................................................................................... 12
Architecture updates ........................................................................................ 12
Tracking improvements .................................................................................... 13
Exports ............................................................................................................. 13
Dopesheet improvements ................................................................................ 14
Minor Updates .................................................................................................. 14
Interface Overview .................................................................................................. 15
Layouts ............................................................................................................. 15
Saving Custom Layouts ................................................................................... 18
The Advanced Toolbar .................................................................................... 19
Basic Toolbar ................................................................................................... 22
The Viewer Controls ........................................................................................ 24
The Timeline Controls ...................................................................................... 25
Layer Controls .................................................................................................. 27
Layer Properties ............................................................................................... 29
Cache Management ......................................................................................... 30
Stereo Interface ....................................................................................................... 32
Viewing in Stereo ............................................................................................. 32
Timeline Controls in Stereo ............................................................................. 32
Using the Mocha Pro Plugins ................................................................................. 34
360 VR and Stereo Views Workflow ............................................................... 34
Applying the Mocha Plugin for Adobe After Effects ......................................... 36
Applying the Mocha Plugin for Adobe Premiere .............................................. 44
Applying the Mocha Plugin for Avid Media Composer ..................................... 48
Applying the Mocha OFX Plugin ...................................................................... 53
Adding the Mocha Plugin inside Autodesk Flame ............................................ 53
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Adding the Mocha Plugin inside Blackmagic Design Fusion Studio ................. 55
Adding the Mocha Plugin inside The Foundry Nuke ........................................ 56
Adding the Mocha Plugin inside Silhouette ..................................................... 58
Adding the Mocha Plugin inside Vegas Pro .................................................... 59
Basic workflow for the Mocha OFX Plugin ...................................................... 62
Using the Mocha GUI ...................................................................................... 63
Controlling Mattes ............................................................................................ 63
Controlling Module Renders ............................................................................ 64
Rendering Insert Layers ................................................................................... 65
Dealing with Alpha Channel Input and Output ................................................. 66
Applying the Mocha HitFilm or Mocha Pro Plugin inside HitFilm ..................... 67
Loading Projects containing the Mocha VR Plugin .......................................... 70
Starting a New Project ............................................................................................ 72
Workflow inside Mocha .................................................................................... 72
Creating a New Project in the Mocha Standalone application ......................... 72
Setting Up a New Project For VR 360 ............................................................ 77
Setting Up a New Project For Stereo .............................................................. 77
Creating a New Project in the Mocha Pro Plugin ............................................ 79
Creating a New Project in the BCC 10 Mocha PixelChooser ........................... 80
Setting the In and Out Points .......................................................................... 81
Project Frame Offsets and Clip Frame Offsets ................................................ 81
Tips for New Projects ...................................................................................... 81
Merging and Importing Projects .............................................................................. 83
Merging Projects [Mocha Pro] ......................................................................... 83
Importing Silhouette SFX projects ................................................................... 83
Tracking Basics ....................................................................................................... 85
The Planar Tracker .......................................................................................... 85
The Relationship Between Splines and Tracking Data .................................... 87
Selecting an Area to Track .............................................................................. 87
Dealing With Obstructions or Reflective Surfaces ........................................... 89
Tracking Parameters ........................................................................................ 91
Tracking the Spline .......................................................................................... 94
Checking Your Track ....................................................................................... 95
Importing Mattes .............................................................................................. 99
Tips for Tracking ............................................................................................ 100
PowerMesh and Mesh Tracking ........................................................................... 102
Mesh Generation ............................................................................................ 102
Mesh Tracking ............................................................................................... 104
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Edit Track Mesh ............................................................................................. 107

Exporting Meshes or Mesh Warped Splines .................................................. 108
Tips for Mesh Tracking .................................................................................. 108
Stereo Tracking ..................................................................................................... 109
Manual Stereo Offset ..................................................................................... 109
Offset Frame Tracking ................................................................................... 111
AdjustTrack ............................................................................................................ 112
Overview ........................................................................................................ 112
Setting up reference points ............................................................................ 112
Reference Points ............................................................................................ 114
Adjusting points .............................................................................................. 115
Exporting ........................................................................................................ 117
AdjustTrack Classic ............................................................................................... 117
Starting the Track Adjustment ....................................................................... 118
Reference Points ............................................................................................ 118
Reference Point Quality ................................................................................. 119
AdjustTrack with More than Four Reference Points ...................................... 122
Working Backwards ....................................................................................... 122
About Primary Reference Points (the red X) ................................................. 123
Changing the Primary Frame for a Reference Point ...................................... 124
Selecting Different Reference Points ............................................................. 124
Deleting Reference Points ............................................................................. 125
Nudging Reference Points ............................................................................. 125
View Options .................................................................................................. 125
Tips for AdjustTrack ....................................................................................... 126
Rotoscoping Basics ............................................................................................... 127
The Art of Rotoscoping .................................................................................. 127
Mocha Tracking and Roto .............................................................................. 128
What’s the Überkey? ..................................................................................... 132
Translate, Rotate and Scale your Splines ..................................................... 132
Turning On and Off Points ............................................................................. 133
Add Motion Blur [Mocha Pro Only] ................................................................ 133
Changing the Matte Blend Mode ................................................................... 134
Viewing your Mattes ...................................................................................... 135
Changing the Background Color .................................................................... 135
Colorize your Matte Overlay .......................................................................... 136
Hiding splines or points ................................................................................. 136
Preview Rendered Mattes [Mocha Pro Only] ................................................. 137
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Open Splines ................................................................................................. 138

Tips for Rotoscoping ...................................................................................... 138
Rotoscoping with Magnetic and Freehand Tools .................................................. 139
The Magnetic Tool ......................................................................................... 139
The Freehand Tool ........................................................................................ 140
Finalising a Drawn Line ................................................................................. 140
Adjusting Detail .............................................................................................. 141
Edge Snapping ............................................................................................... 141
Painting Splines with the Area Brush Tool ........................................................... 143
Painting new layers with Area Brush ............................................................. 143
Adjusting the size of the brush ...................................................................... 145
Quick Mask .................................................................................................... 145
Fill Gaps ......................................................................................................... 145
Add Area Brush to Layer ............................................................................... 145
Erase .............................................................................................................. 147
Stereo Rotoscoping ............................................................................................... 151
Working with Difference Mode and Stereo Offsets ........................................ 152
Exporting Tracks ................................................................................................... 154
Exporting Tracks to Adobe After Effects ........................................................ 155
Exporting Tracks to Silhouette ....................................................................... 160
Exporting Tracks to Final Cut Pro or Final Cut Express ................................ 164
Exporting Tracks to Apple Motion .................................................................. 167
Exporting Tracks to Apple Shake .................................................................. 169
Exporting tracks to Mistika ............................................................................. 172
Exporting Tracks to Nuke .............................................................................. 172
Exporting Tracks to Blackmagic Fusion ......................................................... 176
Exporting Tracks to Inferno, Flame, Flint, Smoke and Combustion ............... 177
Exporting Tracks to Assimilate SCRATCH .................................................... 181
Exporting Tracks to SGO Mistika .................................................................. 183
Exporting Tracks to Boris FX Plugins ............................................................ 184
Exporting Tracks to Avid DS ......................................................................... 185
Exporting Tracks to HitFilm ............................................................................ 186
Exporting Tracks to Quantel generationQ systems ........................................ 187
Exporting Tracks to MochaBlend ................................................................... 187
Exporting Stereo Tracking Data ..................................................................... 189
Exporting to Alembic ...................................................................................... 190
Exporting Mattes and Clips ................................................................................... 195
Exporting Rendered Shapes .......................................................................... 195
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Exporting Stereo Rendered shapes ............................................................... 197

Exporting as Mocha shape for After Effects Data .......................................... 199
Exporting Adobe Premiere Pro CC Masks .................................................... 200
Exporting as Mocha shape for Final Cut ....................................................... 201
Exporting Flame Gmask and Flame Gmask Tracer data ............................... 204
Exporting Shake Rotosplines ......................................................................... 205
Exporting Shapes to HitFilm .......................................................................... 206
Exporting Roto, RotoPaint and SplineWarp Nodes to Nuke .......................... 207
Exporting Shape Data to Blackmagic Fusion Shapes .................................... 208
Exporting Shape Data to MochaBlend ........................................................... 208
Exporting Shape Data to Silhouette Shapes ................................................. 210
Exporting Stereo Shape Data ........................................................................ 211
Exporting Rendered Clips (Mocha Pro) ......................................................... 211
Exporting Stereo Rendered Clips .................................................................. 214
The Camera Solve Module ................................................................................... 216
Overview ........................................................................................................ 216
Identifying the type of camera movement ...................................................... 216
The Camera Solve Process ........................................................................... 217
Stereo Camera Solve [Mocha Pro only] ........................................................ 222
Exporting Camera Solves .............................................................................. 223
Tips for Camera Solves ................................................................................. 224
The Insert Module ................................................................................................. 226
Overview ........................................................................................................ 226
Input ............................................................................................................... 226
Output [Standalone only] ............................................................................... 227
Source ............................................................................................................ 227
Comp .............................................................................................................. 229
Feather ........................................................................................................... 233
Transform ....................................................................................................... 234
Inserting in Stereo .......................................................................................... 235
Rendering the Insert in the Plugin ................................................................. 235
Insert Render Resampling ............................................................................. 235
The Mega Plate Module ........................................................................................ 237
Overview ........................................................................................................ 237
The Mega Plate Building Process ................................................................. 237
Mega Plate vs Mega Clean Plate - What is the difference? ........................... 244
Mega Plate Troubleshooting .......................................................................... 245
Mega Plate Parameters ................................................................................. 246
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Tips for Mega Plates ...................................................................................... 251

Using Mega Clean Plates in the Remove Module ................................................ 253
Examples of Using Mega Clean Plates in compositors .................................. 254
The Remove Module ............................................................................................. 258
Overview ........................................................................................................ 258
The Removal Process .................................................................................... 258
Removal Troubleshooting .............................................................................. 262
Remove Parameters ...................................................................................... 263
Stereo Remove .............................................................................................. 268
Tips for Removal ............................................................................................ 269
The Stabilize Module ............................................................................................ 272
Overview ........................................................................................................ 272
The Main Stabilization Parameters Interface ................................................. 272
Warp Mapping ................................................................................................ 276
Warp Mapping Workflow ................................................................................ 277
Stabilizing Shaky Camera Footage ................................................................ 285
Locking Down Areas of Motion ...................................................................... 285
Exporting Stabilized Tracking Data ................................................................ 286
Stabilize in Stereo .......................................................................................... 286
The Lens Module .................................................................................................. 287
Overview ........................................................................................................ 287
Lens Workflow with Line Detection Calibration .............................................. 288
Equirectangular Lens Workflow with 360 VR ................................................. 288
Lens Parameters ............................................................................................ 290
Using Grid Images ......................................................................................... 301
Anamorphic Camera Model ........................................................................... 302
Calibrating the Image Center ......................................................................... 303
Manual calibration .......................................................................................... 303
Lens Workflow with Distortion Maps .............................................................. 303
Exporting Lens Data ...................................................................................... 306
Tips for Lens Calibration ................................................................................ 312
Using Mocha Pro for 360 VR workflow ................................................................. 313
Using Equirectangular footage in Mocha Pro ................................................ 313
Mocha Pro Plugin Lens Rendering Workflow for 360 VR .............................. 319
The Reorient Module ............................................................................................ 321
Reorienting Equirectangular Footage in Mocha Pro ...................................... 321
The Dope Sheet and Curve Editor ....................................................................... 325
The Dope Sheet ............................................................................................. 325
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The Curve Editor ............................................................................................ 327

The Clip Module .................................................................................................... 330
Managing clips ............................................................................................... 330
Importing New Clips ....................................................................................... 330
Clip and Footage Stream Workflow ............................................................... 332
Importing New Footage Streams to an existing Clip ...................................... 333
Removing Clips .............................................................................................. 334
Relinking Clips ............................................................................................... 334
Selecting a Clip to Track ............................................................................... 335
Selecting a Clip to Rotoscope ....................................................................... 336
Keyboard Shortcuts ............................................................................................... 337
Keyboard Shortcut customization .................................................................. 337
Default Mocha Shortcuts ................................................................................ 338
Preferences ........................................................................................................... 340
Preferences location ...................................................................................... 340
Output Settings .............................................................................................. 340
System ........................................................................................................... 342
GPU ................................................................................................................ 344
Software Update [Mocha Pro Only] ............................................................... 345
Color ............................................................................................................... 345
Clip ................................................................................................................. 345
Lens [Mocha Pro Only] .................................................................................. 348
Logging ........................................................................................................... 348
Key Shortcuts ................................................................................................. 348
OpenColorIO (OCIO) Color Management ............................................................. 349
OCIO Color Management .............................................................................. 349
A Brief Overview of Color Management ........................................................ 349
Mocha in the Color Pipeline .......................................................................... 349
Setting the Working Color Space .................................................................. 349
Setting the Display View color space ............................................................ 350
Defining the Clip Color Space ....................................................................... 351
Defining the Overall Project Color Space ...................................................... 351
Loading OpenColorIO configurations into Mocha .......................................... 353
Mocha Pro OCIO inside Silhouette ................................................................ 354
Setting Defaults for Color Space Workflow .................................................... 354
File Formats .......................................................................................................... 355
Reading files via the Mocha Plug-In .............................................................. 355
Reading files via Mocha Standalone ............................................................. 355
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Supported in this version ............................................................................... 355

Not Directly Supported in this version ........................................................... 356
What to Do if Mocha Does Not Support Your Footage .................................. 357
Command Line ...................................................................................................... 358
Environment Variables .......................................................................................... 360
Checking and Setting Environment Variables ................................................ 360
Path variables ................................................................................................ 361
Display Variables ........................................................................................... 362
License Variables ........................................................................................... 363
Installing Node-Locked Licenses ........................................................................... 364
Node-locked Installation ................................................................................. 364
Installing Floating Licenses ................................................................................... 371
Floating licenses - How it works .................................................................... 371
How do I Install the Floating License Server? ............................................... 371
Installing Floating Licenses with Online Activation ......................................... 371
How do I point to the server license using an Environment Variable? ............ 375
Troubleshooting Floating Licenses ................................................................ 375
Installing Render Licenses .................................................................................... 379
Render Floating Licenses vs Interactive Floating Licenses ........................... 379
Installing Render Floating Licenses ............................................................... 380
File Management for Rendering on a Network .............................................. 381
Troubleshooting Mocha issues ............................................................................. 382
Common Error Messages .............................................................................. 382
Common problems encountered when working with Mocha .......................... 385
Third Party Open Source and Commercial Licenses Used by Mocha ................... 387
Qt 5.12.3 ........................................................................................................ 387
Python ............................................................................................................ 391
OpenColorIO .................................................................................................. 392
OpenSSL ........................................................................................................ 393
libpng .............................................................................................................. 396
libjpeg ............................................................................................................. 399
PySide2 .......................................................................................................... 399
Shiboken2 ...................................................................................................... 410
FBX SDK ........................................................................................................ 421
OpenEXR ....................................................................................................... 422
R3D SDK ....................................................................................................... 422
FreeType ........................................................................................................ 423
fontconfig ........................................................................................................ 423
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libtiff ................................................................................................................ 423

uuid ................................................................................................................. 424
libxml .............................................................................................................. 425
libz .................................................................................................................. 425
GStreamer ...................................................................................................... 426
Alembic ........................................................................................................... 437
Eigen .............................................................................................................. 439
OpenCV .......................................................................................................... 440
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Introduction
Welcome to Mocha, tracking and rotoscoping tools that make your tracking and
rotoscoping work much easier.
Our tools are based on our proprietary Planar Tracking technology, an awesome
approach to 2D tracking which will help you to generate accurate corner-pins and track
and transform your roto splines in a powerful way.
The Art of Tracking

Tracking and rotoscoping are part of almost any visual effects project. For 2D tracking,
point trackers are most commonly used, but to get good point tracks requires a mix of
experience and luck. You often have to “prime” a clip for optimum tracking using color
correctors and other image manipulations. If the point being tracked exits frame, you
get into offset tracking, which presents its own set of challenges. If it all fails, you are
into hand tracking, which is time consuming and very hard to get accurate.
Mocha is a 2D tracker that requires less experience and luck to be successful with,
does not require the image to be primed and is less likely to require a lot of tricks or
hand tracking on difficult shots.
There Are No Point Trackers

In Mocha splines are used for both tracking and rotoscoping. This is a different method
from standard 1-point or multi-point tracking tools.
Traditional tracking tools require that you locate “points” that remain consistent
throughout the entire shot in order to track movement. This is itself a difficult task,
especially when tracking a shot that was not originally designed to be tracked. If you
wish to also track rotation, perspective and shear you need even more clear and
consistent points to track.
Traditional roto methodology would have you outline a shape with the minimum number
of points necessary then either manually move the control points or track the shape with
a point tracker to “get it close”. Even when using multi-point trackers to impart rotation
and scale to the roto spline, the results are often unusable if there is any perspective
change during the shot.
Instead, Boris FX’s Planar Tracker tracks an object’s translation, rotation and scaling
data based on the movement of a user-defined plane. A plane is any flat surface having
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only two dimensions, such as a table top, a wall, or a television screen. Planes provide
much more detail to the computer about an object’s translation, rotation and scaling
than is possible with point-based tracking tools. Even as an object leaves and enters
a frame, there is usually enough information for the Planar Tracker to maintain a solid
track of the object. When you work with the Mocha tools, you will need to look for
planes in the clip. More specifically, you will need to look for planes that coincide with
movements you want to track. If someone is waving goodbye, you can break their arm
into two planes - the upper and lower limbs. Although not all of the points on the arm
sections actually lie on the same two-dimensional surface, the apparent parallax will
be minimal.
With the addition of PowerMesh in Mocha Pro, subplanar tracking is also possible,
tracking warp and bending of objects that standard planar tracking would struggle to
do alone.
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New features in Mocha Pro 2022 9.0.3

• Faster High-Resolution ProRes playback: High-resolution ProRes movies are
now split into smaller internal chunks for more responsive scrubbing.

• ProRes Read/Write support on Apple silicon: You can now read and write
ProRes files on Apple M1 systems

• Restore Default Preferences: You can now reset back to the default preferences
via a button in the main preferences dialog
• Improved Insert rendering: Insert edges are smoother.

Insert Module Updates
• Insert Mesh Warp: Now users can drive inserts with PowerMesh tracking and
render organic and warped surfaces with motion blur.
• Insert Blend Modes: Transfer mode blending can now be done inside the Mocha
Pro interface, making it easier to visualise final results or render to NLE hosts that
have less compositing features.
• Improved Insert Render Quality: The Insert module now renders with high-quality
filtering for improved looking results.
• Improved User Interface and Source Mesh Warp Controls: The Insert interface
has been streamlined with an improved layout to focus on essential tasks. The new
Source Mesh Grid view controls make it easier to preview and edit simple to complex
mesh distortions.
See the Insert Module chapter for more details.
Architecture updates
• Apple silicon support: Mocha now supports Apple silicon Mac ARM-64 hardware
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• VFX Platform 2021: Mocha is updated to support the new reference platform for
the VFX industry standard.
• After Effects Multithreaded support: Mocha Pro now supports After Effects MFR
(multi-threaded rendering currently in AE beta).
Tracking improvements
• Quick Stabilize Preview Update: You can now quick-stabilize pan and zoom via
any layer rather than just the currently selected layer. This option is available via a
dropdown on the Quick Stabilize button.
• Multi-linking: Link multiple selected layers to the same track using “Link to Track”
• Mesh Track Using Existing Data: Linking PowerMeshes to existing planar tracking
layers makes it easier to combine planar tracking with PowerMesh tracking for roto
and other tasks.
• RGB Tracking: You can now select individual channels for tracking rather than just
Luminance or Auto Channel
• RGB views: Preview each channel separate from the RGB dropdown in View
controls.
Exports
• PowerMesh to Nuke Tracker: Create a single Nuke tracker node with trackers
representing every vertex in the PowerMesh.
• PowerMesh to Alembic Transform: Export the mesh vertex position data to

individual transform nulls
• Silhouette shapes with split transform data: Silhouette shapes now export with
keyframe data split out to make it easier to add new Silhouette shapes which inherit
the tracking data.
• Nuke Roto nodes with split transform data: Nuke Roto now exports with
keyframe data split out to make it easier to add new Nuke roto splines which inherit
the tracking data
• Mistika Corner Pin: You can now export Mocha planar tracking corner data to
Mistika as point tracking data.
See the Exporting Tracks and Exporting Mattes chapters for more details.
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Dopesheet improvements
• Slide keyframes: You can now move all keyframes easily to new positions in the
timeline.
• Keyframe zooming: It is now much is easier to zoom into selected keyframes and
zoom out to all keyframes
See the Dopesheet chapter for more details.
Minor Updates
• 360 spline editing has been improved so over warping no longer occurs on large
perspective changes
• Improved AdjustTrack parameters now adjust all track keyframes based on the
motion types selected
• Layer editing is now possible outside set layer frame ranges
• Channel selection has been changed to a dropdown
• Data exports from Mocha to Silhouette now contain Silhouette-friendly frame offsets
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Interface Overview
To quickly get familiar with Mocha before you dive into the rest of the manual, here is
a breakdown of the interface and its controls.
Some parts of the Interface Overview uses the Mocha Pro Interface.
Versions of the Mocha Pro Plugin, Mocha HitFilm, Mocha for After
Effects etc. may differ in presentation, but their tools perform the
same function
Layouts
Mocha layouts are modifiable, allowing you to hide or reveal many parts of the interface.
These layouts are clustered into 4 default types you can build from.
Essentials Layout
Mocha begins in the Essentials layout, which provides a simplified interface for basic
tracking and roto.
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The basic toolbar provides a minimal set of tools without cluttering the interface.
The Essentials panel on the left side of the window combines everything you need for
a basic track.
The Panel contains the following features (from top to bottom):
Track Motion Options
The 5 motion types you can track in:
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1. Translation
2. Scale
3. Rotation
4. Shear (sometimes known as Skew)
5. Perspective
Track Buttons
For tracking backwards, forwards and to stop the track
Link to Track
To attach a spline layer to an existing track, or detach it from a track entirely. See
Tracking Basics and Rotoscoping Basics for more information on the benefits of Link
to Track.
Surface
These buttons control viewing and expanding the surface. See Tracking Basics for how
to use the surface effectively.
• Show surface (tracking data): Reveals the blue surface that represents the
tracking data.
• Show grid: Reveals a useful grid for lining up the surface or monitoring for drift in
a track.
• Align surface: Expands the surface to fit the dimensions of the footage on the
current frame.
Classic Layout
For Mocha veterans, the Classic layout is arranged like the original Mocha.
17
Use this mode if you are familiar with Mocha and want access to all the parameters
and tools.
Roto Layout
Like the Essentials layout, this layout is optimized specifically for roto sessions where
only the most necessary panels and tools are shown.
Big Picture Layout
If you want to reduce all clutter entirely, the Big Picture layout is very useful for
previewing shots without any elements getting in the way.
Saving Custom Layouts

You can add or remove many parts of the Mocha interface, such as:
• Timeline controls
• Toolbars
• View controls
• Etc.
These can either be access by right clicking the area of the interface and choosing a
GUI element to show or hide, or selecting from the View menu.
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Any changes you make to a layout will not be saved unless you choose View |
Layout | Save Current Layout.
For example if you like the Essentials layout, but would like the Advanced toolbar from
the Classic layout:
1. Choose "Essentials" from the layout drop-down

2. Choose "Advanced Tools" from View | Toolbars
3. Choose View | Layout | Save Current layout
This will now save the Essentials layout with the new toolbar.
Alternatively, you can save the layout as a new custom layout:
1. Make changes to your existing layout

2. Choose View | Layout | Save Current layout as...
3. Enter the new name in the Manage Custom Layouts dialog
You can add, order or remove layouts from the Manage Custom Layouts dialog in the
same sub-menu. Any new layout will automatically be assigned a Ctrl/CMD + Number
shortcut based on the order of the layouts, up to 9.
If you have made changes to a saved layout want to revert back to the saved version,
just choose View | Layout | Revert to saved.
If you want to revert back to the original default layout, just choose View | Layout
| Revert to default.
The Advanced Toolbar
At the very top of the interface you have the tools that form the brunt of your time inside
Mocha.
Save Project: Save the project
Select: Selection tool for splines and points. Hold

the button to choose between Marquee selection and
Lasso selection.
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Select Both: Selects both the Inner spline points and

the edge points. Hold this button down to select further
options (See below)
Select Inner: Only selects the inner spline points
Select Edge: Only selects the outer edge points
Select Auto: Automatically selects between Inner and

Edge points
Add Point: Tool to add points to the spline
Pan: Used to pan the footage in the Viewer
Zoom: Used to zoom into footage in the viewer
Create X-Spline Layer: Draw a new X-Spline layer
Add X-Spline to Layer: Draw an X-spline that is

added to the current spline layer.
Create Bezier-Spline Layer: Draw a new B-Spline
layer
Add Bezier-Spline to Layer: Draw a B-spline that is
Create New Magnetic Layer: Draw a magnetic line
that converts to an X-Spline.
Add Magnetic Shape Selected to Layer: Add a
new magnetic line that converts to an X-Spline in the
existing layer.
Create New Freehand Layer: Draw a freehand line
Add Freehand Shape Selected to Layer: Add a
new freehand line that converts to an X-Spline in the
existing layer.
Create Area Brush Layer: Paint on the canvas to
generate an X-Spline.
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Add Area Brush to Layer: Paint on the canvas to add

an X-Spline to an existing layer.
Create Rectangle X-Spline Layer: Draw a new
Rectangle X-Spline layer
Add Rectangle X-Spline to Layer: Draw an
Rectangle X-spline that is added to the current spline
layer.
Create Rectangle Bezier-Spline Layer: Draw a new
Rectangle B-Spline layer
Add Rectangle Bezier-Spline to Layer: Draw a
Rectangle B-spline that is added to the current spline
layer.
Create Circle X-Spline Layer: Draw a new Rectangle
X-Spline layer
Add Circle X-Spline to Layer: Draw an Rectangle X-
spline that is added to the current spline layer.
Create Circle Bezier-Spline Layer: Draw a new
Add Circle Bezier-Spline to Layer: Draw a Rectangle
B-spline that is added to the current spline layer.
Attach Layer: Used to select a point and drag-lock
it to another layer’s spline point. Useful for lining up
individual splines.
Rotate: Rotate selection around the axis of the point
you click in the viewer
Scale: Scale Selection
Move: Move selection
EditMesh: Toggles layer into Edit Mesh Mode for

editing mesh vertices.
Transform Tool: Toggles the transform bounding box
for manipulating selections
Show Planar Surface: Toggles the planar surface
view
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Show Planar Grid: Toggles a grid relative to the

planar surface view. You can adjust the number of grid
lines under Viewer Preferences (See below)
Align Surface: Expands the layer surface to fit the
dimensions of the footage at the current frame. All
tracked data is made relative to this new alignment.
Add Vertex: Adds a vertex to a selected edge when in
Edit Mesh Mode.
Basic Toolbar
In Essentials Mode, only a basic set of these tools is shown, to simplify the interface.
Save Project: Save the project
Select: Selection tool for splines and points. Hold

the button to choose between Marquee selection and
Lasso selection.
Add Point: Tool to add points to the spline
Pan: Used to pan the footage in the Viewer
Zoom: Used to zoom into footage in the viewer
Create X-Spline Layer: Draw a new X-Spline layer
Add X-Spline to Layer: Draw an X-spline that is

Create Bezier-Spline Layer: Draw a new B-Spline
layer
Add Bezier-Spline to Layer: Draw a B-spline that is
Create New Magnetic Layer: Draw a magnetic line
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Add Magnetic Shape Selected to Layer: Add a

new magnetic line that converts to an X-Spline in the
existing layer.
Create New Freehand Layer: Draw a freehand line
Add Freehand Shape Selected to Layer: Add a
new freehand line that converts to an X-Spline in the
existing layer.
Create Area Brush Layer: Paint on the canvas to
generate an X-Spline.
Add Area Brush to Layer: Paint on the canvas to add
an X-Spline to an existing layer.
Create Rectangle X-Spline Layer: Draw a new
Rectangle X-Spline layer
Add Rectangle X-Spline to Layer: Draw an
Rectangle X-spline that is added to the current spline
layer.
Create Rectangle Bezier-Spline Layer: Draw a new
Add Rectangle Bezier-Spline to Layer: Draw a
Rectangle B-spline that is added to the current spline
layer.
Create Circle X-Spline Layer: Draw a new Rectangle
X-Spline layer
Add Circle X-Spline to Layer: Draw an Rectangle X-
spline that is added to the current spline layer.
Create Circle Bezier-Spline Layer: Draw a new
Add Circle Bezier-Spline to Layer: Draw a Rectangle
B-spline that is added to the current spline layer.
Show Planar Surface: Toggles the planar surface
view
Show Planar Grid: Toggles a grid relative to the
planar surface view. You can adjust the number of grid
lines under Viewer Preferences (See below)
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Align Surface: Expands the layer surface to fit the

dimensions of the footage at the current frame. All
tracked data is made relative to this new alignment.
See descriptions in Advanced Toolbar above for the rest of the tools.
The Viewer Controls
These controls cover what can been seen or hidden while working in the Mocha viewer.
The Viewer controls are turned off in some layouts. You can turn
them on via the View menu.
Clip to Show: Choose which clip to view from this

dropdown
Proxy Scale: Adjust the resolution of the footage for
performance (Mocha Standalone only)
Show RGB Channels: Turns on the RGB view of

the footage. Select from the dropdown to choose an
individual color channel to view.
Show Alpha Channels: Turns on the Alpha view of

the footage
Show Layer Mattes: Toggle on or off to show the
mattes. Select from the dropdown to choose the type of
matte
Color Layer Mattes: Fills matte with Color. Decreasing
the value lessens the opacity
Overlays: Toggles all viewer overlays, including
splines, tangents, surface and grid
Show Layer Outlines: Toggles all spline overlays,
including splines, points and tangents
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Show Spline Tangents: Toggles spline tangents view.

Select from the dropdown to choose the type of view
View Mesh: Toggles Mesh view. Select from the
dropdown to choose either the mesh or just the
vertices.
Show Zoom Window: Toggles the Zoom window
Stabilize: Turns on Quick Stabilize Preview. This

centers the footage around your tracked surface using
the tracking data linked to pan and zoom. You can
choose different layers to stabilize the viewer from the
dropdown in the button.
Trace: Turns on the traced path of the tracked surface.
You can adjust the amount of frames to trace under
Viewer Preferences (See below)
Enable Brightness Scaling: Toggles brightness
adjustment to work with low-contrast footage.
Viewer Preferences: Adjustments dialog for
parameters such as grid lines and trace frames. Also
controls for viewer OCIO colourspaces.
The Timeline Controls
The timeline controls cover frame range, playback, tracking controls and key-framing.
Some timeline controls may not be visible in certain layouts. You can
turn them on via the View menu or by right-clicking the timeline.
Project In-Point: Frame where timeline

playback starts
Set In-Point: Set the in-point for the

timeline
Reset In-Point: Set the in-point back to
the start of the clip
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Current Frame: The frame the playhead

is currently on. Enter a new value to
jump to that frame.
Reset Out Point: Set the out point back
to the end of the clip
Set Out Point: Set the out point for the
timeline
Project Out Point: Frame where

timeline playback ends
Zoom Timeline to In/Out points:

Expands the timeline between the in and
out points to the edges of the viewer
Zoom Timeline to full frame range:
Resets the timeline scale to the full
range of frames
Play Controls: Controls for playing back
and forth and moving one frame at a
time
Change Playback Mode: Toggles tri-
state button between Play once, Loop
and Bounce playback modes.
Tracking Controls: Controls for tracking
back and forth and tracking one frame at
a time.
Go to Previous Keyframe: Jump to the
previous keyframe set in the timeline for
that layer
Go to Next Keyframe: Jump to the next
keyframe set in the timeline for that layer
Add New Keyframe: Add a new
keyframe at the current position for
the selected layer. This only appears if
you are not hovering over an existing
keyframe.
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Delete New Keyframe: Deletes the

keyframe at the current position for the
selected layer. This only appears if you
are hovering over a keyframe.
Delete All Keyframes: Deletes all
keyframes on the timeline for the
selected layer
Autokey: Toggles automatic key
insertion when moving points or
adjusting parameters
Überkey: Toggles the Überkey, which
modifies all keys in the layer relative to
the key you are now on.
Layer Controls
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The top left hand panel contains the tools to manage layers.
Layer Icons:
• Click the Eye to toggle layer visibility
• Click the Cog to toggle tracking for

that layer
• Click the Lock to toggle locking

• Click the Spline Color to change the
color of the selected layer splines
• Click the Matte Color to change the

color of the selected layer mattes
Layer Actions dropdown:
• Select All: Selects all layers

• Select Group: Selects all layers in a
selected group
• Invert Selection: Inverts the layer

selection
• Delete Selected: Deletes all selected

layers
• Duplicate: Duplicates all selected

layers
• Lock Selected: Locks all selected

layers
• Lock All: Locks all layers
• New Group: Creates a new empty

group
• Group Selected: Creates a group

containing the selected layers
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• Align Selected Surfaces: Aligns

the selected layer surfaces to the
dimensions of the footage at the
current frame
• Toggle Active at current frame:

Activates or Deactivates the layer on
the current frame
Group Layer: Groups the currently
selected layers. If no layers are selected,
creates an empty group.
Duplicate Layer: Duplicates the
currently selected layers
Delete Layer: Delete currently selected

layers on all frames
Layer Properties
The section under the Layer Controls panel contains the properties for each layer.
• Layer In/Out frames: Settings to change where the layer turns on and off in the clip
• Blend mode: Dropdown to add or subtract your spline to the current layer. Invert
flips this
• Insert Clip: Insert a demo clip to preview your track. You can use one of the defaults
or import your own. For preview purposes only
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• Matte Clip: Replaces the current layer splines with a matte clip.
• Link to Track: Which layer’s track to link your layer splines to. Can also be set to
None. You can select multiple layers before choosing this option.
• Link to adjusted track: Optional checkbox to link the layer splines to the adjusted
track of the selection in “Link to Track”
• Detail: Used to adjust the amount of points in a magnetic or freehand spline.
Cache Management
In Mocha v5 we introduced manual cache clearing to allow you to clear the Mocha
cache at the project, render or global level.
You can access the Clear Cache option from the file menu under File → Clear Cache…
You can check the following options:
• Project Cache: Clear the cache for the currently loaded project
• Rendered Clips: Clear just the rendered clips for the project
• Global Cache: Clear everything in the entire Mocha cache.
Only clear the Global Cache if you are certain you don’t want any of your existing project
caches to remain.
Whenever you close the Mocha Plugin GUI, any renders you perform
are cleared in order to make sure that you get a reliable render in
the host.
If you want to keep a render you have completed inside Mocha,
it is important that you export it first from the File menu.+ If you
want to learn more about this, see the File and Clip section of
Troubleshooting Mocha issues.
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Stereo Interface
Some interface elements change when using Stereo footage. This section covers what
new icons appear and how to interact with them.
Viewing in Stereo
In stereo mode you will see 3 buttons in the View Controls next to the clip view drop
down on the left:
• Two buttons to show individual Left or Right views (L and R). These button names
change according to the abbreviation you assign them in Project Settings.
• A 3D button to preview stereo views
You can preview stereo work at any time by turning on the 3D button in the view
controls.
Clicking and holding on the 3D button will give you a range of stereo view options.
Stereo 3D View Options
• Interlaced: Each view is show on every other line in fields

• Active: If you have an active shutter monitor available, you can view in this mode
(Note: Only tested on Windows)
• Anaglyph: Probably the most common mode to view stereo work through. You can
choose from Red/Cyan or Green/Magenta
• Difference: A difference mode of the views laid over each other. This view also has
additional functionality explained below
Timeline Controls in Stereo

Two new icons appear in the timeline to assist with tracking and roto in stereo:
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Track/Render on All Views: Toggle this button in the

timeline to Track/Render in both eyes
Keyframe on All Views: Toggle this button in the

timeline to maniuplate keyframes in both eyes
Both these buttons and their uses are covered in the Stereo Tracking and Stereo Roto
sections of the User Guide.
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Using the Mocha Pro Plugins

In Mocha Pro 2019-2021, the Mocha VR plugin is as a legacy plugin.
This is because all Mocha VR features are now inside Mocha Pro.
The Mocha VR category is maintained for compatibility with Mocha
VR V5 plugin projects.
The Mocha Pro plugins are separate from the standalone Mocha and can be applied
as an effect directly onto layers in host applications.
This reduces the need to swap out of your host application and streamlines getting
data in and out of Mocha.
The biggest advantage is you can set up layers and module settings in Mocha as
normal, and then have the results render directly to the host timeline without having
to export.
In addition to the controls below, VR features also contain a separate area in the Module
Renders section to control lens distortions without having to first open the Mocha Pro
GUI:
The guides below are using examples of the Mocha Pro plugin.
For more information on using the 360 Features in the Mocha Pro
Plugin, see Using Mocha for 360 workflow
360 VR and Stereo Views Workflow
The Mocha Pro plugin supports different types of 360 and Stereo footage via the
"Views" drop down:
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The first 4 Views options are for non-360 footage:
• Mono: This is the default option and works with standard (non-stereo) footage.
• Stereo (Separate eyes): This takes two separate footage streams. When chosen,
the option to choose another source for the right eye is enabled. If you are using
the Stereo option, you will need to select the "Stereo Output" view (Left or Right)
that you want to apply output to.
• Top/Bottom: Top/Bottom is also commonly known as "Over/Under". When used,

Mocha will split the footage exactly in half horizontally and use the Top and Bottom
halves for each eye. The output to the host will automatically double up to the split
views.
• Left/Right: Left/Right is also commonly known as "Side by Side". When used,

Mocha will split the footage exactly in half vertically and use the Left and Right halves
for each eye. The output to the hosr will automatically double up to the split views.
Choosing one of the 360 options automatically sets your Mocha project to be
Equirectangular 360. This will enable VR features:
• 360 Mono: Sets the project to non-stereo 360 footage.
• 360 Stereo: This takes two separate 360 footage streams. When chosen, the option
to choose another source for the right eye is enabled. If you are using the Stereo
option, you will need to select the "Stereo Output" view (Left or Right) that you want
to apply output to.
35
• 360 Top/Bottom: Top/Bottom is also commonly known as "Over/Under". When

used, Mocha will split the footage exactly in half horizontally and use the Top and
Bottom halves for each eye. The output to the host will automatically double up to
the split views.
• 360 Left/Right: Left/Right is also commonly known as "Side by Side". When used,
Mocha will split the footage exactly in half vertically and use the Left and Right halves
for each eye. The output to the hosr will automatically double up to the split views.
You can also choose to Swap the Left and Right eye input by checking the Swap Views
checkbox.
Some hosts will require different handling for Stereo sources:
• Nuke: Nuke has native OFX stereo support and so only requires one Source input
if you are using the "Stereo" option. If you have separate left and right eye sources,
apply a "Join Views" node to combined them and feed the output into the Source
input of the Mocha node.
• Vegas Pro: Vegas Pro also has native stereo support. You will only see two options:
Mono and Stereo. The "Stereo" option will read the native set up and feed in both
eyes to the Mocha GUI.
• Media Composer: Avid’s native stereo support is not supported by Mocha at

present, so you can only use Top/Bottom or Left/Right combined stereo files.
As you go through the user guide, you will see sections on how to apply Mocha
techniques to your stereo footage where relevant.
Applying the Mocha Plugin for Adobe After Effects
The Mocha Pro Plugin for Adobe appears in the Effects menu like every other effect.
Simply apply the effect to the layer you want to work with.
36
The general workflow for the Mocha Adobe Plugin is as follows:
1. Select any additional source layers you want to use inside Mocha
37
2. Launch Mocha. This will load a full version of the Mocha interface that you can use
just like the standalone version.
3. Use Mocha as required and then close and save. No rendering is required inside
Mocha unless you want to.
4. Choose whether you want to use mattes, renders or any other data from Mocha
back in the plugin interface.
Using the Mocha GUI
Once you have applied the Mocha Pro effect, you can click on the Mocha button to
launch the main interface.
This then becomes exactly like working in the standalone version of Mocha, with a
few exceptions. First, you will notice you don’t need to set up a project like in the
standalone version. The source layer is automatically loaded and ready to track in the
view. Secondly you don’t need to save out a project file (unless you want to export it).
You just close and save the Mocha view when done and the project is saved inside the
Effect like any other Adobe effect.
By default, the starting timeline frame will always be zero, which will not affect your
data generation back in After Effects.
For users using timecodes instead of frame numbers in After Effects, the correct
timecode offset will display inside the Mocha GUI.
For further details on how to use anything inside the Mocha GUI, see the rest of the
User Guide!
The Mocha Pro Plugin interface is almost exactly the same as the
standalone interface, so most of the usual guide and video tutorials
can be applied to the plugin.
Controlling Mattes
Once you have tracked layers in Mocha, you can then control the mattes for these
layers back in the plugin interface.
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• View Matte: Show the black and white matte from the Mocha layers chosen. This
is very useful if you want to just see any problems with the matte, or you want to
use the output as a track matte.
• Apply Matte: Applies the chosen mattes to the current layer,
• Visible Layers: This button launches the Visible Layers dialog so you can select the
layers you want visible as mattes. You can also edit the Layer names in this window.
• Shape: This drop down lets you switch between All Visible and All mattes. All Visible
mattes are controlled by the Visible Layers dialog.
• Feather: Applies a blur to the matte. This feathering is independent of the feathering
of the individual layers inside Mocha.
• Invert Mask: Inverts the currently visible mattes.
• Create AE Mask: Creates native AE splines on the effect layer just like "Paste
Mocha mask". This function is only available in After Effects.
Stereo output only
If you are using the Stereo option in After Effects, you will need to select the "Stereo
Output" view (Left or Right) that you want to apply output to. If you are using Top/Bottom
or Left/Right, the output will automatically double up to the split views.
Controlling Module Renders
Once you have set up layers in Mocha, you can then control the renders for each
module back in the plugin interface. Note that you do need to have set up and tracked
the correct layers in order for a render to work back in the host.
39
You have the following options to render a module back in the plugin:
• Render: A simple checkbox to turn renders on and off.
• Module: The module render you want to see. You have options
of Insert: Composite, Insert: Cutout, Remove, Stabilize, Stabilize:Unwarp,
Stabilize:Warp,Lens: Distort, Lens: Undistort and Reorient
• Warp Quality: This drop down activates when you are using Stabilize:Unwarp and
Stabilize:Warp options. It controls the render quality of the warp. See the Warp
Mapping section of the stabilize module.
• Insert Layer: For any inserts you want to apply to a layer surface and render back
to the host.
• Insert Blend Mode: Controls the Blending for Insert:Composite. If left to "Default"
it will render what has been set inside the Mocha project. If changed, it will override
all insert layers in the project.
• Insert Opacity: Overrides the default insert opacity set inside the Mocha project.
There are also parameters for controlling the view in Lens:Distortion rendering for VR
360 footage.
See Using Mocha for 360 workflow for more on how to use the VR Lens controls.
Using Insert Layers from the host inside the plugin
To use the Insert Layer in Insert renders:
40
1. Pick the layer you want to use as an insert from the Insert Layer drown down in
the Mocha Pro effect
2. Launch the Mocha GUI
3. Create a layer (or pick an existing layer)
4. On the Layer Properties panel, choose the Insert Clip dropdown
5. Select Insert Layer
Your Insert should then appear inside the layer where you have placed your surface.
Controlling Tracking Data
If you have a tracked layer in Mocha you can see the output of its surface back in the
After Effects interface. Each point in the Tracking Data section is a point from the layer
surface that automatically updates when you modify it inside Mocha.
To choose a layer to create tracking data from, click the Create Track Data button in
the Tracking Data section of the plugin.
41
Then choose ether the name or the cog of the layer you want to read tracking data
from in the dialog that appears.
You can only choose one layer at a time.
Once you click OK, the plugin will generate keyframes to populate the tracking
parameters in the plugin. You can then use this data to copy to other layers, or link
via expressions.
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This option is only available in the After Effects version of the plugin.
Generating keyframe data can take some time for very long shots.
You can cancel generation at any time when the progress bar
appears.
Applying Tracking Data Exports to Other layers
The plugin interface also allows you to apply tracking data to other layers without
needing to export from the Mocha GUI. Do do this, you generate the tracking data from
a layer, as described above in Controlling Tracking Data.
You can then choose an export option at the bottom of the Tracking Data section:
• Corner Pin: A standard corner pin effect
• Corner Pin: (Support Motion Blur): A corner pin distortion with separate scale,
rotation and position.
• CC Power Pin: The CC Power Pin Effect
• Transform: Scale, position and rotation
Clicking Apply Export then copies the information to the specified layer.
Creating PowerMesh Nulls
The After Effects Mocha Pro Plug-In also has a section for PowerMesh, which provides
the ability to generate nulls based on each vertex in a tracked Mesh.
To create the nulls, you do the following:
1. Make sure you have tracked a Layer in Mocha Pro using the Mesh parameter
2. Select "Create Nulls…" under the PowerMesh section of the Adobe Mocha Pro
Plugin interface
3. Choose the layer you want to generate nulls from
4. Click OK
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If you are generating from a vertex-heavy mesh, Mocha will show a progress bar while
generating the nulls. Each Null will be created separately with its own keyframes.
Applying the Mocha Plugin for Adobe Premiere
44
Using the Mocha GUI
few exceptions. Firstly, you will notice you don’t need to set up a project like in the
Effect like any other Adobe effect. For further details on how to use anything inside the
Mocha GUI, see the rest of the User Guide!
Controlling Mattes
45
• Shape: This drop down lets you switch between All Visible and All mattes. All Visible
mattes are controlled by the Visible Layers dialog.
• Invert Mask: Inverts the currently visible mattes.
to the host.
46
360 footage.
Rendering Insert Layers
1. Pick the video track you want to use as an insert from the Insert Layer drown down
in the Mocha Pro effect
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Applying the Mocha Plugin for Avid Media Composer

Due to extensive frame access by the Mocha plugin, it is
recommended that you use Avid storage media (i.e. DNxHD) when
working, rather than linked files.
(Use of linked files which use codecs such as H.264 will significantly
slow down render time as such media is not designed for random
access.)
48
Using the Mocha GUI
Effect like any other AVX effect. For further details on how to use anything inside the
Mocha GUI, see the rest of the User Guide!
Controlling Mattes
49
• Visible Layers Dropdown: This drop down lets you switch between All Visible and
All mattes. All Visible mattes are controlled by the Visible Layers dialog.
• Invert Matte: Inverts the currently visible mattes.
50

to the host. Choose from the current layer or below the current video track.
360 footage.
51
Processing larger frame sizes and more complex rendering in Mocha

may take a long time per frame.
When a frame render exceeds a certain interval in Media Composer,
a BlipPlayer error can occur.
If you see this message, you should render the effect prior to playing
back, or preview the render inside the Mocha UI before rendering
back on the timeline.
1. Pick the video track you want to use as an insert from the Insert Layer drown down
in the Mocha Pro effect. This will most commonly be "1st Below" the current layer
with the effect applied.
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Stereo Workflow
To work on a stereo shot in Media Composer:
1. Import a Top/Bottom or Left/Right combined stereo file
2. Choose the stereo type from the Views drop down
3. Open Mocha, and the views will be mapped automatically to the left and right views.
Avid’s native stereo support is not supported by Mocha at present,

so you can only use Top/Bottom or Left/Right combined stereo files.
Applying the Mocha OFX Plugin
The OFX version of the Mocha Plugin is fully supported in Nuke,

Fusion, HitFilm Pro, Vegas Pro and Silhouette.
If you have a license for the OFX version it will work in any of the OFX hosts listed
below. Keep in mind that while the Mocha OFX plugin is designed to be used in multiple
applications, it does not support all OFX hosts.
In many cases some functionality may be possible for unsupported hosts, but there is
no guarantee of functionality or stability, so please take care when experimenting!
Adding the Mocha Plugin inside Autodesk Flame
Inside Flame, the Mocha Pro Plugin for OFX appears in the OpenFX Plugin loader
panel like every other OFX plugin.
To get full use of the Mocha Pro plugin, we recommend using it as a batch effect.
1. Click on the FX button and then click Create Batch FX
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2. Drag a new OpenFX plugin into the Batch FX graph
3. In the OpenFX plugin panel, click Load Plugin and navigate to Boris FX Mocha and
choose Mocha Pro
4. Once loaded into the Effects panel, you can just click the Launch Mocha UI button
to open the Mocha Pro interface.
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Adding the Mocha Plugin inside Blackmagic Design

Fusion Studio
Inside Fusion Studio, the Mocha Pro Plugin for OFX appears in the Tool menu like
every other effect. Just choose Boris FX Mocha > Mocha Pro.
Mocha Pro node in Fusion (Footage courtesy of Chris Heuer):
Once loaded into the flow graph, simply plug the image node you want to work with
into the Source input of the Mocha Pro effect node.
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Adding the Mocha Plugin inside The Foundry Nuke
Inside Nuke, the Mocha Pro Plugin for OFX appears in the toolbar menu like every
other effect.
You can also call the Mocha Pro effect from the Tab key by searching for Mocha Pro
or right-click and choose Boris FX Mocha > Mocha Pro.
Mocha Pro node in Nuke node graph (Footage courtesy of Chris Heuer):
56
Once loaded into the node graph, simply plug the image node you want to work with
Nuke has native OFX stereo support and so only requires one
Source input if you are using the "Stereo" option.
57
If you have separate left and right eye sources, apply a "Join Views"
node to combined them and feed the output into the Source input of
the Mocha node.
Adding the Mocha Plugin inside Silhouette
In Silhouette, Mocha Pro Plugin for OFX appears in the nodes menu like every other
effect.
Mocha Pro node in Silhouette:
Once loaded into the tree window, simply plug the image node you want to work with
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Linear Workflow
Silhouette includes Linear support for the Mocha plugin. If you are using rec709 8-bit
images, you need to enable the Mocha > Linearize Images In Mocha Pro preference
in Silhouette so images look correct in the Mocha GUI. When using EXR or Cineon
images, this preference should remain off.
You can also use the built-in OCIO preferences in the Mocha Viewer Preferences.
Adding the Mocha Plugin inside Vegas Pro

Inside Vegas Pro, the Mocha OFX Plugin appears under Boris FX Mocha in the Plug-
in Chooser dialog for the following effect chains:
• Event FX: Click the effect icon on the video event segment you want and then select
the Mocha effect and click OK.
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• Track FX: Click the effect icon on the appropriate video track and then select the
Mocha effect and click OK.
• Track Composite Mode: Choose Custom… in the Compositing Mode options then
select the Mocha effect and click OK.
Mocha Pro node in Vegas Plug-in Chooser:
Once loaded, you can begin with the Launch Mocha UI button at the top of the effect
panel.
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Using the Insert Layer clip in Vegas
Mocha uses two sources from the timeline for inserting clips: The main background
image source to track from and a secondary image source to insert into a tracked layer.
To use a secondary source input in Vegas for Insert clips you need to composite your
tracks together:
1. Set the Insert clip you want to use as the parent layer and the plate you want the
insert to be rendered over as the child
2. Click the Track Compositing mode on the parent insert layer and select Custom…
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3. Select the Mocha effect and click OK

4. Launch the Mocha GUI in the Composite Mode panel
This will then load the secondary source into any layer Insert clip dropdown as a clip
called Insert Layer. See Rendering Insert Layers below.
Vegas Pro has native stereo support. When working with stereo in
Mocha you will only see two options: Mono and Stereo. The "Stereo"
option will read the native set up and feed in both eyes to the Mocha
GUI.
Basic workflow for the Mocha OFX Plugin

One your source clip is hooked up to you Mocha Pro Effect, the general workflow for
the Mocha OFX Plugin is as follows:
1. Select any additional source you want to use as an insert in Mocha and plug it into
the Insert input (See Rendering Insert Layers below.)
2. Launch the Mocha UI using the button at the top of the panel. This will load a full
version of the Mocha interface that you can use just like the standalone version.
4. Choose whether you want to use mattes, renders or any other exported data from
Mocha back in the plugin interface.
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can be applied to the plugin. Plugin interface examples below use

the Nuke UI.
Using the Mocha GUI
Once you have applied the Mocha Pro effect, you can click on the Launch Mocha UI
button to launch the main interface.
You just close and save the Mocha view when done and the project is saved inside
the effect. For further details on how to use anything inside the Mocha GUI, see the
rest of the User Guide!
Controlling Mattes
• Apply Matte: Applies the chosen mattes to the source node.
• Visible Layers Button: This button launches the Visible Layers dialog so you can
select the layers you want visible as mattes. You can also edit the Layer names in
this window.
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• Visible layers Dropdown: This drop down lets you switch between All Visible and

360 footage.
64

You can use secondary clips in the host application to render tracked inserts into
your shots. See the User Guide Chapter on the Insert Module for more details on
manipulating and warping inserts.
To use the Insert input from your host application in Insert renders:
1. Pick the image you want as an insert and make it available for the Mocha plugin
to use:
• For node based compositors you can plug the insert image into the Insert input
on the the Mocha Pro effect node.
• In Vegas you need to make the insert image the parent in compositing mode.
See Using the Insert Layer clip in Vegas for this method.
• In HitFilm, you select the insert image from one of your other layers in the comp
listed in the "Insert" dropdown
Alternatively you can import an image or sequence directly to the plugin:
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4. Select Import
5. Import an image or image sequence
The imported Insert should then appear inside the layer where you have placed your
surface.
Once you have set up your render in the Insert Module, you can then render back to
the host:
1. Close and save the Mocha Project
2. Open the "Module renders" section of the plugin effect interface
3. Select either "Insert: Composite" or "Insert: Cutout" from the "Module" dropdown
4. Click "Render" checkbox to render the insert
You can also adjust the Insert Blend Mode and the Insert Opacity from the plugin
interface without needing to go back into Mocha:
Dealing with Alpha Channel Input and Output

In cases where your input source has an alpha channel, you may wish to change the
Alpha view inside the Mocha GUI.
You can either turn Alpha off entirely by toggling off the button, or choose from one of
the following options:
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• Auto alpha: Reads in alpha if it is not opaque or premultiplied. This is the default
setting.
• Source alpha: This option shows the alpha as given from the source.
Auto alpha may be necessary when working with some source inputs in Nuke.
When rendering back out to the host, there are cases where you may also need to
premultiply the alpha using the premultiply options in the plugin interface.
In these cases you can choose an option from the Premultiply dropdown:
• Auto: Premultiplies based on the original source input
• On: Always premultiply output
• Off: Never premultiply output
You can also choose to premultiply using standard premultiply nodes.
Stereo Workflow
To work on a stereo shot in your OFX host:
1. Import separate stereo views, a Top/Bottom or Left/Right combined stereo file
2. Choose the stereo type from the Views drop down: Top/Bottom, Left/Right or Stereo
3. If you are using the Stereo option, make sure you are applying the effect to the Left
eye footage and choose your right-eye source input
4. Open Mocha, and the views will be mapped automatically to the left and right views.
Some OFX hosts handle stereo support differently. See your specific
host notes in this chapter for instructions. Especially Nuke and
Vegas.
Applying the Mocha HitFilm or Mocha Pro Plugin inside

HitFilm
We now include a light version of Mocha, called Mocha Hitfilm, as a plugin in HitFilm
Pro 2017 onwards. This includes:
• Tracking and roto export for HitFilm
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• 3D Camera solving
• Matte rendering
However, you can also use the Mocha Pro OFX plugins in the HitFilm interface.
Adding the Mocha Plugin to a layer
To add Mocha, simply locate it in the Effects panel like any other effect and drag it
onto your layer.
Mocha HitFilm Effect Controls in a HitFilm comp:
Basic workflow for the Mocha Plugin in HitFilm
Once your layer is hooked up to your Mocha Effect, the general workflow for the Mocha
Plugin is as follows:
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1. Launch the Mocha UI using the Launch Mocha UI button at the top of the panel.
This will load a full version of the Mocha interface that you can use just like the
standalone version.
2. Use Mocha as required
3. Export any data if needed (tracks, shapes or camera solve data) then close and
save
4. Choose any mattes you want to use from Mocha back in the plugin interface
5. If you are using Mocha Pro, choose the renders you wish to use from the "Module
Renders" section and check "Render"
The Mocha HitFilm Plugin interface is almost exactly the same as the
Using the Mocha GUI
Once you have applied the Mocha effect, you can click on the Launch Mocha UI button
to launch the main interface.
This then becomes exactly like working in the standalone version of Mocha, with a few
exceptions.
First, you will notice you don’t need to set up a project like in the standalone version.
The source layer is automatically loaded and ready to track in the view.
Secondly, you don’t need to save out a project file (unless you want to export it). You just
close and save the Mocha view when done and the project is saved inside the effect.
For further details on how to use anything inside the Mocha GUI, see the rest of the
User Guide!
Controlling Mattes
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• Apply Matte: Applies the chosen mattes to the source node.
• Visible Layers Button: This button launches the Visible Layers dialog so you can
select the layers you want visible as mattes. You can also edit the Layer names in
this window.
• Visible layers Dropdown: This drop down lets you switch between All Visible and
Controlling Mocha renders in HitFilm
If you are using the Mocha Pro version of the plugin, controlling renders is exactly like
the standard OFX rendering controls.
See Controlling Renders and Rendering Insert Layers in the section above.
Loading Projects containing the Mocha VR Plugin

When you load a project that contains the old Mocha VR plugin, you will notice that
Mocha VR is labelled as "Legacy". This is because all Mocha VR features have been
rolled into Mocha Pro and a Mocha VR plugin stub is kept to avoid breaking compatibility
with your old projects.
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When you want to start a new VR project, we highly recommend using the Mocha Pro
plugin rather than the legacy Mocha VR plugin, as this compatibility feature may be
removed in future versions.
See (360 VR and Stereo Views Workflow ) above for how to set the 360 VR modes
in new Mocha Pro projects.
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Starting a New Project
Workflow inside Mocha
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.
The basic tracking workflow for Mocha is:
1. Import your footage
2. Draw a loose spline around the shape you want to track
3. Track the spline
4. Set the Surface, or corner pin where you want the inserted image
5. Adjust your track if necessary
6. Export the completed track
The basic rotoscoping workflow is very similar:
1. Import your footage
2. Draw a loose spline around the shape you want to track.
3. Track the spline
4. Adjust your track if necessary
5. Add new shapes for rotoscoping and link them to your track
6. Adjust shapes where necessary
7. Export the rendered mattes or the shape data
Creating a New Project in the Mocha Standalone

application
When you start the application you are presented with an empty workspace. No footage
is loaded and most of the controls are consequently disabled. To begin working, you
must open an existing project or start a new project.
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Select the clip to import by clicking on the Choose… button to the right of the top line.
This will bring up a file browser, where you can select almost any industry standard
file formats. Image sequences will show up as individual frames. You can select any
one of the frames and the application will automatically sequence the frames as a clip
when importing.
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Name
A project name will automatically be generated based on the filename of the imported
footage, but you can change it by editing the Name field.
Location
Your project file and cache files will output to a directory called “Results” by default. This
is created in the same folder your clip is imported from. You can change this using the
Change… button or using the dropdown box to set a different relative or absolute path.
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Frame Range
The range of frames to import. We recommend to only work with the frames you need,
rather than importing very large clips or multiple shots edited together.
Frame offset
This is set to the starting frame number or timecode by default. You can also define a
fixed frame (You can set a default for the fixed frame in Preferences). You also have the
option to view as Timecode or Frame numbers. If your clip has an embedded timecode
offset and you switch to Timecode, the offset will be used in your project. If you need to
adjust this value later, you can open Project Settings from the file menu. See "Project
Frame Offsets and Clip Frame Offsets" below for more details.
Frame Rate
Normally this is automatically detected, but you have options to adjust if necessary.
Make sure you check the frame rate before you close the New Project dialog. If you
need to adjust this value later, you can open Project Settings from the file menu.
Separate Fields
If you are using interlaced footage, set your field separation here to Upper or Lower.
Make sure you check your fields match your footage before you close the New Project
dialog. If you don’t set them correctly, you cannot modify them and will have to restart
the project.
Remove Pulldown
If your footage has pulldown, set it here.
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Advanced options
Caching
If you wish the clip to be cached into memory, check the Cache clip checkbox here.
Caching is recommended if you are working a computer that has fast local storage,
but your shot is stored in a slow network location. If your shot is already stored on fast
storage, you don’t need to cache. More often than not, you can leave this setting off.
Color space
Set to Linear, Log and Panalog.
Conversion
Set to None, Float or 8-Bit
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Offset
If working with log color space, set any offset here.
Soft clip
If working with log color space, set soft clip value here. Default is zero making falloff
linear, rather than curved.
Log reference black
If working with log color space, set white reference value here.
Log reference black
If working with log color space, set black reference value here.
Gamma
If working with log color space, you can adjust Gamma here.
Setting Up a New Project For VR 360
Mocha Pro supports Equirectangular 360 Footage. To set the project to be in

360 mode, check the 360 VR Footage checkbox after you import your clip.
Setting Up a New Project For Stereo
When you start a New Project you are also presented with the option of creating a
multiview project in the Views tab.
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If you check Multiview project you are then presented with the view names and their
abbreviated names. The abbreviated name is used in the interface for the view buttons,
but is also used as the suffix for renders. You can also choose the hero view. By default
this is the left. Defining a hero eye determines the tracking and roto order for working
in the views.
If you are using Top/Bottom or Left/Right footage combined in a single frame, select
an option from the Split Views drop down:
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If you want to define separate streams of footage for the stereo views, you can add
additional footage streams view the Add button below the initial clip chooser.
If you forget to set up Multiview when you start a new project, you can set it in the new
Project Settings Dialog from the File menu.
Once you are in Multiview mode, you will see a colored border around the viewer based
on the current view you are in. This is to help artists to identify which view they are
currently in without having to refer to the buttons
You can switch between Views by pressing the corresponding L|R buttons in the view
controls, or using the default 1 and 2 keys on the keyboard.
You can swap views or change the Split View mapping from the View Mapping subtab
under the Clip module:
Creating a New Project in the Mocha Pro Plugin

The Mocha Pro plugin has a slightly different project workflow to the stand alone Mocha
applications.
The basic new project workflow for Mocha Pro Plugin is:
1. Apply the Mocha Pro effect to your layer or footage track
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2. Launch Mocha from effects panel in your host application
This action loads the footage from the host clip you applied the effect to. It automatically
applies the correct frame rate and other clip settings, so there is no need for the
standard new project dialog.
After you have done the usual work inside the Mocha Pro interface, you simply close
and save the Mocha Pro GUI and then you can control the output from the effect editor
interface.
For general guide to workflow with the Mocha plugin, see Using the Mocha Pro Plugin.
For setting up a new stereo project with the plugin, see Plugin Stereo Workflow.
Creating a New Project in the BCC 10 Mocha

PixelChooser
Boris FX introduced the Mocha PixelChooser in BCC 10. The plugin has a slightly
different project workflow to the stand alone Mocha applications.
The basic new project workflow for Mocha PixelChooser is:
1. Apply a BCC effect to your layer or footage track
2. Launch Mocha from the PixelChooser section of the plugin
This action loads the footage from the host clip you applied the effect to. It automatically
applies the correct frame rate and other clip settings, so there is no need for the
standard new project dialog.
After you have done your tracking and/or roto work, you simply close and save the
Mocha PixelChooser and it applies any visible layers as mattes back to the effect.
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The Mocha PixelChooser plugin is limited to Tracking and Roto and

only exports data formats to BCC plugins.
Setting the In and Out Points
If you will only be working on a section of the shot you can use the In and Out points
to set the range on the timeline. Note that the In and Out points affect the range of the
Überkey button. You can zoom the timeline to only show you the part between you In
and Out points by clicking the Zoom Timeline button.
Project Frame Offsets and Clip Frame Offsets

Frame offsets are important to get right in Mocha so that they export correctly to your
target program.
There are two kinds of frame offsets:
• Project Frame Offset: This frame offset sets the starting frame for keys in your
timeline. For example if you have imported a sequence of 100 frames and you need
the index of frames to start at 1001, you can change this under the Project Settings
in the file menu.
• Clip Frame Offset: This frame offset is to offset the actual clip frames to slide the
starting point of the clip back and forth. You can adjust clip frame offset under the
Display tab in the Clip module.
For the vast majority of cases the Project Frame Offset is the value you want to adjust
for working with data. The frame offset is usually already set correctly at the New Project
dialog stage, but there may be cases where offsets change, such as adding new clip
frames.
Tips for New Projects

Only import as much as you need
Working with very long files can be time consuming for the artist and can slow down
the tracking as it searches for more frames. Try to only use what you need, and work
on individual shots, rather than multiple shots in one piece of footage.
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Frame rate, dimensions and pixel aspect ratio are important
Make sure these values match the settings in your compositor or editor, otherwise
tracking and shape data will not match when you export it.
If you are unsure which field your interlaced footage is in, import it and check
If you quickly start your project with a guessed field order, you can check to make sure
it is correct by using the right arrow key to step through the footage. If you footage
stutters or steps back a frame while you’re stepping through, it is probably in the wrong
field order, or you may have to set pulldown.
Try to avoid interlaced footage where possible
Interlaced footage is painful to work with. For your own sanity, try not to use it unless
you have to!
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Merging and Importing Projects
Merging Projects [Mocha Pro]

If you are working on a large roto project you will sometimes need to have more than
one person working on the same shot.
When it comes time to export out mattes or do final tweaks you can use the Merge
Project option to combine any files that have been used on the same piece of footage.
Simply select the Merge Project option from the File menu, and select a project you
wish to merge. You can only merge projects that are the same dimensions, aspect ratio
and frame length as the shot you are merging into.
NOTE: You cannot merge projects from versions of Mocha earlier than 3.0.0.
Importing Silhouette SFX projects

Mocha can also import Silhouette .sfx project files. To import a project:
1. Open or create a project with matching footage and same dimensions as the
Silhouette file. This is important. Your Silhouette project file will need to match the
frame rate, dimensions and length of the Mocha project to correctly import.
2. Go to File → Import → SFX Project Shapes…
3. Choose a Silhouette sfx project file. If you are in OS X, you may need to navigate
inside the sfx package to find the actual project file.
4. Click Open
The Silhouette project will then convert any Bezier and X-splines to native Mocha
splines and appear in the project. If there are any B-Spline layers in the project, these
will not be imported as they are currently not supported.
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Tracking Basics
Some tools, parameters and techniques listed below may not be
visible in Essentials mode. To see additional interface elements,
switch to Classic mode. See the Layouts section for more
information.
The Planar Tracker
Boris FX’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, you would
want to draw the spline to avoid the flower arrangement in the center of the table — it
is not on the same plane and will make your track less accurate.
To select a plane you simply draw a spline around it. You can be fairly loose with your
spline — the Planar Tracker is intelligent enough to discard the pixel movement that
doesn’t conform to the movement of the majority of the pixels within the shape.
Mocha features two spline types, X-Splines and Bézier splines:
X-Spline
In general X-Splines work better for tracking, especially with perspective motion. We
recommend using these splines where possible.
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Bézier Spline
Bézier Splines are also very versatile for roto and is the industry spline standard.
CPU vs GPU Tracking
You can choose between a GPU or a CPU tracker in Preferences. By default, GPU is
selected, but will fall back to CPU if an operation is not supported by the GPU version.
The GPU option allows you to select any supported graphics card on your system to
take on the brunt of the tracking process. The resulting speed improvement is especially
noticeable on high resolution footage or when tracking large areas.
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The Relationship Between Splines and Tracking Data

One of the most important concepts to understand with the Mocha planar tracking
system is that the spline movement is not the tracking data.
It’s best to think of the splines you draw around objects as search areas. Here’s a
breakdown of how the tracking works:
1. By default, any spline you draw is linked to the tracking data of the layer it is currently
in. In hierarchical terms, the spline is the child of the track, even if there is no tracking
data.
2. When you begin to track a layer, the area of detail contained within the spline(s)
you have drawn will be searched for in the next frame.
3. If the planar tracker finds the same area in a following frame, it will tell the tracker
to move to that point. Because the spline is linked to the track by default, it will also
move along with it and the search begins again for the next frame.
To see this relationship, turn on your surface and/or grid in the viewer after you have
tracked something. Scrub the timeline and you will see that the grid and surface move
with the spline.
Now select all the points of your spline and move it around the viewer. You will notice
that the surface/grid will stay in the same place.
This is because the spline is linked to the track, but the track is not linked to the spline.
The spline is merely a search area to tell the track where to go next. It is a common
misconception that moving the spline while tracking is affecting the movement of the
tracking data. It is not. Moving the spline is only telling the tracker to look in a different
place and will not directly affect the motion of the tracking.
This makes the tracker very powerful, as you can move and manipulate your spline
area around while tracking to avoid problem areas or add more detail for the search.
You can even unlink the spline from the track entirely so that any planar surface passing
under the stationary spline area is tracked and you don’t have to move the spline if
tracking starts to go off screen.
Selecting an Area to Track

With the Planar Tracker you simply draw a spline around something, as shown with
the screen below.
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1. Select one of the spline tools to create a shape around the outside edge of the area
you wish to track.
2. Start creating your shape by clicking onto the screen.
3. After the third point, the shape will auto-close, but you can continue to add points.
4. When drawing splines it is best to keep the shape not tight on the edge, but actually
give a little space to allow for the high contrast edges to show through, as these
provide good tracking data.
5. Right-click to finish drawing.
6. If you are using the X-Spline tool you can adjust the handles at each point by pulling
them out to create a straight cornered edge, or pull them in to make them more
curved. Right clicking a handle will adjust all the handles in the spline at once.
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Dealing With Obstructions or Reflective Surfaces
In some cases there are parts of an image that can interfere with the effectiveness of
the Planar Tracker. To handle this, you can create an exclusion zone in the area you
are tracking.
For instance, in the phone example we are using, there are frames where there are
strong reflections on the screen. These reflections can make the track jump. So we
need to isolate that area so the tracker ignores it. Here’s how this is done:
1. Select the initial layer you created.
2. Select the add shape tool to add an additional shape to the current layer, which
selects the area you want the tracker to ignore.
3. Draw this second shape inside the original shape. Note that both splines have the
same color, which is an indication that they belong to the same layer. Also you will
notice in the Layer Controls panel that you only have a single layer.
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4. By turning on the Mattes button under View Controls you can see the area that will
be tracked.
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You can also add as many entirely new layers on top of your tracking layer to mask
out the layers below.
The tracking layer uses the matte data of the combined layers you
have drawn. This matte is the outer edge of the tracking layer matte
minus the inner edge of the layers in front, regardless of feathering.
This is quite common when moving people, limbs, cars, badgers etc. get in front of the
object you are trying to track.
Tracking Parameters
In the Essentials layout, tracking Motion parameters are listed in the Essentials Panel:
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In the Classic layout, detailed tracking parameters can be accessed by selecting the
Track tab. On the left hand side of the Track tab, you will see two sections: Motion and
Search Area.
Below, we show the Mocha Pro tracking parameters. Mocha AE and

Mocha Hitfilm will only show the planar tracking parameters:
Understanding the parameters section of the Track parameters is vitally important for
obtaining good tracks. Here we provide a breakdown of each parameter and how to
use it effectively.
Input Clip
This is the clip you are going to track. By default it is the one currently in the viewer.
Input Channel
When tracking, Mocha looks at contrast for detail. The input channel determines where
to look for that contrast.
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1. Luminance looks for contrast in the light and dark of the image
2. Auto Channel looks for contrast in one of the color channels.
3. Red, Green and Blue channels look only in that one color channel for the detail.
By default, Luminance does a good job. If you have low-luminance footage or you are
not getting a good track, try one of the color channels or Auto Channel.
Min % Pixels Used
One of the most important parameters to look at for tracking.
By default, the minimum percentage of pixels used is dynamic. When you draw a shape,
Mocha tries to determine the optimal amount of pixels to look for in order to speed up
tracking. If you draw a very large shape, the percentage will be low. If you draw a small
shape, the percentage will be high.
In many cases, the cause of a drifting or slipping track is a low percentage of pixels. If
you want a more solid and accurate track, try setting the Min % Pixels Used value to
a higher amount. Keep in mind however that a larger percentage of pixels can mean
a slower track.
Smoothing Level
This value blurs the input clip before it is tracked. This can be useful when there is a
lot of severe noise in the clip. It is left at zero by default.
Motion
These parameters control what motion you are looking for when you track:
• Translation: The position of the object

• Scale: Whether the object gets larger or smaller
• Rotation: The angle of rotation of the object
• Shear: How the object is skewing relative to the camera
• Perspective: How the object is moving in perspective relative to the camera
• Mesh (Mocha Pro Only): Movement within the overall plane, such as distortion, warp
etc.
The main difference between shear and perspective is the relative motion. Shear is
defined as the object warping in only two corners, whereas perspective is most often
needed where the object is rotating away from the viewer significantly in space.
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As an example, if someone is walking towards you, their torso would be showing shear
as it rotates slightly back and forth from your point of view.
The front of a truck turning a corner in front of you would be showing significant
perspective change.
• Large Motion: This is the default. It searches for motion and optimizes the track as
it goes. Small Motion is also applied when you choose Large Motion.
• Small Motion: This only optimizes. You would use Small Motion if there were very
subtle changes in the movement of the object you are tracking.
• Manual Tracking: This is only necessary to use when the object you are tracking is
completely obscured or becomes untrackable. Usually used when you need to make
some adjustments to complete the rest of the automated tracking successfully.
• Existing Planar Data (Mocha Pro Only): This is only used when you want to add
Mesh tracking to an existing planar track.
Search Area
This defines ranges for the tracker to search within
• Horizontal/Vertical: The distance of pixels in the footage to search for the next object
position. This is set to Auto by default.
• Angle: If you have a fast rotating object, like a wheel, you can set an angle of rotation
to help the tracker to lock onto the detail correctly. The tracker will handle a small
amount of rotation, less than 10º per frame, with Angle set to zero.
• Zoom: If you have a fast zoom, you can add a percentage value here to help the
tracker. Again, the tracker will still handle a small amount of zoom with this set to
zero.
Tracking the Spline

Before performing the actual track, adjust the settings depending on the movement in
the clip.
Track the plane selected by pressing the Track Forwards button on the right- hand side
of the transport controls section.
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Stop the track and adjust the shape if it doesn’t seem to be tracking properly. You may
keyframe the spline shape so that it tracks only the planar region of a shape by adjusting
the shape and hitting Add Key in the keyframe controls menu. Keep in mind that no
initial keyframe is set until you first hit Add Key or move a point with Auto-Key turned on.
Checking Your Track

The spline should be tracked in addition to the clip being cached to RAM. You can play
it back and get an idea as to how the track went. F eel free to change the playback
mode in the transport controls to loop or ping-pong your track.
Another trick you can do to check your track is hit the Stabilize button in the View
Controls.
Turning on Stabilize will lock the tracked item in place, moving the image to
compensate. In the track module, stabilize view is a preview mode to check your track.
Actual stabilization output is handled by the Stabilize Module, explained in the Stabilize
Overview chapter.
The Surface
You can check the accuracy of your planar track by turning on the Surface (the dark
blue rectangle) and Grid overlay in the Essentials panel or the toolbar:
• Drag the inner corners of the Surface to match the perspective of your tracked plane.
• Drag the edges of the Surface to adjust them along the matched perspective
• Drag the points in the middle of the edges to scale horizontally or vertically
• Click and drag the outer corners to rotate the Surface
• Hold SHIFT and drag a corner to scale uniformly.
If you play the clip, you should see the surface or grid line up perfectly with the plane
you tracked.
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The Surface and Grid have no keyframes; they are simply

guides that let you check the accuracy of your track. Note that
the position of the Surface WILL affect the exported tracking
data, so you MUST position the corners of the Surface before
exporting tracking data.
Click on the Surface button in the Essentials panel or the toolbar.
When you turn on the surface you will see the blue box that represents the 4 points of
the corner-pin. Right now you will see that it is not lined up with the screen.
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As described above, by selecting each corner one at a time you can adjust the surface
area to cover the area of the screen, or you can use the middle points to scale and
the outer corners to rotate.
The Grid overlay should line up with the plane you’re tracking and move with it as you
cycle through the clip. You can change the density of the grid by adjusting the X and
Y grid values in View | Viewer Preferences:
The grid overlay can give you a quick representation of the accuracy of the track.
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The Trace feature allows you to see the position of the planar corners over time. Skip
allows you to work with only every nth frame, useful on particularly long roto shots
where the movement is predictable.
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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.
Importing Mattes
This feature is only available in Mocha Pro
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There may be instances where you have already created mattes for one or more objects
in the shot, for example using a keyer or another roto tool that would help you isolate
areas to track.
You can import such mattes by creating a new layer and then using the Matte Clip
setting under Layer Properties to assign it to the layer.
Tips for Tracking

Scrub your timeline
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.
When in doubt, ramp up your pixels
You can quite often get a great result with default settings, but if you’re getting a lot of
drift, try setting the Min % Pixels Used value higher. The processing can be slower, but
you will usually get a much more solid track.
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
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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.
Track from the largest, clearest point
In order for Mocha to keep the best possible track, it is usually best to scrub through
the timeline and find the largest and clearest area to begin tracking from, draw your
shape there, then use backwards and forward tracking from that point.
For example, if you have a shot of sign coming toward you down a freeway, it is usually
better to start at the end of the clip where the sign is largest, draw your shape and track
backwards, rather than start from the beginning of the clip.
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.
In the end, there is no magic bullet
Mocha is a very flexible tracker and will save a lot of time, but you will eventually 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 AdjustTrack in Mocha rather than trying to tweak your shapes
and parameters over and over again to get everything done automatically.
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PowerMesh and Mesh Tracking

PowerMesh is designed to help track non-planar surfaces. This is for both rigid and non-
rigid surfaces that would otherwise be impossible to track with a regular planar tracker.
Rather than taking an optical flow approach (which can be slow to render and produce
cumbersome files), we use a subsurface planar approach which is much faster to
generate and track.
PowerMesh tracking currently does not support Stereo
Mesh Generation
To track a mesh, you first need to generate one.
The initial process is as follows:
1. Draw a layer around the area you want to track
2. Choose the planar tracking parameters (translation, rotation, scale, shear and/or
perspective)
3. Then choose the “Mesh” parameter
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An initial Mesh is generated.
Then you can refine your PowerMesh with the following parameters.
Generation Mode
This dropdown contains two options:
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• Automatic: This determines the best mesh to use based on image information
contained in the layer. Automatic is best paired with “Adaptive Contrast” to get the
most detail.
• Uniform: Generates a uniform square mesh insead of building based on the existing
image.
Mesh Size
Mesh Size is the distance between vertices in pixels.
This means that the smaller the Mesh Size, the more potential mesh faces you will
have. The larger the Mesh Size, the larger the faces and the less faces you will have.
A good starting point for Mesh Size is 32 for a HD or 4K image.
Vertices on Spline
This option makes sure the PowerMesh is generated to the boundaries of your layer
spline, rather than just over the most interesting detail within it.
For uniform meshes, this option makes sure at least part of the mesh is overlapping
the spline.
Adaptive Contrast
Adaptive Contrast boosts details in the underlying image to help the Automatic mesh
generate the most useful vertices. Use with care! Sometimes you don’t want too much
mesh detail.
Generate Mesh
This button generates the Mesh. Click it every time you change a Mesh generation
parameter.
Clear Mesh
This button clears the Mesh from the layer.
Mesh Tracking
Once you have generated your mesh and you’re happy with it, you can move on to
tracking.
The Mesh tracker first uses the standard planar tracking per frame and then applies
the sub-planar track with the mesh.
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Any mesh faces that fall outside of the spline or the image boundary are ignored. Those
mesh faces become rigid and try to follow along with the existing mesh.
To perform a Mesh track:
1. Generate a mesh using the method and parameters listed above
2. Choose the planar motion parameters you want to use
3. Choose the Mesh Tracking parameters
4. Track forwards or backwards as needed
Note that choosing the Planar motion parameters is important. For example:
• If the region you are tracking has significant perspective distortion, turn on
Perspective
• If the region doesn’t have much perspective shift, use Shear.
• If the region doesn’t have much planar distortion, choose the lower order motion
parameters only (Translation, rotation, scale)
The Mesh Tracking parameters help control how Mocha approaches the organic
surface.
Auto Smoothness
Turning this on tells Mocha to guess the amount of smoothness to apply to the Mesh
track. See “Smoothness” below.
Smoothness
Also referred to as “Rigidity”, this value determines the amount of smoothness to apply
to the Mesh when tracking.
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• A high smoothness is like applying starch to your Mesh. It will follow the planar track
more rigidly and not distort as much.
• A low smoothness will follow the subsurface movement more directly and distort the
mesh more. In short, you will get more “wobble”.
As a general guideline, we recommend setting a lower smoothness for very warped or

wobbly movement and a higher smoothness for more rigid objects that still have some
distortion.
For example:
• Faces: This varies, but a smoothness of 50 is about the right amount to balance
facial muscles vs general face planes.
• Liquid: A low smoothness (20-40) works well
• Cloth: Variable depending on the stiffness of the material
Warp Spline
This option deforms the spline shape to match the movement of the Mesh while
tracking. This is useful so that you don’t have to worry about animating the shape to
keep the mesh inside the bounds of the spline.
As an added bonus, this also means it greatly reduces the keyframes needed to
rotoscope an organic object.
Mesh Tracking with Existing Planar Data
If you want to track a PowerMesh using a layer you have only tracked with planar
tracking (Translation, Rotation, Scale, Shear, and/or Perspective) you can do so by
using the "Existing Planar Data" radio button in the Motion options.
This avoids you having to redo the entire track from scratch with the Mesh.
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This option is only available if you have selected the Mesh motion parameter.
To use Existing Planar Data:
1. Track a layer using some form of planar motion type (Translation, Rotation, Scale,
Shear, and/or Perspective)
2. Create a new layer
3. In the new layer, go to Layer properties and choose "Link to track" and select your
tracked layer
4. In the new layer, select "Mesh" and adjust your mesh parameters (see above)
5. Select "Existing Planar Data" from the motion options
6. Track forwards.
You can also do this for the same layer you are on without creating a new layer. Any
planar tracked layer can have the Mesh applied later and then simply be retracked
using "Existing Planar Data".
Edit Track Mesh

The Edit Track Mesh button is in the Toolbar at the top of the Mocha interface.
Selecting this turns on subselection in your mesh and you can move or delete vertices
either before or after you have tracked the mesh.
To get out of Edit mode, click the normal selection tool.
After Tracking, You can animate the tracked mesh manually to fix points or make your
preferred adjustments. Animated meshes are keyframed for the whole set of vertices,
rather than individual points. This makes it easier to keyframe states over time, similar
to the spline default animation mode.
Add Vertex
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This tool appears when in Edit Mesh mode. When Add Vertex is on, click any Mesh
edge to add a new vertex. A new edge will appear joining the created vertex and the
vertex opposite.
Exporting Meshes or Mesh Warped Splines

Using PowerMesh, you can export:
• Mesh-warped splines (or render their mattes): Export as normal for Shape data.
• After Effects nulls (Adobe plugin only): In the Adobe plugin, there is a new
section called "PowerMesh". Use this section to create nulls from selected layers.
See Creating PowerMesh Nulls for more details.
• Alembic tracking data as a mesh: The exports from the "Tracking Data" export
options. Alembic is supported across many hosts. The data format includes the
PowerMesh and a camera that fits to the source footage. See Exporting to Alembic
for more details.
• Nuke Mesh Tracker: This will export a single Tracker node for Nuke that contains
a single tracker point for every vertex in the PowerMesh.
Tips for Mesh Tracking

Blue mesh faces
When tracking, if one of your mesh faces turns blue, this means the face has become
flipped, normally because the area you are tracking has turned away from the camera.
Use more than one contour
You can use more than one contour to cut holes in the mesh generation. This is helpful
if you want to ignore details in a surface, such as teeth in a mouth region or a tattoo
that is taking up too much of the mesh detail.
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Stereo Tracking
Please note that stereo features is only available in Mocha Pro
Tracking in Stereo is very similar to tracking in Mono. In fact we’ve designed it

specifically to be as transparent as possible to those used to the standard Mono
workflow.
To track a stereo clip automatically:
1. Select your hero view (By default this is the Left view)
2. Draw your shape as you would normally in mono mode (See Mocha User Guide for
an introduction to mono Mocha tracking techniques)
3. Press the "Operate in all views" button on the right side of the tracking buttons.
4. Select your tracking parameters as normal
5. Track forwards (and/or backwards if required).
If you now switch between Left and Right views you will see the Right view has
automatically been tracked and offset from the Left view.
Manual Stereo Offset

If you would prefer to only track and work with the Hero view initially then offset your
data manually, you can also do this using the Stereo Offset tab in Track.
To track and manually offset a view:
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3. Make sure the "Track in all views" button on the right side of the tracking buttons
is switched off.
5. Track forwards (and/or backwards if required).
This will only track the current view you are on. If you switch to the other view you
will see the layer still moves with the track, but is not offset like when you do an all-
views track.
You can then use the Stereo Offset parameters in the Track module to offset your view.
If you decide later that you want to track the non-hero view, you can do so by selecting
the non-tracked view then track as normal.
You have the following options in the Stereo Offset tab (see above) when tracking
another view based on the hero view:
• Track from other views: This will reference the existing track to help track and
correctly offset the current view.
• Track this view: This will reference the current view to get the tracking information.
Note that by default these are both selected to give best results. If you only use
Track this view and not Track from other views, the current view will be tracked
independently of the hero view and will not offset.
You can also open existing mono projects that have additional views and track them
without having to manually offset. Just set the mono project to Multiview in the Project
Settings and add the additional footage streams to the clip.
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Offset Frame Tracking

For simpler tracks, you can also do a technique called "Offset Frame Tracking" which
is a combined stereo track and hero track.
To perform an offset frame track:
3. Turn ON the "Operate in all views" button on the right side of the tracking buttons.
5. Track ONE frame forwards (You can track more if you prefer, but only one is
required)
6. Check the track in both views to verify the stereo offset has occurred correctly
7. Turn OFF the the "Operate in all views" button on the right side of the tracking
buttons.
8. Continue tracking forwards with just the hero view
If your initial stereo track was offset correctly, that offset will then carry onwards through
the rest of the track. Keep in mind that things like convergence and disparity in the
moving stereo image may not work accurately in this scenario, but it will increase
performance of the process because you only have to track one eye.
You can also then apply additional manual stereo offsets as described in the manual
offset section above.
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AdjustTrack
Overview
There will be times when tracks can drift due to lack of detail or introduction of
small obstructions. When this occurs, manual refinements can be made by using the
AdjustTrack tool.
AdjustTrack is primarily used for eradicating drift by adjusting reference points to

generate keyframable data to compensate. It is generally not practical to use it to
remove jitter.
To achieve an adjusted track you would ideally line up the surface area where you want
to place your insert or lock down your roto.
In situations where you don’t require an insertion you could place the corners of the
surface area in distinctive locations.
The Transform AdjustTrack is designed to be an easier user experience from the

Classic AdjustTrack (see below) by removing the need to use the surface as your
alignment tool.
In Transform AdjustTrack you can adjust based on specific transforms with as many
reference points as you require.
Setting up reference points
You can set reference points either as a template for the kind of adjustment you want,
or add them yourself as needed.
We recommend turning off the splines view (i.e Show Layer Outlines)
during adjusting the track so you can see the adjustment of points
clearly.
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Transform Type
The transform type is used to set up the method of Adjustment you want to use for
the shot.
Each checkbox sets a different number of points when you click “Set Points”
• Translation: Sets one point for x/y translation
• Scale/Rotation: Sets two points to rotate or scale between points
• Shear: Sets 3 points for allowing skew/shear adjustment
• Perspective: Sets 4 points for full 4-point corner-pin style perspective adjustment.
Note that the Transform selection works very similar to the Motion type in the Track
module. When you select a motion type further down the list, it will automatically select
the ones above it in order for the tracking keyframes to be adjusted predictably.
You can opt to turn off the default-selected transform types later if you need to do a
specific adjustment.
After you have chosen the type, click Set points to create the points. You can then
adjust the reference points (see below).
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Reference Points
1. You can add more points to your adjustment as required. Each point contributes to
the adjustment of the plane based on the position of the other points.
2. You can select between the points using the cursor or cycle using the select <>
buttons.
3. Position your points on easily identifiable areas
4. Once you are happy with the position of the points, click “Set Reference Frame” to
define a frame to look to when adjusting forwards or backwards from that point.
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Adjusting points
Once you are happy with the points positions and have set a reference frame, you can
start moving back and forth on the timeline adjusting the points for drift.
Each point adjustment sets a key frame for every other point in the shot to avoid
unwanted distortions.
You can see the original reference frame for the selected point in the zoom window in
the upper left of the viewer and the current frame in the window below that.
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Surface View
While you are adjusting, you can click one of the “Surface View” corners to see how the
surface itself is adjusting to your changes. This is helpful if you are ultimately planning
on using the surface as your export area and want to make sure it is still lining up.
Nudge
Nudging is used to adjust the track by pixel increments. This helps when adjustments
are too subtle to be done by mouse movement.
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Each arrow nudges in the indicated direction. You can either click and hold the button
or use the shortcut keys to nudge.
The Auto button in the middle of the direction grid tries to guess where the point needs
to be. It can be useful to start with Auto to attempt to place the reference point first,
then adjust manually.
Auto Nudge
Auto Nudge takes the Auto action above and lets you use it space adjustments over
the whole shot.
If you set Auto Step and define a frame step you can then Track the Auto Nudge using
the tracking buttons in the timeline. Auto Nudge will then nudge the selected reference
points at the frame step interval set.
The Search fields define how far Auto and Auto Nudge look for the area the point needs
to adjust to.
Auto Nudge is useful for quickly going through a shot to help pace
adjustments. It is not recommended to be used as a solution for
finishing adjustments.
Exporting
You can export adjusted tracks as normal via the file menu or via the Track module
just like any regular track.
AdjustTrack Classic
We’ve kept the old-style of AdjustTrack for those who prefer to it, or if you are working
with legacy projects.
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This version of AdjustTrack is primarily used for eradicating drift by utilizing the four-
corner surface area to generate keyframable data to compensate. It is generally not
practical to use it to remove jitter.
Starting the Track Adjustment
When you have the Surface where you want it to stay locked and are ready to refine
the track, flip over into the AdjustTrack module by hitting the AdjustTrack tab.
Then switch to the Classic tab.
Reference Points
Once you select the Classic AdjustTrack tab, a key frame with four reference points
is created.
You should be on your desired primary frame before selecting the

AdjustTrack tab. The reference points can then be positioned on
distinctive features, such that any drift in the track can be easily seen
and corrected.
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As you play though the sequence you will be able to manually adjust the position of
each point as drift occurs.
If your track is spot on, these reference points should line up properly throughout the
shot. If you see a Reference Point drifting, that will indicate the track is drifting. Find
the frame where the drift is worst and move the Reference Point back to the position
it had in the Primary Frame and the track will automatically be adjusted based on your
correction.
Reference Point Quality
When you perform an adjust track and you begin to move a newly created reference
point, you will notice the dashed lines which connect all of the reference points. These
lines change in color to represent the quality of positioning of any given reference point.
For best results keep reference points away from one another.
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When adjusting the track try to always get at least yellow but shoot for green for a more
solid adjust track.
The red lines indicate that this reference point position is a poor choice.
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The green lines indicate that this reference point position is a good choice.
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AdjustTrack with More than Four Reference Points

Often there are times where your reference points are either obscured or exit frame. In
AdjustTrack you have the ability to create multiple reference points per surface corner
that can be positioned in alternate locations to handle these situations. Simply click the
New Ref button to create a new reference point for the selected corner.
You cannot keyframe the Surface — only the Reference Points. The original track and
any refinements you make in AdjustTrack cause the Surface to move however.
Working Backwards
Every so often a shot will come along that is easier to track backwards than forwards.
This is fairly simple when running the tracker backwards, but introduces some rather
obtuse concepts when keyframing is involved. This is why there are two “New Ref”
buttons provided. If you are working backwards and wish to set a new reference point,
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you will probably want to use the “<- New Ref” button instead of the forward-thinking
“New Ref ->” button.
Because keyframing “thinks” forward, hitting “<-New Ref” will not create new Primary
Reference points on the current frame, but will go backwards in time, looking for any
existing keyframes and set new Primary Reference points on the frame directly after.
For example, if you decide to create a new backwards reference point at frame 20, a
new primary reference will be created at frame 21.
Some people may be more comfortable doing this manually by moving the playhead
themselves and using the traditional “New Ref ->” button. Others who do a lot of tracking
and find themselves working backwards often may find the backwards-thinking New
Ref button helpful.
About Primary Reference Points (the red X)

Every Reference Point has one frame in which its initial placement is determined
without causing any adjustment to the track. This is called the Primary Reference Point;
if you step forward or backward in time you will notice the red X change to a red dot.
The red X indicates that this particular frame is the starting point for calculating
adjustments. Moving a Primary Reference Point will NOT change the tracking data.
Go ahead and experiment - move the Reference Point when it is a red X (a Primary
Reference Point). You will notice the Surface isn’t adjusted at all. Step forward a frame
and move the same point - this time the surface will move because you are now
adjusting the track.
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Changing the Primary Frame for a Reference Point
By default, the frame in which you create a Reference Point is its Primary Reference
frame. This Primary Reference can occur on a different frame for each reference point.
You can change the Primary Reference frame by selecting a Reference Point, going
to the appropriate frame and hitting the “Set Primary” button.
You may set a new Primary Reference Frame for all active points by hitting the Set
Primary All button.
Selecting Different Reference Points
One method for selecting different reference points is to hit the “Next” button.
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The next button simply cycles through the active reference points for that frame. More
fine-grained control of reference points can be obtained through the Nudge control
panel, described below.
Deleting Reference Points

Deleting Reference Points is done by selecting the point you wish to remove and
hitting the delete key. If there are multiple Reference points on a particular corner,
the preceding Reference Point will be extended through your time line until a new
Reference point is encountered.
Nudging Reference Points

The Nudge section allows you to move Reference points in 0.1 pixel increments, much
more fine grained than would be possible by dragging the points manually. You can
easily select any active Reference Point by selecting one of the corner buttons in
the Nudge section.
If you hit the Auto button, a tracker will attempt to line up the selected Reference Point
based on its position in the Primary Reference frame. The Search Region Size and
Maximum Motion parameters can be set in pixels in the Auto Nudge section.
You can quickly select any corner by using the Corner selector buttons in the Nudge
control panel. In the image below, the user is selecting the upper right corner in
preparation for nudging operations.
View Options
The AdjustTrack tab has a View section for cleaning up your AdjustTrack workspace.
Deselecting the Inactive Traces button will cause the display to hide the traces of the
inactive Reference Points. This is helpful if you have a corner with numerous Reference
Points offsetting it.
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Deselecting the Unselected Traces button will hide any Reference Point that is not
selected.
Finally, deselecting the Search Area button will hide the Search Region Size (in Yellow)
and the Maximum Motion search area (in Pink).
Tips for AdjustTrack

Adjust frames at the peak of drift
When you see a drift, carefully cycle through the timeline and look for where the
motion starts to change direction. A frame before this, adjust your drift, then go halfway
between your primary frame and the adjusted frame to check for any further drift. If you
keep working by checking halfway between each keyframe you set, you will reduce the
amount of keyframes required.
A huge amount of keyframes is not a good sign
If you end up with adjustment keyframes on a large amount of frames it may be better
retry the track. AdjustTrack is aimed to help reduce small anomalies and fix drift when
a tracked corner has become obscured. If you are fixing every second keyframe it
means you have more than a simple drift.
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Rotoscoping Basics
Some tools, parameters and techniques listed below may not be
visible in Essentials mode. To see additional interface elements,
switch to Classic mode. See the Layouts section for more
information.
The Art of Rotoscoping
Most often a good matte requires a combination of both keying and rotoscoping
techniques.
Good rotoscoping artists often think like animators, reverse engineering the
movements, the easing in and outs, the holds and overshoots of objects, and set their
keyframes accordingly.
In general, the fewer the keyframes, the better your mattes will look. Too many
keyframes will cause the edges to chatter and move unnaturally. Too few keyframes will
cause the shapes to drift and lose definition. Finding the right number and placement
of keyframes often comes with experience but there are a few things to keep in mind
when rotoscoping.
Traditional Roto Tips
1. There is no such thing as a perfect matte. Rotoscoping is an art form that takes into
account the background image, the movement of the object, and the new elements
to be composited in the background.
2. Try to start your shape at its most complex point in time, where it will need the most
control points.
3. Break a complex shape into multiple simple shapes. If you are rotoscoping a
humanoid form and an arm becomes visible, consider rotoscoping the arm as its
own element, rather than adding extra points on the body that will serve no purpose
when the arm is obscured.
4. Imagine you are the animator who created the shot. What would your dope sheet
look like? No matter the medium, whether CG, live action or otherwise, most
movements are rarely linear. They normally move in arcs; they normally accelerate
in and out of stopped positions. Try and understand the mechanics behind how
things are moving in your shot. This will help you to minimize keyframes.
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5. Watch and study the shot before you start working. Where are the changes in
directions? These will normally have keyframes. Where are the starts and stops?
Are there camera moves that can be stabilized to make your work easier?
6. Don’t be afraid to trash your work and start over. Beginning roto artists often
make the mistake of trying to fix a flawed approach by adding more and more
keyframes. Experienced roto artists learn to quickly identify an inferior approach
and are unashamed to trash their work and start over, often many, many times. It is
very difficult to get a good matte without a conscious effort to keep the keyframes
to a minimum.
Mocha Tracking and Roto

While you can refine a shape you have tracked to do your rotoscoping, the
recommended way is to do a rough shape to track something and then link your roto to
that track. This reduces the amount of work required when you are dealing with complex
shapes, as you will not have to track and refine each shape as you go. It also means
that if you have to retrack something you won’t have to redo a lot of layers. Another
reason is reducing the amount of data needed in your project file.
It also helps to remember that your spline shape is linked to your tracking data and not
the other way around.
For the following examples you can try out the tools using the BMW tutorial files
available from https://cdn.borisfx.com/borisfx/store/mocha-clips/rotoscoping.zip
Rotoscoping Workflow
1. Track the area you want to rotoscope
First of all you want to reduce as much manual work as possible by tracking. In the
example below, the front and side plane of the car is being tracked (For a more detailed
coverage of tracking, see the Tracking Basics documentation).
2. Turn off your tracking shape
Once you’ve tracked an area it can be useful to turn it’s visibility off, as well as it’s
tracking cog (so it can’t be accidentally retracked later). This means the tracked shape
will not be confused with any roto shapes you are making.
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3. Start drawing your refined shapes
Once you have a track for a layer we recommend that you add a new layer to use for
the actual roto spline, rather than refining the spline you used for the actual track as
you might need to do more tracking with it later.
Select the X spline or Bézier spline tool and draw a tight spline around the object you
are rotoscoping. Ctrl/Cmd+drag the Bézier tangents if you wish to break them. You will
see that a new layer is automatically created.
4. Link the new roto layer to your tracked layer
You don’t want to track with this layer, so disable tracking for the layer by turning off
the tracking button (the cog) for the layer in the Layer Properties panel.
Rename the new layer and link it to the movement of your already tracked layer by
selecting it from the Link to Track dropdown in the layer properties panel.
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Your newly created roto spline will now follow the motion of the linked track.
5. Refine your roto
Now you have linked the rotoscoping layer to a track, you need to go over the timeline
and make sure the roto is correctly animated.
Often you will need to tweak your shape for it to fit correctly, adding new keyframes.
Autokey is on by default, so you just need to move along the timeline and adjust your
points where necessary (keyframes turn up in the timeline as green dots). The tracking
data will help for the majority of the motion.
You can also add additional shapes to the same layer using one of the "Add Spline to
Layer" tools. These are the drawing icons with the plus sign next to them ("+").
You can cycle between each point on a spline with the keyboard shortcuts { and }. This
is useful for when you need to do minor adjustments across many points separately.
6. Feather your edges if necessary
Edges can be feathered either by dragging out feathers point by point using the edge
pointer tools in the toolbar or by using the parameters in the Edge Properties panel.
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In the toolbar you have four different pointer tools:
• The pointer tool with the B will move both the inner and outer spline point (‘B' = ‘Both')
• The I pointer will only move the inner spline
• The E pointer will only move the outer spline point (‘E' = ‘Edge'). A feathered edge
will occur between the inner and outer spline points
• The A pointer will remove either the inner or outer point depending on which is
selected (‘A' = ‘Any')
You can also use the Set button under Edge Properties to feather the edge at the
selected point(s) an exact amount or use the Add button to increase/decrease the
feather by the specified amount.
For example, if you deselect all points by clicking anywhere on the canvas you can
then use the Set button to apply the default 3 pixel edge width. Because no points are
selected the value is applied to all points on the current layer. You can then tweak the
position of all spline points to ensure that the inner (red) spline is inside the edge and
the outer (blue) spline is outside the edge.
7. Track additional sections as you go
In many instances one track will not be enough. You may need to track more than one
plane to drive different sets of roto. In the car example, we have to track the front and
the side to get an accurate track for each planar region to assist the roto effectively.
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In the case of organic shapes, like people, you will have to break your tracks down to
handle the different movement between the torso and the arms etc.
What’s the Überkey?

The Überkey is a powerful tool that allows you to offset the positions of control points
without destroying their keyframe data.
Use this tool with care, as it is not setting any keyframes per se, it is offsetting any and
all keyframe data on the points you move while it is on. Überkey is very useful, but
remember to turn it off again when you don’t need it. Use with care.
Überkey affects only those frames between the timeline’s In and Out point. If you wish
to make adjustments to a particular range, set the In and Out points to that range.
Translate, Rotate and Scale your Splines

You can translate, rotate and scale selected points as a group by using the
corresponding tools listed in the toolbar.
Or alternatively, use the transform tool to perform all of the above functions in the same
tool:
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Turning On and Off Points

You can turn on and off individual points in a spline. When they are off, you can still see
the points, they can still be animated, but they are not contributing mathematically to
the spline. This allows you to have a complex spline only when you need it, rather than
having to deal with superfluous points in parts of the shot when they are not needed.
To turn off points, select the points on the spline and hit Shift+Delete. You will see the
curve change shapes, but the points will remain.
To turn a point back on, right-click on it and select Point | Activate.
If the Autokey button is enabled, a keyframe will be created when you change a point’s
active status.
Add Motion Blur [Mocha Pro Only]
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You can use the movement of the individual spline points to determine motion blur.
Any movement in the spline, whether through simple X/Y translation or by shape
deformation will cause motion blur.
You can control the amount of blur by changing the motion blur value in the Edge
Properties panel.
Angle This essentially controls the amount of motion blur for the layer.
Angle simulates how long the shutter is open for if we were viewing through a real
camera, so the range is between:
• 0 (closed, which means no motion blur)
• 360 (fully open and therefore the maximum motion blur possible).
The reason we refer to angle as opposed to "amount" is that camera shutters used to
open with a rotary action, so a smaller angle would let in less light, and thus reduce
motion blur.
Phase
This controls the offset of the motion blur from the current frame.
Changing Phase from zero shifts the position of the motion blur to either be more ahead
or behind the currently calculated frame and is useful for tweaking motion blur that isn’t
quite sitting right.
Because Phase is based on the shutter angle you can adjust between the range -180
and 180 (i.e a range of 360 like the shutter angle).
Quality
The steps of motion blur you want to render. The lower the quality, the faster the render
speed. The default is 0.25 but can go as high as 5.0.
Changing the Matte Blend Mode
Although not necessary in this example, note that you can change how mattes are
blended in the Layer Properties panel. You may make each layer’s matte Add or
Subtract and you can also invert the matte.
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Note that this can’t be keyframed and that these settings apply to the entire layer, not
to individual splines of the same layer.
Viewing your Mattes
In the View Controls, several options are offered for viewing your mattes. The Matte
drop down is has options to view all mattes, just the mattes you have selected or no
mattes.
Select the Matte button and you will see your rotoscoped object against a flat
background.
Changing the Background Color
You may wish to rotoscope against a particular color. Select View → Canvas Color…
and a color picker will allow you to choose a particular background color
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Colorize your Matte Overlay

When you have your Mattes turned on, you may choose for the matte to be filled with
a color instead of cutting out the object, using Colorize.
You can adjust the opacity of the color fill by changing the blend value to the right of
the Colorize button.
The color used by Colorize is derived from the Selected and Unselected properties of
the Overlay Colors panel, which can be changed per layer.
This is only a preview and will not affect how your mattes are rendered when exporting.
Hiding splines or points

If you want to get a better view of your roto, you can get a better view by turning off
some overlays.
For layer spines:
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1. Select your layer and turn on the Mattes button (Show Layer Mattes)
2. Uncheck the Splines option in the Show Spline Tangents dropdown
For points:
1. Right-click the spline

2. Choose Layer > Hide points
Hiding points will still allow you to adjust the layer with the transform tool.
Preview Rendered Mattes [Mocha Pro Only]

In the View Controls panel, you will find a drop-down menu for selecting the clip to view.
This allows you to view the actual rendered mattes, which can be especially useful
when tweaking motion blur. The motion blur you normally see in your canvas is an
OpenGL preview and can differ slightly from the actual render.
If you’d like to see what the actual motion blur render looks like, switch to viewing the
layer whose matte you wish to see.
Because you can choose specific layers for export when you render, a render pass is
created for each layer.
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Switch the View Clip drop-down back to your source clip to continue working with that
clip.
Open Splines
If you want to draw open splines, you can simply hold shift when you right-click to finish
the spline. This will open the shape up.
Existing shapes can also be made open or closed:
• You can open an existing shape using the Open Spline shortcut key (by default this
is o)
• You can close an existing shape using the Close Spline shortcut key (by default
this is c)
• Both the Open and Close shortcuts also work for finishing a spline rather than using
Shift + Right-Click
You can also right-click a spline and choose: Spline | Open/Close Spline
Tips for Rotoscoping

Name your layers
Naming layers is very important to save yourself time later, especially if you are doing
a heavy rotoscoping job. Get into the habit of labeling each layer with specific names.
Turn off the splines and just work with points and the matte
If you are working on a tight roto it can sometimes be easier to turn the spline off and
just see the matte with the control points. To do this:
1. Select your layer and turn on the Mattes button (Show Layer Mattes)
2. Uncheck the Splines option in the Show Spline Tangents dropdown
If your other view options are at default settings you should now see the matte in the
viewer with only the tangents and control points visible.
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Rotoscoping with Magnetic and Freehand Tools

The magnetic and freehand tools provide an easy way to quickly roto an object.
The Magnetic Tool
The Magnetic Tool draws a pixel line that snaps to the nearest edge to where the cursor
lies, tracing the shortest path from any previous click.
To use the Magnetic Tool:
1. Select the tool from the toolbar.
2. Click once near the edge you want to start with
3. Move your cursor along the edge you want to follow
4. Click once any time you want to anchor the currently drawn path along the route
5. If there is a tricky section of the edge that the magnetic tool doesn’t want to line
up to, you can press and hold the mouse/pen down and the tool will switch to
Freehand mode.
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(Image courtesy of LateNite Films)
Similarly, if you go off the edge of the frame, the magnetic tool will also switch to
Freehand mode, so you can freely continue the shape.
The Freehand Tool
The Freehand pen tool is exactly like the Magnetic tool, minus the magnetic properties.
This gives you the freedom to quickly draw any line.
You can access the Freehand tool in the same tool drop down as the Magnetic tool,
but also any time you press and hold the mouse/pen down in the Magnetic tool, or
go off the image frame.
Finalising a Drawn Line

One you have completed a drawn line, you can either click back on the original point,
or right-click.
This will generate an X-Spline that follows the originally drawn line.
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(Image courtesy of LateNite Films)
Adjusting Detail
X-Splines generated by the Magnetic and Freehand tools have a fairly high point count
to match the subtle changes in the line.
If you want to increase or reduce this detail:
1. Finish drawing the line and right-click. This will automatically switch your cursor to
the selection tool.
2. With the completed layer selected, choose the Magnetic or Freehand tool again.
3. The Detail parameter will enable in the Layer Properties panel
4. Adjust detail to increase or reduce the number of spline points
Adjusting the detail of a magnetic or freehand line will move the

points back to their original positions to re-fit the line.
Animation or extended editing of a magnetic or freehand layer spline

may permanently convert it to a regular spline.
Edge Snapping
You can snap the control points of any spline to edges of an object by using the Edge
Snapping tool. By default, this is the Alt+S keys.
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To snap to an edge:
1. Select the points you want to move
2. Press the Alt+S key once to snap
Alternatively hold the S key and drag the points.
The selected points should then move to snap to the nearest detectable edge.
Keep in mind this will naturally try to find the most visible edge, so in some cases snap
may not find the edge you want. In these cases it may need to be adjusted manually.
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Painting Splines with the Area Brush Tool

The Area Brush produces X-Splines based on paint strokes in the viewer canvas.
You can also paint on an existing layer with the "Add" paint brush.
Paint strokes that cross over an existing layer spline will intersect with that spline, or
subtract from it if you are using the alt modifier key.
Area Brush is currently a single-frame paint effect. It is not

keyframeable.
Painting new layers with Area Brush
You can select the Area brush from the toolbar:
Selecting the area brush reveals the Area brush settings further down the toolbar:
You can now paint on the canvas and a red paint area will appear.
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Once done, you can turn off Quick Mask if it is on or just release the mouse button and
a spline will be generated.
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Adjusting the size of the brush

You can adjust the brush size using either:
• The radius keys (by default this is [ and ]).

• Holding down the CMD/Ctrl key and dragging the cursor
• Editing the radius field directly in the Area Brush toolbar
For finer control, the brush size will also change according to the set pressure sensitivity
from a drawing tablet.
You can turn off pressure sensitivity from Preferences.
Quick Mask
By default, Quick Mask is turned on.
Quick Mask stops the Area Brush tool from generating a spline as soon as you release
the mouse or lift the tablet pen Once you have painted what you need, you can turn
Quick Mask off by pressing the button and the spline will be generated.
Fill Gaps
If you want to quickly fill smaller gaps, you can adjust the "Fill Gaps" field.
The number in the field is a pixel diameter. Any gap in a closed painted area that is
smaller than the number in the field will be filled. For example:
• A Fill Gap diameter of 1 will only fill tiny gaps.

• A Fill Gap diameter of 1000 in a 1920x1080 image will close very large gaps.
A large fill gap setting is useful for quickly circling an object with paint to make a filled
spline.
Add Area Brush to Layer

The Add Area Brush will add new paint-generated splines to the selected layer.
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The tool is under the main Area Brush icon. Just press and hold the toolbar icon to
select the brush from the list:
Then you can paint on the existing spline:
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Once done, you can turn off Quick Mask if it is on or just release the mouse button and
the resulting spline intersect with the existing layer splines:
Erase
In both Quick Mask mode and normal painting mode, you can hold down the alt/
option key to switch to erase mode.
In Quick Mask mode, this will erase existing paint:
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If Quick Mask mode is off, this will erase the existing spline if you are using the Add
Area Brush tool. Just paint as normal holding down the modifier key:
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When you release, the erase will eat into the existing spline:
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Stereo Rotoscoping
Stereo Roto works in a very similar fashion to stereo tracking.
To roto an object in stereo with tracking:
1. Select the hero view (by default this is Left)
2. Draw a new basic shape and track the object you want to rotoscope as outlined
above in "Stereo Tracking"
3. Draw a new refined roto layer around your tracked object
4. Click the "Link to track" drop down in Layer Properties and choose the previously
tracked layer
5. Continue to refine the Hero view roto until you are happy with that view
6. Switch to the non-Hero view and begin refining this view.
When you switch to the non-Hero view the rotoscoping will be offset by the tracking
data. While this will not completely refine the result, it will save you a lot of time.
Whenever you manipulate a control point in the Hero view it will offset that control point
in the non-Hero view.
When you start to tweak the non-Hero view it will also generate new keyframes for that
view only and will not affect the Hero view. You can see these keyframes represented
in the timeline by split left and right keys.
If you wish to directly modify the control point in both views when working in either view,
you can turn on the "Apply Keyframe Changes to All Views" button at the very end of
the timeline controls to the right.
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If you insert additional points to a shape while in the non-Hero view,

they will be automatically deactivated in the Hero view to avoid
destroying the work done in the Hero view. You can reactivate these
points in the Hero view by right clicking them and choosing "Point
> Activate"
Working with Difference Mode and Stereo Offsets
If you need to offset your tracking or roto manually (see below), you can use the
Difference 3D view to help align the layer.
To align using Difference Mode:
1. Select the layer you want to align
2. Turn on Difference mode.
3. Go to the Stereo tab in the Track module
4. Select your Non-Hero View.
5. Offset X and Y until the screen gets as close to blank middle grey
as possible. You can optionally also adjust the other Stereo parameters.
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6. Turn off Difference view and review your results on your Non-Hero view.
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Exporting Tracks
Some sections only relate to Mocha Pro. Some export features are
not available in Mocha HitFilm or Mocha AE. For a full comparison
of features, please refer to the comparison chart online.
Tracking data is not supported across 360 seams and poles when
using VR features and may not export as expected.
Exporting data is the most useful way to get your tracks out to other applications.
In all cases below, you can export either from:
• The Essentials Panel:
• The Export buttons in the Track and AdjustTrack Modules:
• Or the file menu:
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Exporting Tracks to Adobe After Effects

It is important that the clip length, frame rate, frame size, interlace
mode, pulldown mode and pixel aspect ratio in the project match the
corresponding settings in the After Effects project where you plan to
use the data. You can change the frame rate and pixel aspect ratio
settings in the Film and Time sections of the Clip tab.
To export tracking data to After Effects, press the Export Tracking Data button.
Then choose either:
• After Effects Corner Pin

• After Effects CC Power Pin
• After Effects Transform Data.
After Effects Corner Pin:
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The corner pin data records and exports the 4 point x, y information from either the
adjusted track or the raw track. There are three different types of corner pin exports –
two for recent After Effects versions and one for CS3 and older versions of After Effects.
After Effects CC Power Pin:
The Power pin data is very much like corner pin, but the exported effect gives you more
control over the results in After Effects. See the After Effects help for more information
on how to use CC Power Pin.
After Effects Transform Data:
The transform data exports x and x positions as well as the scale and rotation for the
whole surface.
If you click Save, this will display a file browser for saving the tracking data for use later.
By default, the files will take the name of the layer, so for a layer name Track_Layer
the export will create a file named "Track_Layer.txt".
If you don’t need to save the export, you can press Copy to Clipboard, and then go
straight to After Effects and paste the data. If you are saving to file you will need to
open the text file you saved with the data, select the entire body of text and copy it.
In After Effects, load the footage you tracked and the footage/image/composition you
wish to apply the transform or corner pin data to.
Select the item on the timeline that is the insert object. Paste the data to the selected
layer. You can do this by selecting the ‘paste' option in the edit menu or by typing
command- v (Mac) or ctrl-v (Windows).
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With the layer’s information expanded you can see either the 4-point tracking data for
the corner pin, or the position, rotation and scale information from the tracking is now
applied to the insert layer.
If you are pasting transform data rather than corner pin data then you will need to delete
the anchor point keyframes to see a result. We export both position and anchor point
keyframes so that stabilization or tracking can be achieved. See below.
Applying Corner Pin for Layers with different dimensions
If your insert is not the same size as the dimensions of the composition in After Effects,
you will need to take a few further steps to make sure your corner pin data fits correctly.
The reason for this is that tracking data is basing itself on the relative size and aspect
ratio of the footage, whereas After Effects treats the corner pin data relative to the size
of the layer you are applying it to.
To get around this, you can take the following steps to modify the insert layer in After
Effects:
1. Precompose the layer and move all attributes into the new composition.
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2. Open the Precomp you just made and fit the layer to the composition dimensions
(Layer | Transform | Fit to Comp).
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3. Go back to the original composition, select the precomposed layer and paste the
data.
Alternatively you can use Align Surface in Mocha to define the full dimensions:
1. Apply a manual corner pin to your insert layer in After Effects and place it in the
desired position for any frame.
2. On this frame, Precompose the layer and make sure all attributes are inside it.
3. You will now have a precomposed layer that is the same dimensions as the tracked
footage.
4. In Mocha, go to the same frame in the footage you applied the corner pin to in After
Effects and select the track.
5. On this frame, turn on your surface and click "Align Surface" in the Layer Properties
panel.
6. You will see the surface fit to the full dimensions of the footage.
7. Export this newly aligned track to After Effects corner pin.
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8. Back in After Effects, select the precomposed layer and paste the data.
This will apply the tracking data relative to the full dimensions of the footage instead. If
you need to adjust the insert, just open the precomposed layer and tweak the manual
corner pin you made.
Using Tracks For Stabilizing In After Effects
You can use the tracking data created to stabilize a shot in After Effects.
1. Track your footage as normal, then turn on the Surface button and center the
surface box on the area you wish to use as the stabilize center.
2. Export the tracking data in the After Effects Transform format. Select the Invert
checkbox option
3. Switch to After Effects, select the layer you wish to apply the stabilize data to and
paste it to that layer.
You should now have a stabilized image.
Alternatively you can also use the After Effect Corner Pin export using Invert in the
same way to get a correctly warped stabilized image.
Exporting Tracks to Silhouette

This section explains how to export tracking data in a format readable to Silhouette
Tracker nodes, how to import the data into Silhouette and how to use it for match move
tasks.
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External clipboard data support from Mocha is only available in

Silhouette 2020.0.1 and above
1. Track an object in the usual way, and use AdjustTrack to correct for any drift if
necessary. The exported tracking points will be the four corner points of the Surface,
so you should position these appropriately.
2. Press the Export Tracking Data button on either the Track or AdjustTrack tabs.
3. Next, choose Silhouette Corner Pin (*.txt) and Copy to Clipboard:
a. Alternatively, click Save to save the script to disk
4. In Silhouette, create a tracker node, and paste the contents of the clipboard to the
node:
5. Create a new layer object
6. Select all 4 tracker points and click the Apply… button in the point tracker panel to
apply the 4 tracker points to the layer:
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To apply an insert using the data:
1. Feed an the insert image and the previously created tracker node into a Transform
node:
2. Select the tracking layer from the Transform list:
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3. You can then use a Composite or Math Composite to combine the corner pinned
image over the top of the background image:
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4. And adjust the corner pin settings to fit the background:
The image should now follow the background source as expected.
Exporting Tracks to Final Cut Pro or Final Cut Express

This example illustrates how to export Basic Motion data to Final Cut Pro or Final Cut
Express, and use it to matchmove one clip to another, with translation, rotation and
scale.
Track an object in the usual way, and use AdjustTrack to correct for any drift if
so you should position these appropriately before export.
Press the Export Tracking Data button on either the Track or AdjustTrack tabs. Next,
choose either the Final Cut Basic Motion or the Final Cut Distort options.
Final Cut Distort:
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The distort option exports the 4 point x, y information from either the adjusted track or
the raw track. The points exported are the four corners of the surface.
Final Cut Basic Motion:
The basic motion option exports x and y positions as well as the scale and rotation for
the whole surface. The position exported is the center of the surface.
Now click Save. This will display a file browser; you need to select a filename and
directory for the files to be saved. By default, the files will take the name of the layer,
so for a layer name Track_Layer this export produced a file named:
Track_Layer.xml
Now open the Final Cut project where you want to use the tracking data. To import the
XML file in Final Cut Pro, click File | Import | XML…. In Final Cut Express, click File |
Import | FCP XML from iMovie…
You will now see a new clip in your bin, named Mocha distort – layer_name or Mocha
basic motion – layer_name. If your original footage was a QuickTime file, then the new
clip in Final Cut will point to this footage. If it was an image sequence, the clip will be
connected to the first frame of the sequence, stretched to the duration of the whole clip.
In most situations, you want to apply the tracking data to a different clip in your timeline.
To do this, you can copy and paste the data from the imported clip onto any other.
Drop your imported clip into the timeline, then select it and press Cmd-C to copy it to
the clipboard. Now select the clip you want to apply the tracking data to and press Opt-
V (Paste Attributes). You will see a dialog asking you to choose which data to paste.
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Depending on the kind of data you exported, tick either Basic Motion or Distort and
untick all the other boxes.
You should now see the clip following you tracked.
Using Tracks for Stabilizing in Final Cut
To use our tracking data for stabilization in Final Cut, follow the same procedure as for
a basic motion export, but tick the Invert checkbox in the export dialog.
Now when you import the XML file into Final Cut, you should have a fully stabilized
clip. You can also copy the stabilized data onto another clip using Copy and Paste
Attributes as before.
Troubleshooting Tracking Export to Final Cut
Many issues of track misalignment can be corrected by choosing the right film type,
frame rate and interlacing settings in our software. These controls are on the Clip page
in the Film, Interlaced and Time tabs.
The layer doesn’t line up in Final Cut
If the layer doesn’t line up but the overall motion looks right, the most likely problem
is mismatched pixel aspect ratio (PAR). In Final Cut, check the sequence settings to
confirm the correct PAR for the clip, then use the equivalent setting when tracking in our
software. If you have already tracked with the wrong film type setting, you will need to
re-track after changing it. The table on the next page shows the corresponding settings
between Final Cut and Boris FX products.
Although film types are included in our software for anamorphic HD sizes (DVCPRO
HD and HDV), you are unlikely to need to use them as QuickTime will normally apply
the anamorphic scaling and our software will treat the video as full HD.
The layer lines up on the first frame, but then it drifts
This is usually caused by a frame rate mismatch. Check that the frame rate and
interlacing settings match between final Cut and our software.
The layer appears much wider or thinner than it should
This can be caused by a mismatch in the Final Cut Anamorphic setting. If you
are working with anamorphic footage, ensure that you have the Anamorphic setting
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checked in your Final Cut sequence settings, and in the clip properties. You also need
to use one of the anamorphic film types when tracking: any of the film types with
Anamorphic in the name should give correct results when importing the data into Final
Cut.
Exporting Tracks to Apple Motion
choose Motion basic transform(.motn) or Motion corner pin (.motn) and click Save to
save the file.
Inside Motion, you can either choose to open the exported file as a new project or drag
it into an existing project. You will see a Group containing the footage you tracked as
well as a blue solid called "Surface".
Then take the following steps to insert your footage:
1. Drag the desired footage or image to the group, above the surface
2. Go to Motion Tracking in Behaviors and drag the Match Move behavior onto your
insert
3. If the surface layer does not automatically apply to the behavior, drag the surface
layer onto the Match Move behavior
4. If you are just using transform, Match Move defaults to this option and you can set
transform, scale and rotation
5. If you are using corner pin, select the Four Corners option from the Type drop down.
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Troubleshooting Tracking Export to Apple Motion
Many issues of track misalignment can be corrected by choosing the right film type,
frame rate and interlacing settings in our software. These controls are on the Clip page
in the Film, Interlaced and Time tabs.
The layer lines up on the first frame, but then it drifts
This is usually caused by a frame rate mismatch. Check that the frame rate settings
match between Motion and Mocha.
The layer tracks correctly but is offset or scaled oddly
This is normally due to the layer you are inserting not being the same frame size as
your project media. You can fix this by either changing the insert to fit the dimensions,
or scaling the insert inside motion to match the dimensions. If you are going to scale
the layer to fit, you should do this step before you apply Match Move.
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Exporting Tracks to Apple Shake
This section explains how to export tracking data in a format readable by Apple Shake,
how to import the data into Shake and how to use it for match move, corner pinning
and stabilization tasks.
choose Shake Script (*.shk) and click 'Save to save the script to disk or Copy to
Clipboard to simply copy-and-paste the data into Shake.
Now let’s use that data in Shake. To load the tracking data in a file into an existing
Shake Script follow these steps:
In the File menu, select ‘Add script'.
Navigate to the Shake script file you exported and select it.
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If you have the data on your clipboard, simply press Ctrl/Cmd+V or right-click and
choose Paste.
Three nodes will now appear in your script: Stabilizer, MatchMoveLayer, and
CornerPinLayer.
At this point you have successfully imported your tracking data from Mocha into Shake.
But what exactly did you import? Let’s start with the MatchMoveLayer layer.
The MatchMoveLayer is used to apply the tracking data to a foreground element that
you wish to matchmove to a background. It consists of two inputs, the background and
the foreground. The foreground element will be the element you wish to apply the match
moving data to. The foreground is connected to the left side input of the node while the
original tracked background element goes into the right hand side.
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The next node is the CornerPinLayer node. This node has a single input and works just
like the left input of the MatchMoveNode.
It takes your foreground element and applies the scaling, rotation, and translation data
to it and prepares it for compositing into your next layer.
The last exported node is the Stabilizer Node. Just as the name implies, it takes all of
the exported tracking data and uses that data to stabilize your input clip.
With this node, for example, you may apply this data to the background element you
tracked to make for an easier composite.
Now that you have successfully exported and imported your data into Shake you are
ready to continue working on your project.
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Exporting tracks to Mistika
You export Mocha planar tracking data to Mistika as a set of corner pin tracks by
choosing Mistika Point Tracker (*.trk) from the Export Tracking Data dialog.
You can import your saved Mistika Point track data from the File menu.
Exporting Tracks to Nuke
This section explains how to export tracking data in a format readable by Nuke, how
to import the data into Nuke and how to use it for match move, corner pinning and
stabilization tasks.
choose Nuke Ascii (*.txt) and click Save to save the script to disk.
In Nuke, append a tracker to the background clip, e.g. by selecting the node and
pressing tab, then typing tracker and finally selecting the Tracker node in the list of
nodes.
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In the tracker properties window, select the animation submenu button for Tracker 1,
then choose File | Import Ascii… in the menu.
On the import Ascii dialog, press the folder button next to the file name, browse to the
file you exported, select it, click Open and then click OK.
Repeat these steps for tracker 2, 3 and 4.
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Exporting to Nuke 7 Tracker Node
If you’re in Nuke 7 or above and you don’t want to go through the process of exporting
out your ascii files, you can instead export to the Nuke 7 Tracker node.
If you choose Copy to Clipboard you can immediately switch over to Nuke and Paste
the data. Alternatively you can import your saved Nuke Script from the File menu.
Exporting Corner Pin tracks to Nuke Corner Pin Node
You can export a Corner Pin straight to the clipboard or to a .nk script by choosing
Nuke Corner Pin (*.nk) from the Export Tracking Data dialog.
If you choose Copy to Clipboard you can immediately switch over to Nuke, select the
node you wish to apply the corner pin to and Paste the data. Alternatively you can
import your saved Nuke Script from the File menu.
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Exporting to Nuke Mesh Tracker node
The PowerMesh to Nuke Tracker creates a single Nuke tracker node with individual
tracker points representing every vertex in the PowerMesh.
This versatile export means you have access to numerous tracking points across your
scene without having to set up individual tracks or corner pins.
You can export a PowerMesh-based Nuke Tracker straight to the clipboard or to a .nk
script by choosing Nuke Mesh Tracker (*.nk) from the Export Tracking Data
dialog.
If you choose Copy to Clipboard you can switch over to Nuke, select the node you wish
to apply the corner pin to and Paste the data. Alternatively you can import your saved
Nuke Script from the File menu.
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Exporting Tracks to Blackmagic Fusion
This section explains how to export tracking data in a format readable by Fusion, how
to import the data into Fusion and how to use it for match move, corner pinning and
stabilization tasks.
choose Blackmagic Fusion COMP Data (*.comp) and click Save to save the script to
disk.
In Fusion, open the .comp file, then drag the tracker node into the right view.
Now import the clip that you want composited onto the background and tie the output
of the clip to the input of the tracker node.
In the settings of the tracker node, select the Operation tab and select either Corner
Positioning or Match Move to composite the insert clip on top of the background. Notice
that you can switch Position, Rotation and Scaling on and off for different effects.
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Exporting Tracks to Inferno, Flame, Flint, Smoke and

Combustion
This section explains how to export tracking data in a format readable by Autodesk
Inferno, Flame, Flint, Smoke and Combustion.
Exporting Flame Axis data

Currently Mocha can only export Flame Axis tracking data via the Gmask Tracer node.
necessary.
2. The exported tracking points will be the four corner points of the Surface, so you
should position these appropriately.
4. Select Autodesk Flame Axis (.mask) and save the file to disk (There is currently no
clipboard support for mocha data in Flame).
Importing into Flame
To import the data into Flame:
1. Create a new Gmask or Gmask Tracer node in Batch

2. Click the Load Node Button:
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3. Navigate to the saved .mask file and open it
You should then see the axis in the Flame viewer output.
You can now wotk with the Axis nodes via the Gmask Schematic:
Exporting IFFFSE Tracking Data
necessary.
2. The exported tracking points will be the four corner points of the Surface, so you
should position these appropriately.
4. Select Autodesk IFFFSE Point Tracker Data (*.ascii) as the format, and save this
to a file.
5. Next select the Autodesk IFFFSE Stabilizer Data (*.ascii) export and save this to
another file.
Importing into Combustion
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Let’s look at how we use the data. In Combustion, create a layer with the foreground
graphic and set the layer shape to Four-Corner.
Now select all four corners of your layer, enable the Tracker tab and select Import
Tracking Data.
Import the single Ascii file with the stabilizer tracking data.
Activate the insert layer visibility and you will see that the insert layer is now tracked
to the background element, even though the image is not sized correctly yet. Select all
trackers and set the mode to Absolute to resolve this.
If you prefer to import your data one point at a time you can instead select one track
point and import the Ascii file with the corresponding tracking data. Remember to switch
to Absolute mode once all data has been imported.
Importing into Inferno, Flame, Flint or Smoke for Corner Pinning
Firstly, we will set-up a corner-pin composite in the Action module, to reproduce the
basic compositing operation.
Enter Action and delete the default Axis and Image nodes.
Create a new Bilinear Surface. Tap on bilinear1 then press ~ to view its settings. Go
to Surface then click the S button next to Track.
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You should now be in the familiar stabilizer module. For this example we are doing a
corner-pin so we will need to use all four trackers.
Tap Tracker 1 then press Imp under Track Y.
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Now browse to the corresponding file, e.g. xxxx_top_left.ascii. The files correspond to
trackers as shown below.
You should see the marker for Tracker 1 move into the correct position.
Repeat the process for the other three trackers, making sure that you use the correct
files as shown in above. You should also mark each tracker as Active if it is not already.
Tap Return to return to Action, and you should now see your finished corner pin.
Importing into Inferno, Flame, Flint or Smoke for Stabilization
An alternative use for the tracking data is for stabilization. You can use the Stabilizer
module to do 1-, 2-, 3- or 4-point stabilization. In this example, we will do a 1-point
stabilization to stabilize for position only, using the center point.
Enter the Stabilizer module. Click the Imp button under Track Y, as for the Corner Pin.
Select the _center file, in my example this is PDA_center.ascii. You should now see
the key-frames loaded and be able to process
If you want to use more points to stabilize zoom, rotation, affine and perspective moves,
just load the corner tracks as described in the Corner Pin section.
Exporting Tracks to Assimilate SCRATCH
To import data into SCRATCH requires SCRATCH v7 or later.
To import the data into Assimilate, do the following:
1. Enter the SCRATCH player with the background shot
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2. Create a scaffold with a the image you want to insert (Make it a bicubic since you
want a 4-corner pin deformation)
3. Either load the background shot into Mocha and track or send the shot from
SCRATCH to Mocha by creating a custom command
Select Assimilate SCRATCH (*.txt) as the format, and save this to a file or copy
to clipboard
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6. Switch back to SCRATCH, select the scaffold with the bicubic and click on TRACK.
7. Once on the TRACKING interface you will see "Paste Mocha data" highlighted,
which is detecting that you have Mocha data on the clipboard.
8. Click on "Paste Mocha data" and the data will be applied to the element.
Exporting Tracks to SGO Mistika

The Mistika export format provides 4 corner pin track points.
To export tracking data to the Mistika , click the Export Tracking Data… button on the
Track module, AdjustTrack module or from the File menu. The option in the dropdown
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is called Mistika Point Tracker File (*.trk). Save the file to disk. Mistika
at this time does not support clipboard pasting of the track data.
There are two ways to import the data to Mistika:
Corner Pin Insert

Applying Corner Pin is usually done in the Comp3D effect.
1. Ensure you have the correct layer active in the Comp 3D control panel
2. Open up the track controls and choose Path > Load
3. Find and load in your saved Mocha track file
4. You may have to delete an errant T0 tracker that Mistika adds by default.
5. Select Apply To > Corner Pin
6. Choose Apply > Move and the tracking data will be applied to the layer.
You will have to move the CTI to refresh the viewer once you have
applied the tracking data
Transform
Any clip or effect that supports the Tracking tab can use Mocha track data.
1. Open up the track controls and choose Path > Load

2. Find and load in your saved Mocha track file
3. Choose the track point(s) you wish to use.
4. Choose the type of data you wish to apply in Apply To. Note, you will have to have
more than one tracker selected to use Rotation and Size.
5. In Apply, select the type of move you wish to do, eg. Move for matchmoves or
Stabilize for stabilization.
6. Some effects or shapes only support translation data. In these situations Rotation
and Size will have no effect.
Exporting Tracks to Boris FX Plugins

You can export either Corner Pin or Center Point data out to any Boris FX plugin that
supports motion tracking data. These include effects such as the BCC Corner Pin effect
and Witness Protection.
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The files are import only, so you can’t copy them to the clipboard. You can save the
data as a text file and import it.
Importing the track is as simple as locating the Motion Tracker section of your BCC
plugin and clicking either the "L" button or selecting "Load…" from the Import-Export
dropdown, depending on the plugin you are using.
Exporting Tracks to Avid DS

corresponding settings in Avid DS project where you plan to use the
data. You can change the frame rate and pixel aspect ratio settings
in the Film and Time sections of the Clip tab.
This section explains how to export tracking data in a format readable by Avid DS.
Press the Export Tracking Data button on either the Track or AdjustTrack tabs. Select
Avid DS Tracking Data (*.fraw) as the format, and save this to a file. This stores the x/
y coordinates of the four surface points defining the track in eight .fraw text files using
the following naming convention:
…._R1x.fraw Lower left X coordinate
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…._R1y.fraw Lower left Y coordinate
…._R2x.fraw Lower right X coordinate
…._R2y.fraw Lower right Y coordinate
…._R3x.fraw Upper left X coordinate
…._R3y.fraw Upper left Y coordinate
…._R4x.fraw Upper right X coordinate
…._R4y.fraw Upper right Y coordinate
Where "…." is replaced by the name of the exported layer.
On your DS v10.x system, create a Tracker node and open the Animation Editor for it.
In the left window check the little Blue Animation box to the left of R1x, R1y, R2x, R2y,
R3x, R3y, R4x, and R4y. Now right-click "R1 Tracker Y" and select "Import tracking
coordinates". Navigate to the folder containing the eight FRAW files that Mocha created
and DS will load them. If you have an older version of DS then you will have to load
each of the eight FRAW files individually.
Exporting Tracks to HitFilm

You can export HitFilm transform and corner pin data directly to a HitFilm Composite
Shot file.
Exporting tracks to HitFilm is very similar to exporting HitFilm Camera solves or Shapes:
1. Select a layer and go to "Export Tracking Data…"

2. Choose HitFilm Corner Pin [supports motion blur] or HitFilm Transform Data
[postion, scale and rotation]
3. Click Save and choose a file name
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Importing is done via the Compositing section in HitFilm 4:
1. In HitFilm go to your Composite section
2. Choose Import > Composite Shot
3. Select the saved HFCS file from Mocha
4. HitFilm will then load the Composite Shot with the footage you tracked in Mocha and
layers with either a Quad Warp (for corner pin) or the layer with transform animation
applied (for Transform).
5. You can then either relink the media in the composite file to the desired insert, or
copy the Effect or Keyframes to the desired media in your existing composite.
Exporting Tracks to Quantel generationQ systems

To import data into the Quantel requires Boris FX’s TrackImport plug-in for
Quantel.
You can import tracking data into Quantel systems by using Boris FX’s TrackImport
plug-in.
Press the Export Tracking Data button on either the Track or AdjustTrack tabs. Select
Quantel Corner Pin Data (*.xml) as the format, and save this to a file.
In the Quantel system, select the TrackImport plug-in, and use the plug-ins file browser
interface to select the tracking data file to import. Then click Settings and choose
Tracker in the settings window and click Save.
The tracking data can now be used in a manner identical to tracking data generated
within the Quantel system.
Exporting Tracks to MochaBlend

To export tracking data to the Good Spirit Graphics MochaBlend plugin, click the Export
Tracking Data… button on the Track module, AdjustTrack module or from the File
menu.
You can export the tracking data by either saving it to file, or copying to the clipboard:
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To import the tracking data into the plugin, you start by selecting an available Data slot
and then either paste from the clipboard or open the exported file:
Once imported, you can then adjust your scene to fit the data. It is important to make
sure you check the warnings and correct any relevant items before setting up your rig:
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Adjusting the data to fit with MochaBlend:
1. If there is a warning about format mismatch, click the green "Import Format" link
in the MochaBlend window
2. If there is a warning about no camera rig, click the green "Create Rig" or "Set Active
Rig" according to your needs
3. Finally make sure that you click the "Set Timeline to Data" if your project timeline
is different from the frame range you tracked in Mocha
You can then go ahead and tweak individual settings in the MochaBlend plugin. See
MochaBlend documentation for further information on working with tracking data in the
plugin.
Exporting Stereo Tracking Data

Exporting stereo Track data from Mocha is the same as exporting in mono mode,
however when you are in multiview mode you can choose the view you want to export.
To export stereo tracking data from Mocha:
1. Select a layer
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2. Click "Export Tracking Data…" from the Track module or choose the option from
the file menu (File | Export Tracking Data…)
3. Select the Application you wish to export to
4. Select the view you want to export (or check "Export all views" if it is available for
that export format)
5. Choose whether you want to export the currently selected layer, all visible layers
or all layers
6. Click "Copy to Clipboard" or "Save" depending on your preference. Note that some
exports only allow you to save the data.
Exporting to Alembic
Alembic Mesh Data
The Alembic Mesh format is used to export PowerMesh tracks to a range of different
software.
Mocha exports a flat mesh with X and Y coordinates for each mesh vertex generated
via the Mesh parameter in the Track module. The export also includes a camera to
make sure the mesh is projected correctly to the original footage dimensions.
Alembic meshes also contain UV mapping so you can easily warp a texture to the mesh
without needing to set them up yourself.
Note that the Alembic format, while 3D, does NOT contain Z
information in the mesh.
We are not calculating depth in this export, only the positions of the
vertices on a tracked plane.
Alembic is a versatile format that can be imported into many different compositors,
such as:
• Nuke
• Flame
• Fusion
• HitFilm
Along with 3D applications such as:
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• Cinema 4D
• Maya
• 3ds Max
• Blender
And so on.
Exporting Alembic Meshes
To export an Alembic mesh, do the following:
1. Track a layer using PowerMesh by selecting the "Mesh" parameter and generating
a mesh. See the PowerMesh section for more details on Mesh tracking.
2. Select the "Export Track…" option in the Track module or the File menu
3. Choose "Alembic Mesh Data (.abc)" from the list of options
4. Enter a Reference Frame into the "Ref Frame" field if you want to change where
the UV coordinates start from. By default the number in the field is the frame you
generated the mesh on.
5. Click Save and choose a file name.
Importing Alembic Meshes to Nuke
Nuke imports Alembic via the "ReadGeo" node:
1. Import your source footage to the nuke project
2. Create a ReadGeo node
3. Open the exported Alembic file via ReadGeo’s file browser
4. Change the import parameters if necessary
ReadGeo will then ask how you want to set up the camera and geometry nodes.
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You can use the ReadGeo in combination with the Scanline Renderer node to
composite warped textures over the top of the original footage:
1. Create a Scanline Renderer node in the node graph
2. Feed in the ReadGeo, Camera and Source image into the inputs of the Scanline
Renderer node. If you view the node, the mesh should now be correctly projected
over the top.
3. Add an image or material to the img input of the ReadGeo node. This will then
project the texture onto the Mesh.
4. Scrubbing the timeline should show the texture warping to the mesh faces over time.
Importing Alembic Meshes to Fusion
Fusion imports Alembic via the "Alembic Scene" import:
1. Import your source footage to the Fusion project
2. Create an ABC node chain by importing the Alembic file via File > Import > Alembic
Scene…
3. Change the import parameters if necessary
Fusion will then set up an ABC node with the geometry and camera fed into it.
You can use the ABC node in combination with the Renderer3D node to composite
warped textures over the top of the original footage:
1. Create a Renderer3D node in the node graph
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2. Feed in the ABC into the input of the Renderer3D node.
3. Merge the Renderer3D node over the top of your source footage node. If you view
the Merge node, the mesh should now be correctly projected over the top.
4. Add an image or material to the input of the mesh node that is the same as your
mocha layer name. This will then project the texture onto the Mesh.
5. Scrubbing the timeline should show the texture warping to the mesh faces over time.
Importing Alembic Meshes to Cinema4D
You can open an Alembic file as a project in Cinema4D.
1. Go to File > Open and choose the exported Alembic file.
2. Click the view camera icon in the Camera layer to view the mesh through the camera
3. Create a new Background object
4. In the Materials panel create a new basic material
5. Import your source footage to the material as a texture
6. In the Viewport options for the material, turn on "Animate Preview"
7. Drag the material to the Background layer
You should now see the Mesh lining up with the source footage.
Alembic Vertex Transform Data
Similar to meshes, this alembic format provides just the transform information for the
vertices in the mesh (along with the camera).
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Vertex transforms can be interpreted by supporting hosts in different ways. For

example, in Nuke they are imported as a point cloud, but in Blender they may import
as nulls linked to transforms.
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Exporting Mattes and Clips

Some export formats listed below are not available for Mocha
HitFilm or Mocha AE. For a full comparison of features, please refer
to the comparison chart online.
Some shape data formats are not supported across 360 seams and
poles in Equirectangular space and may not export as expected.
Exporting Rendered Shapes
This feature is only available in Mocha Pro
When your roto work is complete and you would like to export your mattes, choose
the menu item File → Export Rendered Shapes… to be guided through the rendering
process.
The render dialog will give you options to choose either the currently selected layer, all
visible layers or all the layers in the project.
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Options include:
Colorize output
Choose whether you want to render grayscale mattes or by their layer fill color.
Export to
The export options for Image Sequences and QuickTime movies.
For Image Sequence you have the following options:
• Directory: The directory where you want to export your image sequence.
• File Format: A list of available image formats to render to.
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• Prefix: The name of the clip to go in front of the frame numbers.
• Suffix: The name of the clip to go after the frame numbers (blank by default).
• Index Start: The number to start the exported sequence from. By default this is the
first frame in the timeline.
• Index Width: The number of padding zeroes to use.
Exporting QuickTime movies
Which video file format reader you are using will determine the export handling of clips:
• Using QuickTime: Choosing QuickTime movie will bring up the legacy QuickTime
export options when you click OK.
• Using GStreamer: Choosing QuickTime movie will bring up the GStreamer export
dialog when you click OK. This currently only supports ProRes.
Exporting Stereo Rendered shapes
The render dialog also allows you to render to single footage streams or a combined
stream via EXR.
To export a rendered shape:
1. Go to File | Export Rendered Shapes…
2. Choose the mattes you want to export in the top radio buttons.
a. Selected: The last selected layer.
b. All Visible: Only the layers that have visibility turned on in the layer controls
c. All: All layers except ones you have specifically deactivated.
3. Choose the Color Output:
a. Grayscale: The default black and white mattes with feather.
b. By matte color: The same as Grayscale, only the mattes are colored according
to what you defined each layer matte color to be in the Layer Controls.
c. By layer ID: A special use case for those that want the mattes to be colored
by their layer ID.
4. Under "Export Views" select the render option you want:
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a. Current Only: Renders the current view you have selected.
b. To single footage stream: Renders all views to a single file. You are limited
to rendering to EXR or SXR.
c. To separate footage streams: Renders the views as individual sequences.
5. Then choose your file path and render format.
If you have chosen to render the current view or separate footage streams, the view
abbreviation will be suffixed to the rendered export automatically, so there is no need
to define this in the file name.
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Exporting as Mocha shape for After Effects Data
corresponding settings in the After Effects project where you plan to
use the data. You can change the frame rate and pixel aspect ratio
settings in the Film and Time sections of the Clip tab.
The Mocha shape plug-in will import the following data into After Effects:
• One or more shapes, which may be either Bezier or X-Spline
• The plane that was generated by the Planar Tracker. This defines the overall
movement of the shape(s)
• Shape point keyframes set in the project
• Per-point feathered edges
If you wish to export a single layer, select it before proceeding with the export.
When you are ready to export, select Export Shape Data button. On the dialog that
opens, choose if to export the selected layer, all visible layers or all layers.
When you have made the right selection, click Copy to Clipboard, then switch to After
Effects.
In After Effects, import the same footage and ensure that the frame rate and pixel aspect
ratio are the same as those used when generating the shape. You can change these
values in After Effects by selecting File | Interpret Footage | Main….
Bring the footage into a composition, then select Edit | Paste to add the shape effects
to the composition. Each shape exported will come across as its own plug-in effect.
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In Mocha V5 onwards we changed the shape export for After Effects

to remove key padding. This means you must now paste to the same
frame in After Effects as the project in point in Mocha, rather than
the beginning of the clip.
In the plug-in controls you can change the following parameters:
Blend mode
You can choose to change the blend mode from the one assigned to the shape by
selecting Multiply, Add or Subtract from the dropdown menu.
Invert
When checked, inverts the matte.
Render soft edge
If you have created the shape with feathered edges but wish to switch these off, untick
this parameter. Note that if you have not created feathered edges this will have no
effect.
Render type
This setting allows you to choose between various render effects. The default is the
Shape cutout which uses the matte to cut out the corresponding area in the background
footage. Color composite will apply a single color to the area within the matte, useful
when wanting to preview the positions of multiple layers. Note that the Opacity setting
affects this color fill, allowing you to blend it with the background footage. Color shape
cutout combines the effects of the previous two.
Shape color
Defines the color of the color fill applied when selecting the Color composite render
type.
Opacity
Defines the opacity of the color fill applied when selecting the Color composite render
type.
Exporting Adobe Premiere Pro CC Masks

Exporting shapes to Adobe Premiere Pro CC is very similar to exporting shapes to
After Effects
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1. Select a shape and go to "Export Shape Data…"
2. Choose Adobe Premiere shape data
3. Choose if you want to export the selected layer, all visible layers or all layers
4. Copy to the Clipboard
Importing is just as straightforward:
1. In Adobe Premiere Pro CC, select your clip on the timeline
2. In the Effects panel, click on Opacity
3. Paste the data using CMD/Ctrl + V or right-click and choose Paste
4. You can also apply the masks to most effects, by adding the effect to your clip,
selecting the effect in the Effects panel and pasting.
Exporting as Mocha shape for Final Cut

The Mocha shape plug-in will import the following data into Final Cut:
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• One or more shapes, which may be either Bezier or X-Spline
• The plane that was generated by the Planar Tracker. This defines the overall
movement of the shape(s)
• Shape point keyframes set in the project
• Per-point feathered edges
If you wish to export a single layer, select it before proceeding with the export.
When you are ready to export, select Export Shape Data button. On the dialog that
opens, choose if to export the selected layer, all visible layers or all layers.
When you have made the right selection, click Save and select a destination to save
the XML file to, then switch to Final Cut.
In Final Cut, import the XML file by CTRL-clicking in the project asset window.
Select Import, then XML… and finally select the XML file that you exported.
Accept all the defaults in the Import XML… dialog.
Your Mocha shape sequence will now appear in your list of project assets.
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To use the shape to composite the rotoscoped object over a new background, simply
place the Mocha shape sequence in a video track above the background sequence.
Additional controls
If you want access to the actual matte, individual layers of the matte or control that affect
the appearance of the matte, double click on the Mocha shape sequence to reveal the
two main sequences it consists of - the original sequence and the ContourSequence.
Double clicking the ContourSequence will reveal the individual layers that the
ContourSequence consists of. Dragging a layer into the viewer and selecting Controls
will give you access to controls of that layer, as shown below.
Invert
When checked, inverts the matte.
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Soft edge
If you have created the shape with feathered edges but wish to switch these off, untick
this parameter. Note that if you have not created feathered edges this will have no
effect.
Render mode
Luma will cause the layer to render itself in the RGB channels, whereas Alpha will
cause the layer to render itself in the alpha channel of the generated sequence.
Matte color
Defines the color of the matte being rendered.
Exporting Flame Gmask and Flame Gmask Tracer data

Mocha can export masks as either direct Flame Gmask nodes or Flame Gmask Tracer
nodes.
These formats are broken down into:
• Flame Tracer [Shape + Axis] (.mask): This is a Gmask Tracer node split into the
keyframed shape data on a Gmask and the separate tracking data in an Axis. This
makes it easier to change the mask data in Flame or attach other nodes to the Axis
tracking data.
• Flame Tracer [Basic] (.mask): This is a Gmask Tracer node with the Mocha
tracking data and shape keyframes combined into Gmask keyframes without an
axis.
• Flame Gmask Script (.gmask): This is a straight Gmask node with the Mocha
tracking data and shape keyframes combined into keyframes without an axis.
You can select the type from the "Export Shapes" dialog:
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Importing into Flame
To import the mask data into Flame:
1. Create a new Gmask or Gmask Tracer node in Batch
2. Click the Load Node Button:
3. Navigate to the saved .mask file and open it
You should then see the Gmask results in the Flame output.
If you are using GMask Tracer, you can view the Axis or Gmask nodes via the Gmask
Schematic:
Exporting Shake Rotosplines
Choose a shape (not a layer) and select Export Shape Data… from the File menu. A
dialog will show with a drop-down containing 3 different saving options.
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Choose the target application and hit Save. The data going into the file is not binary,
and is shown in the dialog so that you may copy and paste it directly into a text editor
if you prefer to work that way.
Because of differences in the way Splines are handled in the application, maintaining
accurate keyframe interpolation between our software and the other applications
requires that the exported shapes have a keyframe on every frame. This is not a bug
but required to ensure your mattes look right once they’ve been imported into your
compositing application.
Exporting Shapes to HitFilm
You can export Mocha shape data directly to a HitFilm Composite Shot file.
Exporting shapes to HitFilm is very similar to exporting HitFilm Camera solves:
2. Choose HitFilm [Transform & Shape]
4. Click Save and choose a file name
Importing is done via the Compositing section:
1. In HitFilm go to your Composite section
2. Choose Import > Composite Shot
3. Select the saved HFCS file from Mocha
4. HitFilm will then load the Composite Shot with the footage you tracked in Mocha
and layers with shape masks.
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Exporting Roto, RotoPaint and SplineWarp Nodes to

Nuke
You can export a Roto, RotoPaint or SplineWarp node straight to the clipboard or to
a .nk script by choosing Nuke Roto Paint (*.nk) from the Export Shape Data dialog.
To export shapes to Nuke:
2. Choose one of the Nuke exports
4. If you choose Copy to Clipboard you can immediately switch over to Nuke, select
the node you wish to apply the shape data to and Paste the data.
5. Alternatively you can import your saved Nuke Script from the File menu.
You have the option of exporting Basic Roto data which bakes the keyframes,
or Transform and Shape data which separates the tracking data from the manual
keyframes.
The latter makes the data less heavy and is only supported in Nuke 6.2 and above.
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The SplineWarp node exports each layer as a joined set of splines with the spline
keyframes separate from the tracked data (which is set in each curves transform).
For example if you only have 1 tracked layer to export, Mocha will export that layer to
SplineWarp as two joined splines in A.
You can then modify the second spline for the warp, or delete it and choose another.
Exporting Shape Data to Blackmagic Fusion Shapes

To export shape data to the Fusion shape format, click the Export Shape Data… button
in the Track module or from the File menu.
You can export the shape data by saving it to file or by copying it to the clipboard:
To import the shape data into Fusion, either paste directly into the Fusion Flow View
or open the comp file from the file menu. The Mocha layers will come in as separate
nodes into the Flow View.
Exporting Shape Data to MochaBlend

To export shape data to the Good Spirit Graphics MochaBlend plugin, click the Export
Shape Data… button in the Track module or from the File menu.
You can export the shape data by either saving it to file, or copying to the clipboard:
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To import the shape data into the plugin, you start by selecting an available slot in
MochaBlend and then either paste or open the data file:
Once imported, you can then adjust your scene to fit the data. It is important to make
sure you check the warnings and correct any relevant items before setting up your rig:
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Adjusting the data to fit with MochaBlend:
1. If there is a warning about format mismatch, click the green "Import Format" link
in the MochaBlend window
2. If there is a warning about no camera rig, click the green "Create Rig" or "Set Active
Rig" according to your needs
3. Finally make sure that you click the "Set Timeline to Data" if your project timeline
is different from the frame range you tracked in Mocha
You can then go ahead and create the splines under the Objects settings. See
MochaBlend documentation for further information on working with shape data in the
plugin.
Exporting Shape Data to Silhouette Shapes

To export shape data to the Silhouette FXS shape format, click the Export Shape
Data… button in the Track module or from the File menu.
You can export the shape data by saving it to file or copying to the clipboard:
To import the shape data into Silhouette, create a Roto node in the existing session
and the import the data from File → Import… → Silhouette Shapes menu option, or
paste from the clipboard:
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Exporting Stereo Shape Data
Exporting stereo Shape data from Mocha is the same as exporting in mono mode,
however now you can choose the view you want to export.
To export stereo Shape data from Mocha:
1. Select a layer
2. Click "Export Shape Data…" from the Track module or choose the option from the
file menu (File | Export Shape Data…)
3. Select the Application you wish to export to
4. Select the view you want to export (or check "Export all views" if it is available for
that export format)
5. Choose whether you want to export the currently selected layer, all visible layers
or all layers
6. Click "Copy to Clipboard" or "Save" depending on your preference. Note that some
exports only allow you to save the data.
Nuke Roto exported as "Export All Views" will paste to Nuke as a combined roto node.
If you would prefer the nodes to be separate, export using the different views instead
of checking the all views option.
Exporting Rendered Clips (Mocha Pro)
You can export a clip to an image sequence or QuickTime format by choosing "Export
Rendered Clip…" from the file menu.
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Options include:
Clip
Choose the clip you want to export.
Frame range
The range of frames you wish to export. If you choose to export the full range but have
not rendered all your frames, the next drop down, "Revert to clip" will be used.
Revert to clip
Choose how to export frames that have not been rendered. If you choose None or the
current clip to export, black frames will be exported for non-rendered frames.
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Save channels
By default, this will just export the flattened render (Color), but if your render has alpha
you can choose this also.
Export to
The export options for Image Sequences and QuickTime movies.
For Image Sequence you have the following options:
• Directory: The directory where you want to export your image sequence.
• File Format: A list of available image formats to render to.
• Prefix: The name of the clip to go in front of the frame numbers.
• Suffix: The name of the clip to go after the frame numbers (blank by default).
• Index Start: The number to start the exported sequence from. By default this is the
first frame in the timeline.
• Index Width: The number of padding zeroes to use.
Exporting QuickTime movies
Which video file format reader you are using will determine the export handling of clips:
• Using QuickTime: Choosing QuickTime movie will bring up the legacy QuickTime
export options when you click OK.
• Using GStreamer: Choosing QuickTime movie will bring up the GStreamer export
dialog when you click OK. This currently only supports ProRes.
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See the Video Files in Preferences chapter for more on clip exports.
Exporting Stereo Rendered Clips
The render dialog also allows you to render to single streams or a combined stream
via EXR.
To export a rendered clip:
1. Go to File | Export Rendered Clips…
2. Choose the clip you want to export in the top drop down. By default it chooses the
last render.
3. Select your frame range you want to export. This defaults to the In/Out range.
4. Under "Export Views" select the render option you want:
a. Current Only: Renders the current view you have selected.
b. To single stream: Renders all views to a single file. You are limited to rendering
to EXR or SXR.
c. To separate footage streams: Renders the views as individual sequences.
5. Then choose your file path and render format.
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If you have chosen to render the current view or separate footage streams, the view
abbreviation will be suffixed to the rendered export automatically, so there is no need
to define this in the file name. '
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The Camera Solve Module

This section covers all Camera Solve features that are in Mocha Pro.
Mocha HitFilm users may not have access to all features shown,
such as Stereo support and some export formats.
Overview
The Camera Solve module is used to take planar tracking information and convert it
to 3d space.
This is particularly useful if you cannot get a good track on the plane you need, as you
can track other planes in the shot and use them to give you track in 3D space instead.
As we are dealing with 3D calculations rather than 2D planar projections, the workflow
is slightly different to a usual planar track.
Identifying the type of camera movement
In order to get a good camera solve you must first identify what type of track it is. Mocha
recognizes three types of camera situations:
Pan, Tilt, Zoom (PTZ)
Pan, tilt. zoom cameras are generally fixed in place and do exactly what their name
suggests; pan, tilt and zoom.
PTZ cameras are looking for overall movement in the camera plane, rather than
changes in the physical planes within your scene.
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Small Parallax
Small Parallax is where the camera is not fixed to one point in space and has a lot of
mid-ground planes that can be tracked.
Large Parallax
Large Parallax is where the camera is not fixed to one point in space and has trackable
planes very close to the camera. It is referred to as Large Parallax because closer
objects move at much greater perspective and distance to the camera than objects
further away.
The Camera Solve Process
Once you have identified the type of camera motion you can start tracking your shot.
Tracking for PTZ-type Camera Solves
PTZ solves are a little different from perspective solves in that they only need to look
for how the camera is behaving when fixed, such as on a tripod.
To set up a PTZ solve, take the following steps:
1. Locate a large area in the shot that can be tracked. If you can’t find a single large
area, you can also use a variety of smaller ones using "Add Spline To Layer".
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2. Turn on the grid so you can see how the plane is moving.
3. Set any parameters you need for the track and begin tracking.
4. If your track pans around more than around 60 degrees, stop the track and create
another shape to continue tracking. The second shape will need to start further
back in time than where the first one stopped tracking, so their tracking information
overlaps on the timeline. This will help the solver blend together the tracking
information of multiple shapes.
5. Once you have tracked the shot, switch to the Camera Solve tab.
6. Turn on the process cog for all tracked layers you wish to use for the solve. Do NOT
select layers that track moving objects: The camera movement is determined
by static objects. See Exporting Camera Solves for details on how to export moving
objects to 3D after a solve.
7. Choose either Auto to let Mocha guess the right solve, or choose Pan, Tilt, Zoom
from the drop-down.
8. If you select Pan, Tilt, Zoom, set the focal length. Most commonly this will be
35-70mm. You can choose more than one if the focal length changes. Also choose
Zooming if the is any camera zoom in the shot.
9. Once you have chosen your settings, click Solve.
Once Mocha finishes solving the shot, you can then export the solved scene. See
Exporting Camera Solves for further details.
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Tracking for Small Parallax Camera Solves
Small Parallax shots require at least 2 non-coplanar tracks to solve the scene. Non-
coplanar means not on the same plane as each other. Examples of non-coplanar areas
include:
• A floor and a wall
• The side and back of a truck
• Two camera-facing areas at noticeably different distances from the camera, such
as one building in front of another
• Two mountain slopes at different angles
• Two opposing walls of a corridor
To set up a Small Parallax solve, take the following steps:
1. Locate planar areas in the mid-ground of the shot that can be tracked. These objects
should not be moving in the shot, so choose areas like walls, ground, tree trunks
etc. Planes too close or too far away from the camera may not help a Small Parallax
solve.
2. Turn on the grid so you can see how the planes are moving. Adjust the surface to
fit the planar perspective if you need to see this movement more accurately
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4. If you lose the track due to obstructions or the object moving off screen, stop the
track and create another shape to continue tracking. The second shape will need to
start further back in time than where the first one stopped tracking, so their tracking
information overlaps on the timeline. This will help the solver blend together the
tracking information of multiple shapes.
7. Choose either Auto to let Mocha guess the right solve, or choose Small Parallax
from the drop-down.
8. If you select Small Parallax, set the focal length. Most commonly this will be
Tracking for Large Parallax Camera Solves
Like Small Parallax, Large Parallax shots also require at least 2 non-coplanar tracks to
solve the scene. (See examples of non-coplanar areas above)
To set up a Large Parallax solve, take the following steps:
1. Locate planar areas in the shot that can be tracked. These objects should not be
moving in the shot, so choose areas like walls, ground, tree trunks etc.
2. Turn on the grid so you can see how the planes are moving. Adjust the surface to
fit the planar perspective if you need to see this movement more accurately
4. If you lose the track due to obstructions or the object moving off screen, stop the
track and create another shape to continue tracking. The second shape will need to
start further back in time than where the first one stopped tracking, so their tracking
information overlaps on the timeline. This will help the solver blend together the
tracking information of multiple shapes.
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7. Choose either Auto to let Mocha guess the right solve, or choose Large Parallax
from the drop-down.
8. If you select Large Parallax, set the focal length. Most commonly this will be
Solve Quality Indicator
When a solve is complete, the Solve Quality bar will tell you how accurate the solve
has been. If you get a poor percentage check to make sure your tracks are locked on
accurately, add additional layers to help the solver or try a different solve type or focal
distance.
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Stereo Camera Solve [Mocha Pro only]

Camera solves also work with Multiview footage. Like with tracking, a stereo camera
solve is designed to be as similar to the Mono process as possible.
New additions to the camera solve for Stereo are:
• Providing the user the option of converged or parallel solves
• Adjustment for vertical alignment
• Export of stereo FBX to Maya
• Export of individual views to other supported applications (AE, Nuke, etc)
To solve a stereo camera:
1. Go to the Camera Solve module
2. Select the layers in the layer control panel you want to solve with. (See full
documentation for more information)
3. Select the solve type, or choose "Auto"
4. Select your Focal length types
5. Tell Mocha if this is a Parallel Stereo camera or a Converged Stereo camera
6. Check "Vertical Alignment" if you need to estimate vertical alignment for the shot
7. Click Solve
You can then export out to left and right views, or for Standard FBX, you can export full
Stereo cameras. The full stereo camera solve FBX presently works in Maya.
All other exports can only be exported as a single camera view and the solved nulls.
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Exporting Camera Solves

Importing Mocha Pro 3D camera solve data into After Effects
requires an additional plugin called "Mocha 3D Track Importer". Go
to https://borisfx.com/downloads to get the plugin.
You have two steps for camera solves:
1. Export Camera Data from Static Objects
This is the standard export. The basic procedure is:
1. Select the layers you used to do the initial solve in the layer panel (these are still
selected if you have just completed a camera solve). These layers are normally
tracked to static objects, such as walls, ground, a parked vehicle, a dinosaur fossil
etc.
2. Do not choose any layers that are tracking moving objects (people, moving cars,
badgers etc.)
3. Click Export Camera Data…
4. Choose the format you wish to use from the drop-down.
• If you are exporting to After Effects, click Copy to Clipboard.
• If you choose FBX, click Save and create a filename.
• If you choose HitFilm Composite Shot, click Save and create a filename.
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5. You can then paste into After Effects using the "Paste Mocha camera" option in the
Edit menu, or import your FBX or HitFilm data into the program of your choice.
When you paste into After Effects you will get a camera and a number of nulls
depending on the type of solve you did. PTZ will only export a single null to help define
the camera motion. The other 2 solves will create a null for each corner of your layer
surface objects in Mocha.
2. Export Camera Data from Moving Objects
This is a secondary export. The basic procedure is:
1. Once you have exported a camera from the static solve, select any layers that you
used to track moving objects in the shot. If you have not tracked any moving objects
you can do this now.
2. Click Export Camera Data…
3. Choose the format you wish to use from the drop-down.
• If you are exporting to After Effects, click Copy to Clipboard.
• If you choose FBX, click Save and create a filename.
• If you choose HitFilm Composite Shot, click Save and create a filename.
4. You can then paste into After Effects using the "Paste Mocha camera" option in the
Edit menu, or import your FBX or HitFilm data into the program of your choice.
When you paste into After Effects you will get a camera and a number of nulls
depending on the type of solve you did. PTZ will only export a single null to help define
the camera motion. The other 2 solves will create a null for each corner of your layer
surface objects in Mocha.
You will get a second camera object when you export moving layers.
You can delete this camera if you have already exported the camera
from step 1 of the export.
Tips for Camera Solves
The resulting track drifts or jumps
This can be from the solver not having enough reliable information from the tracks.
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• Any tracked layers with the cog on are assumed to move with camera motion only.
If you have layers checked that are moving objects, Mocha will not solve the scene
correctly. You can export moving object tracks AFTER the scene is solved however.
• Check the Solve Quality bar to make sure the solve has been accurate
• Make sure your planar tracks are accurate and locked on well to their static objects.
• Check that there is enough overlapping frames in the layers if you have had to do
more than one track along the timeline. If you start one track exactly where the last
finished, the solver may not be able to accurately blend the resulting data.
• You may not have enough layers tracked to get an accurate solve. Try adding further
tracks to help the solve.
• Try a different solve type. Sometimes one solver may give better results than
another.
• Try a different focal length. '
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The Insert Module
Overview
This section only relates to Mocha Pro. This feature is not available
in Mocha HitFilm or Mocha AE. For a full comparison of features,
please refer to the comparison chart online.
The Insert module is where you choose the image you would like to insert into your
tracked layer. You can import a still frame or a moving sequence. Once imported, the
Insert module provides a comprehensive range of tools for matching this new image to
the original background layer. The skill here, naturally, is to make the newly imported
image look like it was in the original shot all along.
Input
This is where you choose the Input Clip or background layer and the Insert Clip
or foreground layer, and optionally a separate input clip with an alpha channel for
compositing.
Background Clip
By default Mocha Pro selects the last clip that was tracked as the input. If you want to
change the input, just select a different clip from the pulldown menu.
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Insert Clip
This clip mirrors the Insert Clip inside Layer properties, i.e. if you change one, the other
also changes.
By default mocha Pro selects None as the foreground input, expecting you to make
a choice of your own. To choose an insert select the Import button and use the file
browser to locate a still frame or a file sequence that you would like to appear over
the tracked background clip. In the Mocha Pro Plugin, you can choose an Insert Layer
placeholder that reads from layers back in the host timeline to render in Mocha.
Pre-multiplied
Check this is you want to force the alpha in the insert clip to be pre-multiplied. Off means
the clip remains straight alpha.
Output [Standalone only]
Here you can select the name of the clip to be output. Once a clip has been rendered
it is automatically named Composite_<clipname>.
To choose a different name for the output clip select the New… button and choose a
new name.
The remainder of the controls in the Insert module dictate both how much of the insert
is displayed and how it is displayed during the course of the shot.
Source
This controls the area of the insert clip that you would like to be displayed in the tracked
layer.
The source "Region of Interest" (ROI) can move anywhere on the insert image,
including outside it.
As you adjust the ROI, the insert is scaled to fit the surface.
There is also a Reset button to reset the ROI to the corners of the insert image.
By default, the aspect ratio is locked. Uncheck Lock Aspect Ratio to allow arbitrary ROI
changes.
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To adjust the ROI aspect ratio to match that of the background image given its current
position and shape in the background image, click on Fit ROI to Surface.
Conversely, the Fit Surface to ROI button moves the surface position to match the
aspect ratio of the insert image, given its ROI settings.
These controls will work best if you are in a frame where the insert is as front-on as
possible. For them to work correctly, the pixel aspect ratio of both the input clip and
insert clip must be correct.
A common issue is that if the resolution of either clip is not recognized when the clip
was imported, it is assigned the PAL camera type.
This may not give the correct pixel aspect ratio. To check this, switch to the Clip module
and select each clip in turn, checking the appearance on the screen to make sure that
each clip appears correct on the screen.
If not, change the Film Type. If you know that the pixel aspect ratio of the clip is one
(square pixels) select Custom as the Film Type and set the pixel aspect ratio to one.
The number fields are positioned in the menu to relate to the edge of the ROI that they
adjust. So, to reduce the height of the insert ROI at the top of the frame, decrease
the value in the top ROI number field by dragging or highlighting the current value and
typing in a new value.
Similarly, to reduce the height of the insert ROI at the bottom of the frame, increase
the value in the bottom number field by dragging or highlighting the current value and
typing in a new value.
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The same applies for the left and right edges of the frame with the left and right number
fields.
Comp
Layer
This section handles how to warp the Layer Insert Clip
Grid Warp
If you turn on "Grid Warp" in the warp tools you can use the a grid to distort the image
inserted in the layer.
The dropdown can set the level of detail in the grid. There are 4 levels, with Level 1
being the lowest detail.
Below is an example of Grid Warp set to Level 2:
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You can warp the grid points in the viewer to adjust your insert, or use the outer yellow
lines to bulge or pinch the edges.
Grid Points Only
This shows only the intersections of the grid lines instead of the lines. This can be useful
when you need to see the underlying insert image while adjusting the warp.
PowerMesh Warp
This checkbox activates the controls so the grid warp can be weighted and distorted
organically by the PowerMesh. When this option is off, the grid warp only follows the
planar motion of the track.
You need to have tracked a PowerMesh before this option will have
any effect. See PowerMesh and Mesh Tracking for more details.
Mesh Weighting
This controls how much the Grid Warp is distorted by the PowerMesh. At 100%
weighting, the PowerMesh warps the grid at full strength. At 0% the grid only follows
the planar surface.
Mesh Falloff
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This controls how much the Grid Warp is affected when overlapping the edges of the
PowerMesh. If the Grid is outside the PowerMesh area, it will still be influenced if the
falloff is above zero.
In the example below, the grid point is being warped too far by the PowerMesh:
Adjusting the PowerMesh falloff to 0% tells Mocha to ignore the grid outside the mesh
boundaries, and pulls it back into place:
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Reset
This button resets the Grid Warp back to the original unmodified grid and changes the
PowerMesh warp settings back to the defaults.
Blend
Mode
This dropdown sets the blend mode. Options include:
• Darken
• Multiply
• Color Burn
• Lighten
• Screen
• Color Dodge
• Overlay
• Softlight
• Hardlight
• Color
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• Luminosity
Opacity
This parameter controls the opacity of the foreground image insert. It is a multiplier of
the alpha of the insert, applied before the composite.
Gain
This is where you color correct the insert once it has been added to the tracked layer.
Motion Blur
Select this button if you want to apply motion blur to your insert.
Render Insert Cutout (RGBA)
This renders the cut out of the insert with alpha along with the composite file. Turn off
if you only want the composite render of the insert.
Masks
Use All Layers
If you want to mask off an area of your insert, clicking on this tool will cause the rendered
insert to only change the pixels within the mattes above and including the current layer.
If the checkbox is switched off, you can select an individual matte to use instead.
Invert
Inverts the mattes of the Insert.
Invert Alpha
Inverts the Insert Alpha if it exists.
Erode Alpha
Change this value from its default zero value to erode the alpha channel of the insert
by the given number of pixels.
Feather
If you want to add a soft edge around the edges of the insert, use the Feather controls.
There are separate controls for the left, right, top and bottom edge widths, which are
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between 0 and 1, where the value 0 indicates no edge and 1 means that the edge
covers the whole of the insert.
If you switch on Lock, all four edges are locked to the same edge width. H Lock and V
Lock apply lock separately to the left/right and the top/bottom edges respectively.
Transform
This section controls a level of corner pin control on top of the adjusted track. This
feature is particularly useful for curved surfaces. It allows the corners of the surface to
be used in the same way as the warp control points (described below) – by aligning
the newly imported insert with a region of the tracked image independently of the blue
surface contour, which follows the adjusted track.
The offset region is drawn in yellow underneath the existing blue surface. You can use
the new points either by dragging the sliders to increase or decrease the value of the
coordinates, or by highlighting the numeric field and typing in a new value. In addition
to this you can hold down the Alt and Control keys on the keyboard (Alt+Cmd on a
Mac) whilst dragging a surface point or line to achieve the same result. The new points
created are offset in a controlled way from the adjusted track.
Hold down Alt, Control and Shift (Alt+Shift+Cmd on a Mac) to gear the changes down
10 times. There is finally a Reset button to return the offset parameters to their defaults.
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When using the rotate tool to rotate the offset surface, the pixel aspect ratio of the insert
clip will be used to create the correct effect. If it is not correct the offset surface will
appear to squeeze or stretch as it is rotated. See the ROI section to see how to fix
this problem.
Export Offset Tracking Data
Export the transformed track. The offsets are keyframed settings of the position of the
insert.
Inserting in Stereo
All inserts are warped in stereo if you have tracked both views. You can render the
insert for both views by selecting Operate on All Views button next to the Render
buttons on the timeline.
Rendering the Insert in the Plugin

You have a lot of control over the Insert renders in the plugin interface.
See Rendering Insert Layers in the Mocha Pro Plugin section of the User Guide.
Insert Render Resampling

If you want to change the type of resampling applied to an Insert render, you can change
this in the Project Settings.
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Go to `File > Project Settings…ànd look for the "Resampling" section:
Resampling types are:
• Bilinear: The default setting. A very common resampling method that produces
decent results
• Nearest neighbour: Fast, but can be lower quality
• Lanczos 2-4: Good for preserving details and minimising artifacts, but can produce
ringing on certain images
Ultimately the resampling can be subjective so you may need to test what works best
for the given render, but we highly recommend either Bilinear or Lanczos for Insert
renders.
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The Mega Plate Module

Overview
The Mega Plate module is designed to build complete scenes from your footage to
create large clean plates for the purpose of inserting and removing.
Once rendered, Mega Plates can be used as a regular oversized clean plate in the
Remove module (otherwise known as a Mega Clean Plate), or exported to be used as
a background insert.
Much of the workflow is similar to the Remove Module in that you track areas of the
scene and can also remove foreground objects, but the main goal is to make a full
picture of the scene from the moving camera.
The Mega Plate module is GPU optimised. Make sure you have GPU
processing turned on in the GPU page of Preferences for optimal
results.
The Mega Plate Building Process
Mega Plates require a few simple steps to work correctly. The key to a good Mega
Plate is a series of one or more tracked backgrounds and masked foreground objects.
The final rendered plate will be centred on the original source frame you rendered from,
in order to line up the plate correctly for further work.
Since the final mega plate is centred on the frame you rendered on,
there may be a large amount of alpha padding to one side of your
resulting render. To reduce this, aim to render from a frame that is
approximately in the middle of the camera motion.
1. Identify your foreground and background planes
First of all, scrub through your timeline and identify the planes of depth within your
shot. Background often consists of multiple planes of motion, and there can also be
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obstructing foreground material. For example, in the shot below, the snowboarder is
in front of the mountains.
2. Track and roto your foreground elements
We handle the foreground first as we need to mask them off from the background plane
and from each other. You don’t actually need to worry too much about tracking the
foreground: If the object is untrackable for whatever reason, just hand-animate a spline
around it.
You absolutely must track an object if it is going to be used to build the actual Mega
Plate. For more information on effective tracking, please refer to the tracking section
of the documentation.
In the example below, we have tracked and rotoscoped the snowboarder which would
otherwise obscure the mountains.
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3. Make sure your layer order is correct
Layer order matters in Mocha. The closer to the camera an object is, the higher in the
layer stack it should be. Far background should be on the bottom layer, foreground
objects should be on top, in order of closeness.
In the example here, we show the snowboarder layer is above the mountains layer
4. Track your background planes
Once you have your foreground objects masked out across the timeline, draw as big a
shape as possible. Make sure the background layer is under the foreground layers, and
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track. For multiple planes of background, such as a floor and a wall, you will have to
track two separate planes of motion. You must specifically track the background layer
in order for the Mega Plate build to work.
Here we can see the background mountains tracked at the bottom of the layer stack,
covering the large area of mountains in the distance:
5. Adjust the size of your Mega Plate layer mattes
Once tracked, Mega Plates will only build the plate within the confines of the layers
you want to use.
Because of this, you want to expand the size of your matte to accommodate the final
render.
In the image below, we expand out the matte to approximate the size of the final built
plate.
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Don’t make your layer TOO big! If there is a widely distorting

perspective track, the matte may become too distorted and Mega
Plates will not be able to build a full plate.
6. Turn on the cogs of the background layers you want to build from and adjust
your parameters
Switch to the Mega Plate tab and adjust your parameters (see Mega Plate Parameters
below).
Key things to focus on are:
• Your search range
• Whether to autoscale based on the data or define a final mega plate size
• If you need to use an illumination model.
We recommend trying to build a Mega Plate with Illumination modelling set to None
first. This is the fastest setting for rendering, and can quite often be all you need if there
is not much light difference in the background over time.
7. Render
Once your layers are ready and the parameters are set, click the render button.
This will generate a large plate either based on your own dimensions, or autoscaled
if you have set Autoscale on:
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Depending on what frame you render your plate, there may be a large amount of alpha
padding to one side of the plate. To avoid this, try rendering from the middle of the
overall camera motion.
For example, in a simple left-to-right pan, render on the frame that is in the centre of
the pan to fill out more the detail to either side of the centred frame.
Building a Mega Plate can be a slow process depending on

the resolution of the footage and the amount of frames you are
building from. You can optimize your search range (see Mega Plate
Parameters below) but keep in mind that build quality can vary.
8. Remove foreground objects (optional)
When you have rendered your plate, you can then try to remove the foreground object
from the resulting image:
1. Select the foreground objects by turning on their cogs
2. Click "Remove foreground" to initiate the removal.
Note that standard rules for removing foreground apply. See The Remove Module
for more information on removing foreground objects. The background layers you
generated the Mega Plate with must be encompassing the foreground layers in order
to remove them. In the image below, we see the snowboarder layer is sitting over the
mountain layer and can there fore be removed:
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9. Create a Mega Clean Plate
Now that you have rendered a final image, with or without removing the foreground
objects from the plate, you can then turn it into a clean plate clip and save it to disk.
To do this:
1. Scrub to the frame you rendered a Mega Plate
2. Click the "Create" button under the Clean Plate clip settings in the bottom left of
the module parameters
3. Save the Mega Clean Plate to your preferred place on disk
This will create a Mega Clean Plate clip which can now be referenced by the Remove
module.
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Mega Plate vs Mega Clean Plate - What is the

difference?
With all these "Mega" terms floating around let’s clarify what we mean by the two terms:
Mega Plate
The Mega Plate is the large scene generated by the Mega Plate module. This
is essentially using parameters similar to the Remove module to make a full
representation of the entire tracked footage.
Mega Clean Plate
This is a frame or series of frames that are saved to disk from the Mega Plate render
for the purpose of painting or "cleaning up" (thus the term "Clean Plate").
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The Mega Clean Plate clip created from Mega Clean Plates is what is referenced by
the Mocha Remove module to help replace pixels.
The Mega Plate makes the Mega Clean Plate
To distinguish the three steps clearly:
1. You generate a Mega Plate from the tracked scene
2. You create a Mega Clean Plate from the generated Mega Plate and save it to disk
for further editing/cleaning
3. The Remove module can use the Mega Clean Plate for further work.
Mega Plate Troubleshooting
One or more background layers must be defined that include all areas that the
foreground object moves across during the shot.
To get the result you expect you should observe the following rules:
• If you are getting a large amount of alpha padding to one side of the plate, try
rendering from the middle of the camera motion. For example, in a simple left-to-
right pan, render on the frame that is in the centre of the pan to render the detail
to either side of the centred frame.
• As the tracker computes the motion of planar objects in the scene, you get the best
results if the background is planar, or it has been subdivided into planar elements.
Otherwise you might see artifacts.
• If Mocha Pro cannot track the background accurately you will probably get artifacts.
If your selection of the background includes objects that move differently to the
background this can reduce the accuracy of the computed motion.
• If your selection of the background includes parts of the foreground objects then this
can cause problems for the tracker as it will compute a motion for the background
that is influence by the movement of the foreground. This may also cause artifacts
when the Mega Plate render is performed.
• If the background contains e.g. a waterfall or another object that changes

appearance from frame to frame, you will most likely get artifacts if you try to build
a plate or remove an object that moves across such a background. Mocha Pro will
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not know how to handle the changes. Another cause of such artifacts is moving
specular reflections.
Mega Plate Parameters

Here we provide a breakdown of each Mega Plate parameter and how to use it
effectively.
When changing parameters in Mocha Pro the change only affects the currently selected
layer. To change the parameters of a layer other than the currently selected layer that
layer must first be selected.
Input Tab
Here you specify the input clip for the mega plate process and any cleanplates you
wish to import.
Input Clip
You can choose from any of the Mocha Pro result clips to be used as the source clip to
fill the requested layers, instead of the default, which is to use the originally imported
clip as the input clip. This can be useful if you have to do multiple passes to get an
effective plate.
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Cleanplates
Here you can import Mega Clean Plates to replace frames in your footage via the
Remove module. Note that in order to tell Mocha the plate is oversized (i.e doesn’t
match the original project source dimensions), import the plate from the Mega Plates
module rather than the Remove module.
If you import the Mega Plate via the Remove module, Mocha will ask you if you want
to create a Mega Clean Plate clip.
To import one or more cleanplates:
1. Click on Import. This pops up the Cleanplates window.

2. Click on the file Import… button to specify the file(s) you want to use. If they are
numbered in the same way as the input clip, they will be given corresponding frame
numbers. Otherwise, edit the Frame Number field for each cleanplate to set up the
correct frame number. The entries for two cleanplates will look like this:
3. By default the Preview option is switched on. This means that the selected
(highlighted) cleanplate will be shown in the display window. The current frame
viewed on the timeline is also changed to the selected cleanplate frame. When
Preview is switched off, the view switches back to the clip you are viewing.
4. Click on the File name or Frame Number for any cleanplate to change the
selection. The Preview option allows you to select the correct frame number for
your cleanplate(s). If you import a single cleanplate, the frame number will be listed
as “All”. This means that the cleanplate will be used for all the frames of the clip.
Use this option if the camera is locked off. Change “All” to a particular frame if want
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to change this behavior and track the cleanplate from the specified frame into the
other frames.
The All option only applies when you are using a single cleanplate.
If you import two or more cleanplates, Mocha Pro will try to guess the frame numbers
from any numbering in the file name. When using the cleanplates between those
frame numbers, Mocha Pro will blend the nearest two cleanplates to produce a smooth
transition through the clip.
If you want to change the cleanplate settings after exiting the cleanplate window, click
on Edit… You would need to do this if you are using the frames on a new machine
where the cleanplates are stored in a different location, or just to add new cleanplates.
If you re-import files with the same name but different directory to existing cleanplate
files, Mocha Pro will update the file to the new directory.
Create (Mega Clean Plate)
Once you have rendered a Mega Plate within Mocha Pro you can create a Mega Clean
Plate from the currently viewed frame.
To do this, make sure you are viewing a frame you have rendered and click on the
Create button. This will create a clip containing the rendered frame you are viewing,
and set the Cleanplates clip to the new clip. You can then touch up this Mega Clean
Plate from your saved folder.
When you save your edits, it will automatically be updated in Mocha Pro to be used
in the Mega Clean Plate list.
Creating a Mega Clean Plate in the Mega Plate module does NOT
use that clean plate for subsequent renders in the Mega Plate
module. To use a Mega Clean Plate, switch to the Remove module.
Output Tab
This assigns an output clip for the render. You can create new output clips if needed
here.
Search Range
Used to specify which frames should be used when building a Mega Plate. The First
Frame, Last Frame, # Frames Before and# Frames After settings can be keyframed.
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• First Frame and Last Frame specify an absolute range in the input clip
• # Frames Before and # Frames After settings specify the range relative to the
currently rendered frame. If both options are used the intersection of the two frame
ranges is used.
Step
With this option you can specify that not every frame in the reference range is to be
used.
Setting it to three, for instance, means that only every third frame will be accessed. This
feature can speed up the removal process for large projects, especially film projects,
which are very memory intensive.
Setting a step value can skip over clean plates for specific frames
causing them to not be used in the Mega Plate calculation.
Auto Step
This is an automatically calculated version of the manual Step field. If you’re not quite
sure what step is optimal, Auto Step will look at the motion of the layers and try to
determine the best step to use.
Illumination Model
This specifies how to model changes in illumination.
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• The None option will not model changes, giving you a result very quickly.
• Linear will model global changes and should hence be used if the brightness change
between frames are caused by e.g. changes in aperture.
• Interpolated will model global and local changes and is often useful when there are
erratic lighting changes or a clean plate is used.
Smoothing Level
This controls the amount of smoothing applied in the Interpolated model. Increase the
value if there are artifacts which might be resolved with more smoothing, either spatial
variations or temporal variations.
Blend Interior
This option causes pixels from different frames to be blended into each other to avoid
tearing artifacts inside the Mega Plate.
Blend Amount
Select either Blend or Randomize and increase the value to reduce artifacts which
sometimes can be seen when illumination modelling fails.
• Blend uses alpha blending from the replaced areas to either the original pixels or
the recently replaced areas.
• Randomize mixes original and replaced pixels in a random way to achieve a similar
effect.
3D Compensation
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3D compensation can be switched on to try to remove artifacts due to the background

layer not being planar.
For example, if you have tracked a background that has subtle parallax it can cause
removal in other frames to look incorrect. 3D compensation attempts to model the
parallax change in the target frame.
Flood Fill
If part of the missing background has not been found anywhere in the clip, and the plate
cannot be completely built, Flood Fill can be switched on to fill the remaining region
using a flood fill method.
Mega Cleanplates
Remove Foreground
This button will remove any foreground objects in the Mega Plate.
To remove foreground layers in a mega plate:
1. Render the mega plate first using your background layers by selecting the layer
processing cogs and pressing the render button
2. Switch on the cogs of the foreground layers you want to remove
3. Press Remove Foreground
Any layers selected will then remove the underlying foreground objects from the mega
plate, providing they have removable background behind them.
See the Remove Module documentation for more information on how foreground
objects are removed with background data.
Autoscale On by default, this option will automatically calculate the required size of the
plate. If unselected, the dimensions in the fields below the autoscale option will be used.
If you don’t have enough memory to build the autoscaled plate,

Mocha will automatically reduce the size of the plate to fit the
available memory.
Tips for Mega Plates

Some of the foreground object is still visible after using Remove Foreground.
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• Remember that you can only remove an object if the background behind it is also
tracked. Track the background layer(s) before removing a foreground object.
• Check that the object is inside the selection contour in every frame. If it isn’t, move
the control points outwards as necessary to completely enclose the object. Use
linking forwards/backwards to apply changes to the contour in multiple frames.
• Check whether the relative motion of the foreground and background layers is
sufficient to see “behind” the whole of the foreground object. Mocha Pro only needs
to see the background in one frame to achieve good results. If more images are
available in the clip, track the selections over a few more images. This may provide
Mocha Pro with the extra information it needs.
• Try pulling the selection contour closer to the edge of the object. This will provide
Mocha Pro with extra background pixels.
The built Mega Plate is brighter/darker in sections rather than being evenly lit.
• Changes in illumination or camera aperture will change the overall brightness of

the image, making direct replacement of pixels inappropriate. Select the Linear
illumination model to compensate for the brightness changes and repeat the render.
• If the variation is more complex than a simple brightness change, try the Interpolated
illumination model, which will compute and compensate for changes in apparent
brightness and color that vary across the region being built.
Some Mega Plate sections don’t line up with the rest of the image.
• This may be due to inaccurate tracking of the background. If you think this is
possible, see the above hints on improving the tracking.
• If the tracking accuracy cannot be improved, increase the Blend amount. This will
dissolve the plate sections into the original image and reduce the tearing artifacts.
• For small foreground objects such as wires, in front of a non-planar background,

switch on 3D Compensation. This will attempt to model the effect of the varying 3D
depth of the background.
• If there is more than one background selection, special treatment of the boundary
between them is often required. If the background layers are joined, such as a
wall and floor selection, use the Attach Layers tool to join them together and avoid
artifacts at the boundary. If they are moving independently, you need to adjust the
boundary in the front background selection to accurately delineate the boundary
between the two background selections.
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Render is slow.
If you have a long clip, especially working with high resolution footage, Mega Plate
renders can be slow because Mocha has to search over a large number of images with
a large memory footprint.
Before you change any settings in the Mega Plate parameters, it is worthwhile checking
to see if GPU Processing is turned on in Preferences under the GPU page.
GPU Processing can have a significant impact on your render times.
Mega Plate and Remove are the most memory intensive modules in Mocha Pro, and
it will always benefit the performance to add more memory. If Mocha Pro can fit all
the images it needs in memory, performance will be dramatically accelerated when
rendering Mega Plates with multiple frames, because it will minimize the amount of
disk accesses.
Your aim should be where possible to change the settings to achieve this:
• Change the First Frame and Last Frame in Range to a smaller range of frames.
Experiment by reducing the range of frames searched.
• Increase the Step in Range to sample less frames.
• Create clean plates on key frames (such as the start, middle and end of the shot,
or wherever there is significant change) and check "Use Cleanplates Exclusively"
to reduce the need to look for other frames.
Using Mega Clean Plates in the Remove Module

Ultimately once you have created a Mega Clean Plate, it can be used as a single clean
plate for your scene.
This means you can paint on one large plate and then reference only this clean plate
in remove, by turning on "Use cleanplates exclusively".
To use the Mega Clean Plate in the Remove module:
1. Follow the Mega Plate rendering procedure listed above

2. Create the Mega Plate (step 9 of the process)
3. Make any changes to the clean plate you need in your image editor
4. Switch to the remove module in Mocha
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5. Create a foreground layer if one doesn’t exist yet then select the foreground
6. Choose the Mega Clean Plate clip from the "Cleanplate Clip" section
7. Select "Use Cleanplates Exclusively"
8. Render forwards
Any changes you have painted into the clean plate will then be applied across the whole
timeline.
For more details on how to use clean plates in the Remove module, see The Remove
Module section.
Examples of Using Mega Clean Plates in compositors

You can also import the rendered Mega Plate into a compositor and use the Mocha
tracking data to align the plate.
Below are some basic examples of how to do this.
Inserting a Mega Clean Plate into an After Effects

Composition
You can insert a Mega Plate into an After Effect composition the same way as you do
with a regular insert.
However, since the Mega plate will always be larger than your original composition,
you need to do some extra steps to set up the plate:
1. Export the mega plate to disk, either by creating a clean plate in the Mega Plates
module or exporting the single frame in Export Rendered Clips.
2. Align your Surface to the frame you used to create the mega plate. For example,
if you rendered a Mega Plate on frame 200, align the surface to frame 200.
3. Go to Export Tracking Data and export After Effects CC Power Pin

(or Use Create Track Data in the Mocha Adobe Plugin)
4. Import the mega plate into After Effects and drag it to your composition
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5. Precompose the mega plate and select the Leave All Attributes option
6. Turn on Collapse Transformations on the new precomp layer
7. Apply the CC Power Pin track data to the mega plate precomp layer, either by
pasting from the clipboard or using "Apply Export" in the Mocha Pro Adobe plugin.
Now the corner pin will be applied to the precomped layer, but with the Collapse
Transformations option set, the whole plate will be distorted in place.
Inserting a Mega Clean Plate into a Nuke node graph
You can insert a Mega Plate into Nuke the same way as you do with a regular insert.
However, since the Mega plate will always be larger than your original composition,
you need change to do some extra steps to set up the plate:
1. Export the mega plate to disk, either by creating a clean plate in the Mega Plates
module or exporting the single frame in Export Rendered Clips.
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2. Align your Surface to the frame you used to create the mega plate. For example,
if you rendered a Mega Plate on frame 200, align the surface to frame 200.
3. Go to Export Tracking Data and export Nuke Corner Pin
4. In Nuke, import your original footage to a read node
5. Paste the corner pin into the node graph. If the "From" fields in your corner pin are
not set to the original footage size, set them now.
6. Import the mega plate to a new read node
7. Apply a Reformat node to the mega plate to fit to the project size, but set the Resize
type to "None"
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8. Cut and paste the corner pin to mega plate or just hook up the inputs
9. Merge the mega plate over the top of your original footage.
'
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The Remove Module

Overview
The remove module is designed to remove foreground objects from your footage to
create clean plates. A removed object can be anything: wires, poles, signs, people and
so on. The only requirement for a good removal is enough background to use.
To understand how Mocha Pro removes a foreground object consider how you would
do it yourself. A common method is to select a source image where the foreground
object does not obscure the background region you are trying to paint in the target
frame. You would then clone or otherwise copy the pixels from the source frame to the
target frame. If the background is not in the same position in the two frames you would
have to track the patch of pixels into the frame, and if the lighting is different between
the two frames you would have to adjust the brightness of the patch.
The remove module attempts to do this for you automatically using a method called
motion keying. As it has tracked the background areas you have defined, it can move
pixels of these background areas from one frame to another. Hence, if a part of a
background area is obscured in one frame, Mocha Pro can search the rest of the clip for
a frame where the obscured background area is visible, and move the pixels correctly
into the target frame. During this process Mocha Pro will evaluate and compensate for
the lighting differences between the source and the target frame.
The Remove module is GPU optimised. Make sure you have GPU
processing turned on in the GPU page of Preferences for optimal
results.
The Removal Process

Object removal requires a few simple steps to work correctly. The key to a good remove
is adequate, tracked background and a correctly masked foreground.
1. Identify your foreground and background planes
First of all, scrub through your timeline and identify the planes of depth within your
shot. Background often consists of multiple planes of motion, and there can also be
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obstructing foreground material. For example, in the shot below, the sign is in front of
the ground, and the car door is in front of (but not obscuring) the sign.
2. Track and roto your foreground elements
We handle the foreground first as we need to mask them off from the background plane
and from each other. You don’t actually need to worry too much about tracking the
foreground: If the object is untrackable for whatever reason, just hand-animate a spline
around it. You absolutely must track an object if it is going to be used as a background
pass to replace foreground. For more information on effective tracking, please refer to
the tracking section of the documentation.
In the example below, we have tracked and rotoscoped the sign and the door frame,
which would otherwise obscure the ground plane.
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3. Make sure your layer order is correct
Layer order matters in Mocha. The closer to the camera an object is, the higher in the
layer stack it should be. Far background should be on the bottom layer, foreground
objects should be on top, in order of closeness.
In the example here, we show the door layer is above the sign layer, and the sign is
above the ground layer in the stack.
4. Track your background plane
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Once you have your foreground objects masked out across the timeline, draw as big
a shape as possible to cover as much of the possible area you want to remove. Make
sure the background layer is under the foreground layers, and track. For multiple planes
of background, such as a floor and a wall, you will have to track two separate planes
of motion. You must specifically track the background layer in order for the removal to
work, even if you are working with a locked-off shot.
Here we can see the background drawn on a layer at the bottom of the layer stack,
covering the large area of grass.
5. Select the layer you want to remove and adjust your removal parameters
Switch to the remove tab and adjust your parameters (see Remove Parameters below).
Key things to focus on are your search range, whether or not you need to create or
adjust a cleanplate, and if you need to use an illumination model.
We recommend trying a remove with Illumination modeling set to None first. This is the
fastest setting for removals, and can quite often be all you need if there is not much
light difference in the background over time.
6. Render
Once your layers are ready and the parameters are set, click the render button or
render forward.
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Removal can be a slow process depending on the resolution of the

footage and the amount of frames you are removing on. You can
optimize your search range (see Remove Parameters below) but
keep in mind that removal quality can vary.
Removal Troubleshooting
One or more background layers must be defined that include all areas that the
foreground object moves across during the shot.
To get the result you expect you should observe the following rules:
• As the tracker computes the motion of planar objects in the scene, you get the best
results if the background is planar, or it has been subdivided into planar elements.
Otherwise you might see artifacts.
• If Mocha Pro cannot track the background accurately you will probably get artifacts.
If your selection of the background includes objects that move differently to the
background this can reduce the accuracy of the computed motion.
• If your selection of the background includes parts of the foreground objects then this
can cause problems for the tracker as it will compute a motion for the background
that is influence by the movement of the foreground. This may also cause artifacts
when the removal is performed.
• If the background contains e.g. a waterfall or another object that changes
appearance from frame to frame, you will most likely get artifacts if you try to remove
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a foreground object that moves across such a background. Mocha Pro will not know
how to handle the changes. Another cause of such artifacts is moving specular
reflections.
Remove Parameters
Here we provide a breakdown of each remove tool parameter and how to use it
effectively.
When changing parameters in Mocha Pro the change only affects the currently selected
layer. To change the parameters of a layer other than the currently selected layer that
layer must first be selected.
Input Tab
Here you specify the input clip for the remove process and any cleanplates you wish
to import.
Input Clip
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You can choose from any of the Mocha Pro result clips to be used as the source clip to
fill the requested foreground layers, instead of the default, which is to use the originally
imported clip as the input clip. This can be useful if you have to do multiple passes to
get an effective remove.
Cleanplates
Here you can import cleanplates to replace frames in your footage. If you don’t have
enough background to use in your shot, importing your own cleaned up version of a
frame can assist the remove tool greatly.
To import one or more cleanplates:
1. Click on Import. This pops up the Cleanplates window.

2. Click on the file Import… button to specify the file(s) you want to use. If they are
numbered in the same way as the input clip, they will be given corresponding frame
numbers. Otherwise, edit the Frame Number field for each cleanplate to set up the
correct frame number. The entries for two cleanplates will look like this:
3. By default the Preview option is switched on. This means that the selected
(highlighted) cleanplate will be shown in the display window. The current frame
viewed on the timeline is also changed to the selected cleanplate frame. When
Preview is switched off, the view switches back to the clip you are viewing.
4. Click on the File name or Frame Number for any cleanplate to change the
selection. The Preview option allows you to select the correct frame number for
your cleanplate(s). If you import a single cleanplate, the frame number will be listed
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as “All”. This means that the cleanplate will be used for all the frames of the clip.
Use this option if the camera is locked off. Change “All” to a particular frame if want
to change this behavior and track the cleanplate from the specified frame into the
other frames.
The All option only applies when you are using a single cleanplate.
If you import two or more cleanplates, Mocha Pro will try to guess the frame numbers
from any numbering in the file name. When using the cleanplates between those
frame numbers, Mocha Pro will blend the nearest two cleanplates to produce a smooth
transition through the clip.
If you want to change the cleanplate settings after exiting the cleanplate window, click
on Edit… You would need to do this if you are using the frames on a new machine
where the cleanplates are stored in a different location, or just to add new cleanplates.
If you re-import files with the same name but different directory to existing cleanplate
files, Mocha Pro will update the file to the new directory.
Create (Cleanplate)
Clean plates are created based on the bit depth of the current source
clip.
One useful option within Mocha Pro is to create a cleanplate from the currently viewed
frame.
To do this, make sure you are viewing the frame you want to use and click on the
Create button. This will create a clip containing the frame you are viewing, and set
the Cleanplates clip to the new clip. You can then touch up this cleanplate from your
Results folder.
The frame that is saved will be based on the current bit depth of the source clip, which
will change the image format. For low bit depth clips, this will either be tif (the default),
or dpx. For float, this will be exr or tif.
You can change to the preferred image type in preferences under the clip tab.
When you save your edits, it will automatically be updated in Mocha Pro to be used
in the cleanplate list.
Use Cleanplates Exclusively
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If this option is checked, only the cleanplates will be used by Remove to remove the
pixels in the selected layer. If it is unchecked, the normal Remove process will be used,
pulling in pixels from other frames in the input clip. The cleanplates will then only be
used to remove the remaining pixels.
Output Tab
This assigns an output clip for the removal render. You can create new output clips
if needed here.
Search Range
Used to specify which frames should be used when removing a layer. The First Frame,
Last Frame, # Frames Before and# Frames After settings can be keyframed.
• First Frame and Last Frame specify an absolute range in the input clip
• # Frames Before and # Frames After settings specify the range relative to the
currently rendered frame. If both options are used the intersection of the two frame
ranges is used.
Step
With this option you can specify that not every frame in the reference range is to be
used.
Setting it to three, for instance, means that only every third frame will be accessed. This
feature can speed up the removal process for large projects, especially film projects,
which are very memory intensive.
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Setting a step value can skip over clean plates for specific frames
causing them to not be used in the Remove calculation.
Auto Step This is an automatically calculated version of the manual Step field. If you’re
not quite sure what step is optimal, Auto Step will look at the motion of the layers and
try to determine the best step to use.
Illumination Model
This specifies how to model changes in illumination.
• The None option will not model changes, giving you a result very quickly.
• Linear will model global changes and should hence be used if the brightness change
between frames are caused by e.g. changes in aperture.
• Interpolated will model global and local changes and is often useful when a
cleanplate is used.
Smoothing Level
This controls the amount of smoothing applied in the Interpolated model. Increase the
value if there are artifacts which might be resolved with more smoothing, either spatial
variations or temporal variations.
Blend Interior
This option causes pixels from different frames to be blended into each other to avoid
tearing artifacts inside the Remove area.
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Blend Amount
Select either Blend or Randomize and increase the value to reduce artifacts which
sometimes can be seen when illumination modelling fails.
• Blend uses alpha blending from the replaced areas to either the original pixels or
the recently replaced areas.
• Randomize mixes original and replaced pixels in a random way to achieve a similar
effect.
3D Compensation
3D compensation can be switched on to try to remove artifacts due to the background

layer not being planar.
For example, if you have tracked a background that has subtle parallax it can cause
removal in other frames to look incorrect. 3D compensation attempts to model the
parallax change in the target removal frame.
Flood Fill
If part of the missing background has not been found anywhere in the clip, and the
foreground object therefore cannot be completely removed, Flood Fill can be switched
on to fill the remaining region using a flood fill method. This is especially useful when
it is the matte you are interested in, as you then don’t care too much about the quality
of the removal but require that the foreground object is completely removed to avoid
holes in the matte. The Smoothing Level should be increased if you result is not as
smooth as it should be or there are temporal variations in the results.
Stereo Remove
Stereo Remove works in exactly the same way as Mono Remove above, with the
additional bonus of being able to render both views at the same time and also choosing
whether or not each view assists the other view during the remove process.
To render a remove in stereo:
1. Track the background in both views with a layer as outlined in "Stereo Tracking"
above
2. Mask out and animate the foreground object you want to remove. You will need to
check to make sure the object is correctly covered by the layer in both views.
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3. Make sure the foreground layer is above the background layer in the layer controls.
4. Adjust your remove parameters (See the full User Guide for details on Remove
parameters)
5. If it is not already on, press the "Operate in all views" button on the right side of
the render buttons.
6. Click the render button
By default "Prefer Same View" is checked on in the search range section of the Remove
tab. This will attempt to use the current view rather than both views to perform the
remove.
If you have useful information in the other view that may assist the remove, you can
uncheck this option.
Tips for Removal

Some of the object is still visible after removal.
• Remember that you can only remove an object if the background behind it is also
tracked. Track the background layer(s) before removing a foreground object.
• Check that the object is inside the selection contour in every frame. If it isn’t, move
the control points outwards as necessary to completely enclose the object. Use
linking forwards/backwards to apply changes to the contour in multiple frames.
• Check whether the relative motion of the foreground and background layers is
sufficient to see “behind” the whole of the foreground object. Mocha Pro only needs
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to see the background in one frame to achieve good results. If more images are
available in the clip, track the selections over a few more images. This may provide
Mocha Pro with the extra information it needs.
• Try pulling the selection contour closer to the edge of the object. This will provide
Mocha Pro with extra background pixels.
The replaced background region is brighter/darker than the surrounding image.
• Changes in illumination or camera aperture will change the overall brightness of

the image, making direct replacement of pixels inappropriate. Select the Linear
illumination model to compensate for the brightness changes and repeat the object
removal.
• If the variation is more complex than a simple brightness change, try the Interpolated
illumination model, which will compute and compensate for changes in apparent
brightness and color that vary across the region being removed.
The background patches don’t line up with the surrounding image.
• This may be due to inaccurate tracking of the background. If you think this is
possible, see the above hints on improving the tracking.
• If the tracking accuracy cannot be improved, increase the Dissolve Width. This will
dissolve the patches into the original image and reduce the tearing artifacts.
• For small foreground objects such as wires, in front of a non-planar background,
switch on 3D Compensation. This will attempt to model the effect of the varying 3D
depth of the background.
• If there is more than one background selection behind the foreground selection,
special treatment of the boundary between them is often required. If the background
layers are joined, such as a wall and floor selection, use the Attach Layers tool to join
them together and avoid artifacts at the boundary. If they are moving independently,
you need to adjust the boundary in the front background selection to accurately
delineate the boundary between the two background selections.
Remove is slow.
If you have a long clip, especially working with HD or film, Remove can be slow because
it has to search over a large number of images with a large memory footprint.
Before you change any settings in the Remove parameters, it is worthwhile checking
to see if GPU Processing is turned on in Preferences under the GPU page.
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GPU Processing can have a significant impact on your render times.
Remove is the most memory intensive module in Mocha Pro, and it will always benefit
the performance to add more memory. If Mocha Pro can fit all the images it needs
in memory, performance will be dramatically accelerated when rendering Remove in
multiple frames, because it will minimize the amount of disk accesses.
Your aim should be where possible to change the settings to achieve this:
• Change the First Frame and Last Frame in Range to a smaller range of frames.
Sometimes Mocha Pro can spend a lot of time removing a small part of the
foreground image, and if your layers were chosen loosely, not all of the foreground
needs to be removed. Experiment by reducing the range of frames searched.
• Increase the Step in Range to sample less frames.

• Create clean plates on key frames (such as the start, middle and end of the shot,
or wherever there is significant change) and check "Use Cleanplates Exclusively"
to reduce the need to look for other frames. '
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The Stabilize Module
Overview
This section only relates to Mocha Pro.

The Stabilize module is unsupported for 360 Equirectangular footage
in VR Mode. Use the Reorient module to stabilize 360 footage.
This feature is not available in Mocha HitFilm or Mocha AE.
For a full comparison of features, please refer to the comparison
chart online.
The stabilize feature in uses the data you have tracked to lock down a moving shot.
You can think of it as the inverse of what tracking does: It moves the footage around
an area rather than an area around the footage. Stabilization is useful for:
• Removing camera jitter and bumps
• Locking off a shot so it is easier to work with, before restoring the motion back into
the final composition
The Main Stabilization Parameters Interface
Stabilization is a fairly straightforward operation. Once you have selected the tracked
layer you wish to work with you have options to restrict the stabilization to key details.
Input Tab
Select the clip that you wish to use to stabilize here.
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Range Tab
Select the frame range for the stabilization.
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Fixed Frames
Here you can enter the frames you want to be unaffected by stabilization. Mocha will
adjust the stabilization between these frames. You can either enter them into the field,
or go to a frame and press the + key.
Fixed frames can be useful when you want stabilization across a shot but would like to
keep the general motion of the original shot intact.
When using Warp Mapping, the fixed frames list is limited to one frame. Warping is
reset to warp from that frame.
Smooth
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This is the main section for controlling how you want the shot to stabilize.
All Motion
This checkbox sets all the options below it.
X Translation
Stabilize translation in X
Y Translation
Stabilize translation in Y
Rotation
Stabilize rotation
Zoom
Stabilize the scale/zoom
X Shear
Distort the footage according to the tracked surface’s shear data in X
Y Shear
Distort the footage according to the tracked surface’s shear data in Y
X Perspective
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Distort the footage according to the tracked surface’s perspective data in X
Y Perspective
Distort the footage according to the tracked surface’s perspective data in Y
Shear and Perspective stabilization can be useful when you want to straighten out a
plane in your footage to work on it flat before restoring it to its original perspective and
motion.
Maximum Smoothing
Stabilize across the entire track. Setting this value will override the #Frames value
beneath it.
# Frames
Stabilize variation across a certain amount of frames. Setting this to a low value will
focus the stabilization to only pick up motion that occurs in short bursts (such as a bump
in the road). A higher value will try to adjust longer movements.
Warp Mapping
Warp Mapping utilizes the PowerMesh tracking to lock down warping areas.
Warp Mapping parameters
To use warp mapping:
1. Track using the Mesh tracking parameter in the Track Module
2. Switch to Stabilize
3. Turn on "Mesh Warp" under the Warp Mapping column
4. Choose if you want to add a fixed frame to the Frame List
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5. Choose whether you want to Unwarp or Warp to the tracked area
6. Check "Use Matte" if you want to matte out the stabilized region
7. Choose the render quality in the drop down
Warp Mapping will preview in the Viewer.
The Warp Mapping Parameters have the following effects:
Mesh Warp
This turns on the Warp Mapping. When it is turned off, Stabilize will use regular the
regular planar stabilization controls.
Unwarp
Unwarp locks the frame to the "Fixed Frame" value set in "Frame List" to the right of
the stabilize module parameters.
By default, this is set to the frame the PowerMesh frame was generated on.
Warp
This is the inverse of the Unwarp render. It warps the area to the motion of the tracked
mesh.
Use Matte
The Matte uses the warped layer matte to mask out the warped region.
Quality
You can set 3 types of render quality for Warp Mapping:
• Draft: A very fast render preview, but lower quality. Draft can produce triangulation
on warped edges and is not recommended for final renders.
• Normal: A balance of render quality and speed.
• High: A much denser render warp mapping that produces high quality results but
will render slower.
Warp Mapping Workflow

You can use warp mapping in two main ways:
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• Directly applying warping to images or footage with the intention of compositing

back over the top of the footage.
• Unwarping, editing then rewarping the original footage
Direct Warping Workflow
Direct Warping is the recommended workflow for Warp Mapping as it is a one-way

change that avoids losing pixel information.
Warping workflow utilises the singular "Warp" option in Warp Mapping to modify an
overlay, usually with alpha.
Direct Warping Workflow in the Plug-In
1. Apply the Mocha Pro Plug-In to your footage layer or node
2. Open the Mocha GUI
3. Track the area you want to stabilize using the Mesh option
4. Switch to Stabilize and turn on "Mesh Warp"
5. Preview the warp and unwarp
6. Close and save the project
7. Create an overlay clip or image that you want to warp to the original shot.
From there, the workflow can depend on the host you’re using the Plug-In with:
For layer-based workflow such as After Effects, Premiere, HitFilm,

etc.:
1. Create a new layer above the source footage track using the overlay image you
want to warp over your footage,
2. Copy the Mocha Pro effect that contains your tracked mesh data
3. Paste the Mocha Pro Plug-In to the overlay image as a new layer above the source
image.
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4. In the Mocha Pro Plug-In interface, select "Stabilize: Warp" from the Module render
drop down.
5. If required, turn on "Apply Matte" in the Plug-In to isolate the region
For Node-based compositors such as Nuke, Silhouette, Flame and

Fusion:
1. Create a new image/clip node containing the overlay you want to warp over the
source.
2. Copy the Mocha Pro node that contains your tracked mesh data
3. Paste the Mocha node again and then change the Source input to the overlay image
node
4. In the plug-in interface, select "Stabilize: Warp" from the Module render drop down.
5. If required, turn on "Apply Matte" in the Plug-In to isolate the region

6. Use a Merge to composite the warped overlay back on the source
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Note than in Fusion you need to make sure single-frame images or effects are read as
the same length as your source footage or Mocha may not read the frames.
You can do this via a merge over the top of the original source footage and setting the
merge up to only show the foreground. This will then adopt the frames of the footage
when you feed the merge into Mocha.
To view the matte masking out the render, you may need to set Premultiply Output
from "Auto" to "On":
For Media Composer
1. Create a new video track above the source footage track and place your overlay
on this new video track
2. Drag the Mocha Pro efect that contains your tracked mesh data onto the track above
and use the "Apply Mate" to mask RGB items over the top. Keep in mind however
than alpha and blending is not supported in Media Composer without addtional
plug-ins.
3. In the plug-in interface, select "Stabilize: Warp" from the Module render drop down.
4. Turn on "Apply Matte" in the Plug-In to isolate the region
Avid Media Composer doesn’t currently overlay alpha in the Warp

Render, so masking is necessary to composite the warped shot.
This now warps the image back over the top of the original.
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Overlay Images
Overlay images can either be transformed images (for example brand logos) set in
place then comped on top of your reference frame, or painted areas on top of a full
frame alpha. As long as the final image matches the dimensions of the original source
image, the frame should line up and be warped correctly.
For example, if your shot is 1920x1080, you would want to make a 1920x1080 overlay
image and keep alpha in the area you don’t need modified.
You can also choose to just directly paint on top of a single still frame of the source
footage and then use the masking tool to mask out the remainder of the frame.
Unwarping and Warping Workflow

When you want to make changes to the pixels of the whole stabilized sequence, the
Unwarp/Warp method can be helpful.
It is important to know however that Unwarping and Warping is a destructive process.

You may not be able to fully recover pixels lost to Unwarping when you rewarp it back
into position.
For example, if you are tracking a person’s eyes opening and closing, the Unwarp
process may be able to stabilize the skin until it crunches up and disappears, but
rewarping means those stabilized pixels may stretch or tear unnaturally.
This doesn’t of course mean that unwarping and rewarping isn’t a valid approach. You
just need to be aware of the limitations.
Unwarp/Rewarp workflow is a 3 stage process:
1. Render the stabilized and unwarped area

2. Make modifications to the stabilized region, such as paint, clean up etc
3. Render a Warp of the modified result to restore back to the original motion.
In the Mocha Pro Plug-In most of this happens in the Plug-In interface.
Unwarp/Rewarp Workflow in After Effects
1. Apply the Mocha Pro Plug-In to your footage layer

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7. In the plug-in interface, select "Stabilize: Unwarp" from the Module render drop
down.
8. Turn on the Render checkbox. If you scrub the timeline you should now see the
unwarp.
9. Make a copy of the Mocha Pro Plug-In
10.Precomp your existing layer and move all attributes into the new composition
11.Paste the copied effect on top of the Precomp
12.In the plug-in interface for the pasted effect, select "Stabilize: Warp" from the Module
render drop down.
13.Either Turn on "Apply Matte" or use the "Use matte" option in the Warp mapping
to isolate the region
Now you can make any changes to the precomped version of the warp and it will rewarp
correctly in the parent composition.
Unwarp/Rewarp Workflow in Node-based workflow (Nuke/Fusion/

Silhouette/Flame)
1. Apply the Mocha Pro Plug-In to your footage node

6. Turn on "Use Matte" if you want to matte out the render using the stabilized mask
8. In the plug-in interface, select "Stabilize: Unwarp" from the Module render drop
down.
9. Turn on the Render checkbox. If you scrub the timeline you should now see the
unwarp.
10.Make a copy of the Mocha Pro node
11.Paste the copied node on top of the original
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12.In the plug-in interface for the pasted node, select "Stabilize: Warp" from the Module
render drop down.
To view the matte masking out the render, you may need to set Premultiply Output
from "Auto" to "On":
Now you can make any changes in the middle of the two Mocha Pro nodes and it will
rewarp correctly in the parent composition.
Unwarp/Rewarp Workflow in the Standalone Application
The Standalone application is slightly more involved as you need to use an external
application to make any changes to the rendered result.
3. Preview the Unwarp
4. Render forwards
5. Export the clip to a lossless format, such as TIF
6. Work on the rendered clip
7. Go to the Clip module in Mocha and Import the modified clip back to your Mocha
Project
8. While in the import dialog, inherit the attributes of the origial clip via the "Inherit
Attributes from" dropdown
9. Go to the Stabilize module and choose the new clip from the "Input" dropdown on
the far right
10.Turn on Warp.
The modified clip should now warp back to the correct spot.
The Borders Tab

This tool helps automate removing the black edges you gain from the footage being
stabilize.
Center
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This centers the footage around the stabilized area.
Zoom
This zooms into the footage to push the edges out of frame.
Apply Crop
This applies the Clip mask from the Clip Module to crop down the edges. If this is
not applied, the stabilize will render outside the clip mask to the full dimensions of the
original source footage.
The Auto Fill Tab
You can use Auto Fill to help fill in the black edges with previously tracked layers, similar
to how the Remove Module uses tracked background layers to remove foreground
objects.
If you have sufficient usable background available, you can avoid reducing the quality
or resolution of footage, which is a common problem in stabilization.
For a better understanding of background fills, please refer to the Remove

documentation.
Auto Fill
This turns on the auto fill function. You will not see the effect of fill however until you
render the result.
Search Range
The range of frames to look for possible fill frames.
Model Illumination
Like the Illumination modeling in the remove tool, this tries to calculate the correct
lighting for a filled-in edge.
Dissolve
This gives the option of dissolving the edge of frame into the filled frame to reduce
obvious mismatches.
Fill from Background
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If you haven’t set up a tracked background layer to use to help fill the edges, you can let
Mocha attempt to fill by analyzing the footage. This is mostly useful for filling in frames
where there is only position and rotation jitter.
Stabilizing Shaky Camera Footage

One of the most common reasons to stabilize is to remove jitter from a shaky camera
shot. With shaky camera footage you are primarily concerned with removing position
and rotation data. This means you do not have to use the shear or perspective options
when tracking. Here is the common method:
1. Track a static area of the shot using Translation, Scale and Rotation only. You don’t
want to track a moving object within the shot as this will throw off the stabilization.
2. Once tracked, switch to the Stabilization tool.
3. Choose which fields of motion you wish to stabilize in the Smooth parameters.
By default, translation is automatically selected. In many cases you may only be
interested in position stabilization, but hand-held cameras can introduce scale and
rotation jitter as well.
4. Adjust the number of frames you want to look for jitter over. A small amount of
frames will look for tiny adjustments in the overall motion, whereas bigger values
in this field will adjust larger ranges of motion.
5. If there is a significant amount of motion being stabilized and you are losing a lot of
your picture in some frames, try fixing those frames by adding them to the Frame
List on the left. Mocha will then interpolate the stabilization between these fixed
frames.
Locking Down Areas of Motion

Sometimes you want to be able to completely lock down a section of the footage so
that it stays in one place and everything else moves around it. For this you can use
more aggressive stabilization:
1. Track the area you want to lock down using whichever of the motion parameters
you require. Tracking perspective also works for this technique.
2. Once tracked, switch to the Stabilization tool.
3. Choose which fields of motion you wish to lock down in the Smooth parameters. By
default, translation is automatically selected. If you want to completely lock down
everything, just choose the “All Motion” checkbox.
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4. Adjust the number of frames you want to use to look for stabilization. A small amount
of frames will look for tiny adjustments in the overall motion, whereas bigger values
in this field will adjust larger ranges of motion. Again, if you want to completely lock
down everything for all motion, choose the “Maximum Smoothing” option.
5. When you play back the timeline you will see the rest of the footage warp and move
around your locked off area.
Exporting Stabilized Tracking Data
Exporting Stabilization is similar to exporting tracking. When you hit the Export
Stabilized Tracking Data button you will be presented with a dropdown box with options
for various applications.
Stabilize in Stereo
All stabilization occurs in stereo if you have tracked both views. You can render the
stabilization for both views by selecting Operate on All Views button next to the Render
buttons on the timeline.
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The Lens Module

Overview
Some features in the Lens Module are not available in Mocha
HitFilm or Mocha AE and only relate to Mocha Pro (such as
rendering). For a full comparison of features, please refer to the
comparison chart online.
The Mocha lens module helps locate and undistort lens distortion.
To compute lens distortion you need an image with one or more distorted straight lines
or a distortion map (Mocha Pro only).
For line calibration you can either use your source material if it has suitable lines or take
an image of a calibration grid. Using either 1-Parameter or 2-Parameter radial distortion
models will allow you to straighten up the image. There is also an Anamorphic model
that will accurately model the distortion in anamorphic and extreme wide-angle lenses.
If you have a Distortion Map, you can also remove or work with distortion by importing
your maps instead of calibrating.
Distortion of the images can also influence the performance of other modules in Mocha
Pro, because the tracker tools assume that the camera obeys a simple pinhole camera
model. Severe distortion effects are most likely when a fish-eye or other short focal
length lens is used.
Typical lens distortion makes a square object appear either barrel shaped or pin
cushion shaped in the image.
The most obvious way to tell whether your images are distorted is to look at the straight
edges of objects in the scene. If lines that should be straight are actually curved in the
image, this is indicative of distortion. If there are no long straight edges in the scene
(for instance a natural scene) then it is much more difficult to discern distortion, even
when it is significant.
With the Mocha lens module you can compute, apply and remove distortion
automatically. There are two parts to this process – firstly compute the distortion and
secondly correct the distortion.
To compute distortion automatically you will need to have some straight lines in your
image(s).
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It is useful to toggle the grid on and off during the different stages of calibrating the lens
to see a visual representation of what is actually happening. Just select the Grid button
in the View Controls bar to switch the grid on and off.
Lens Workflow with Line Detection Calibration
Lens calibration is dependent on working with the parameters, which are described in
detail below. The basic workflow for lens calibration is as follows:
1. Set your input clip and your calibration clip. These can be the same if there are
obvious distorted lines in your input clip, but you can also opt to use a Grid Image
(see Using Grid Images)
2. Use the Locate Lines button to find the straight lines in your calibration clip. Adjust
the Min Line Length if needed.
3. Click the new line button (Or press N on your keyboard) and click on line segments
to define what should be straight lines. Every time you need to define a new line,
make sure you click on the button again or press N.
4. Once you have defined enough lines, click on the Calibration dropdown and select
a camera model (Usually 1-Parameter or 2-Parameter).
5. If you are calibrating with a grid, choose Equidistant Lines
6. Click the Calibrate button.
7. To check the distortion, turn on your grid
You can now choose to render out the distortion, or use the current calibration to assist
your tracking and insertion workflow.
For further detail on the calibration tools, see Lens Parameters below.
Equirectangular Lens Workflow with 360 VR
The Equirectangular and other 360 video features are only available
in Mocha Pro and not accessible via other Mocha products such as
Mocha AE.
The first step for working in 360 VR mode is define you are working in Equirectangular
space.
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Mocha Pro can set this in the New Project dialog on standalone:
Or in the Views drop down in the plugin:
You can also change to Equirectangular in the Lens module:
1. Go to the Lens module
2. In the “Calibrate” section, choose “Equirectangular” from the drop down.
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VR footage with an odd pixel width may not wrap correctly and you
could see artifacts.
And that’s it! You’re now ready to work in VR lens space and don’t need any further
calibration. If at any time you want to adjust the 360 view numerically, the fields
Longitude, Latitude and Field of View are available to adjust in the Lens page.
Note that if you are rendering a 360 lens distortion in the plugin version, you can control
the Lens distortion from the plugin interface without having to open the Mocha GUI.
See Equirectangular Lens Workflow with 360 VR for more details on using the
Equirectangular lens calibration effectively.
Lens Parameters
Input tab
Here you have two options:
• The Calibration Clip is the clip used for finding and selecting lines to calibrate with
– just select the clip from the pulldown menu if you have imported it or import it by
selecting the Import button and using the file browser to locate the file.
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• The Input Clip is the input for the distort/undistort process – just select the clip you
want to distort or undistort from the pulldown menu.
Output tab
This is a way to re-name a distortion setting if you want to have more than one distortion
applied. You can choose to leave the input clip intact and create a new clip containing
the output from the Lens module, and then rename the rendered distorted or undistorted
file and carry on working. Just select the clip from the pulldown menu and select the
New… button to name the new clip. The new clip will be the same as the current output
if you choose to select that it inherits the attributes of that output clip.
Distortion Map tab
Here you have two options:
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• The Undistort (Inverse) is the distortion map clip used to set Undistortion for the
input clip
• The Distort (Direct) is the distortion map clip used to set distortion for the input clip
Calibration Lines
Line calibration is the most important part of the process for 1-parameter, 2 parameter
and Anamorphic calibration: These buttons work to locate and then define the straight
lines in your shot. See below.
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Locate Lines
Select the Locate Lines button once for the image you want to use for calibration.
The output of the Locate Lines process is an overlay showing all the line segments that
were detected in the image. Typically longer lines will be divided into two or more line
segments. See “Min Line Length” below.
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New Line
Using the New Line button you can start selecting line segments to define the straight
lines in your scene.
• To select which lines you want to use for calibrating the distortion, select the New
Line button each time you want to select an entirely new line.
• Select one or more line segments lying on the same line in the scene by placing the
cursor over each segment and selecting them.
• As you hover over the lines the currently closest line will be highlighted in red to
indicate which line will be selected.
• As you add more segments, the completed line is rendered so that you can check
for mistakes. Each line you select will be colored differently to clarify the groupings
of the line segments.
• Try to choose lines that exhibit the most distortion, typically those reaching towards
the edge of the image, and not pointing towards the center .
• Try also to achieve good coverage of the whole image, because otherwise the
distortion may only be computed correctly in the part of the image where the lines
are chosen. If you select a line segment incorrectly, click on it again to deselect it.
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It is important to remember to select New Line each time you want to select the
segments of a new line in the scene.
Min Line Length
Increase the Min Line Length parameter to show only longer lines and simplify the
display, or if you only short line details, try a smaller line value.
Calibrate Parameters
Having chosen your lines (see above), you need to select a camera model:
• If only a small amount of distortion is present in the images, choose the 1-Parameter
radial distortion model. Then press the Calibrate button. This will find the optimal
value for the radial distortion parameter to straighten the selected lines.
• You can use the 2-Parameter radial distortion model if the 1-Parameter model
doesn’t capture all the distortion in the image. This distortion model is often used
when there is a wave or irregularity in the lens.
• Anamorphic can be used for any lens with Anamorphic or different vertical and
horizontal distortion.
• Distortion Map is only used with Distortion Maps and is not related to line-selection
based calibration (see below)
• Equirectangular will automatically set and calibrate the lens to standard

Equirectangular lens format and needs no further calibration. See the
Equirectangular Lens Workflow with 360 VR section above for more details.
The Grid display option will show a reference grid with the computed distortion added.
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Here is an example grid of a 1-Parameter distortion model:
Here is an example grid of a 2-Parameter distortion model:
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Here is an example grid of an anamorphic distortion model:
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Calibrate button
Once you have selected your lines and set either the 1-Parameter, 2-Parameter or
Anamorphic models, you can click this button to start computing the calibration. This will
invoke the Mocha Pro camera calibration algorithm which will apply the new calibration
parameters to any image you are working on in the current project.
The No Distortion parameter does not compute any distortion and the 1- Parameter Inv
model is only for use with RealViz Rz3 files.
If you have a grid image, select the Equidistant Lines box and then select lines
appropriately for a grid as explained above.
Note: You only need to render the image and remove the computed distortion if you
want to save the output – Mocha Pro will use the calibration data generated without
having to use an undistorted clip. To render the clip use the Distort/Undistort controls.
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Lens
The image center is naturally set at the center of the image by default. Again the
coordinates can be entered manually if you want to eye match the center position of
the lens by dragging the Center %X or Center %Y sliders or highlighting the current
value and typing in a new value. Alternatively, switch on the Calibrate option so that it
will be adjusted automatically when you invoke the camera calibration algorithm.
Distortion
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The distortion values for the current camera model can be entered manually if you want
to match the lens distortion by eye, or they can be computed automatically using the
Calibrate button – which is considerably quicker and easier. To adjust manually simply
drag the sliders to increase or decrease the values in the K1/Cxx, K2/Cyx, Cxy & Cyy
fields or highlight the current value and type in a new value.
Function
Select whether when you render an image you want to remove or add distortion here
by selecting the Undistort radio button to remove distortion or the Distort radio button
to add distortion.
Distort/Undistort
These buttons are for rendering the clip with the distortion or undistortion values
selected.
Selecting the right arrow renders the clip forward from the current point in time.
Selecting the left arrow renders the clip backwards from the current point in time.
Selecting the central button with a square stops Mocha Pro from rendering, which can
also be done by selecting the escape or space keys on the keyboard instead.
Selecting the down arrow just renders the single frame at the current point in time. This
is useful for testing a single frame before deciding to render an entire sequence.
Selecting the lock button enables re-rendering for this module. If the button is locked
Mocha Pro will render the frame each time a parameter is changed.
Export Lens Data
You can export the lens parameters to a variety of formats. See "Exporting Lens Data"
below for more information:
• Mocha Lens for After Effects: This format is used exclusively with the Mocha
Lens plugin for After Effects, which you can download separately from the Boris FX
Website.
• Distortion Map (Mocha Pro only): A renderable Distortion map to use in supported
applications, such as Nuke.
• Mocha XML Lens Data (Mocha Pro only): You can export the lens parameters in
a simple XML file format by selecting the Export Lens Data.. button. The parameters
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are written in a resolution-independent way. The focal distance and image center
x/y are represented as multiples of the image width and height. The distortion
parameters are written directly. They are defined in the later section called “For the
technically minded”.
Using Grid Images
A common way to generate accurate distortion models is to take an image of a

calibration grid, which not only provides long straight lines that exhibit the distortion
clearly, but also restricts the lines to a rectilinear grid. The latter constraint can be used
to improve on the simple “straightening lines” technique.
If you are using a grid image, select the Equidistant Lines button. This will enforce a
regular grid structure on the selected lines, by forcing the distance between adjacent
horizontal and vertical lines to be a constant fixed value.
To use this feature, select lines a fixed distance apart on the grid. You can use a
different separation horizontally and vertically. You don’t have to select the lines in the
right order - Mocha Pro will re-order the lines according to their horizontal and vertical
position on the image.
You also don’t have to select all the grid lines. All that matters is that the distances on
the grid between adjacent sampled horizontal lines are the same, with the same rule
applying vertically as well.
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Grid image with sampled equidistant horizontal and vertical lines. Image
courtesy of Jean-Yves Guillernaut, University of Surrey
Note that when you fit a grid, the Grid display option attaches the rendered grid lines
to the image grid, so that you can easily see the result.
Anamorphic Camera Model
In cases where even the radial distortion models are not sufficient, or you have
an anamorphic shot for which a radial distortion model is not suitable, select the
Anamorphic camera model. This allows for different horizontal and vertical distortion.
This is the model used in 3D Equalizer V3, although without the inversion of the model
used in that product, and we use the “raw” curvature parameters cxx , cxy , cyx , cyy .
You will probably need a grid image to compute the parameters of this model
accurately.
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Calibrating the Image Center
The image center is by default set to the center of the frame, i.e. 50% of the frame
dimensions in both directions. If the center of distortion is or may be offset from the
center of the frame, these values need to be modified.
You can either select the correct image center manually by eye or switch on calibration
for the image center , which will then calibrate for the image center along with the
distortion parameters. A yellow cross indicates the image center position.
Manual calibration
If you don’t get good results from the Mocha Pro calibration procedure, or you have
known distortion parameters that you wish to use in Mocha Pro, you can select the
distortion parameters manually.
By manipulating the distortion parameters and observing the effect on the image,
choose the parameters that straighten up the curved lines as accurately as possible.
This should at least deal with the worst effects of the distortion.
Mocha Pro also has the capability to import camera parameters computed by Realviz’s
MatchMove 3D camera tracking software.
Lens Workflow with Distortion Maps
If you are working with Distortion Maps (sometimes called UV maps or ST Maps), a lot
less calibration is required. You can simply bring in your map and it will automatically
set the lens.
Distortion maps need to be 32-bit floating-point component RGBA in

order to be read correctly by Mocha.
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An example of a Distortion Map
1. Go to the "Distortion Map" tab on the left side of the Lens Module
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2. Use the "Undistort (Inverse)" and "Distort (Direct)" drop downs to import your maps
files
3. Click on the Calibration dropdown and select "Distortion Map"
4. To check the distortion, turn on your grid
You can now choose to render out the distortion, or use the current calibration to assist
your tracking and insertion workflow, as you would a line calibration.
Keep in mind the hard boundaries of the Distortion map being imported may affect the
tracking of your shot.
You cannot export Lens Data with a Distortion Map calibration. You
will only be able to perform track and render operations.
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Exporting Lens Data

The Lens Module provides different exports for getting your lens data out to other
applications.
Mocha Lens for After Effects

This format provides a way to get the Lens data into After Effects via the Mocha Lens
for After Effects plugin which you can download and install separately.
Exporting data to After Effects is done via the clipboard, similar to the tracking and
shape data methods. To bring data into After Effects:
1. Click on Export Lens Data in the Lens Module or the File menu
2. Select "Mocha Lens for After Effects" in the drop down
3. Click "Copy to Clipboard"

4. Switch to After Effects
5. Select the layer you wish to add the effect to
6. Press CMD/Ctrl+V to paste the data
A lens effect will then be created in the layer with parameters from Mocha. You can
choose to Remove Distortion or Add Distortion from the Effects panel.
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Distortion Maps
Distortion maps feature in the Lens Module only relate to Mocha Pro
and are not available in Mocha HitFilm or Mocha AE
This format will render a map for programs that support color-based displacement or
distortion (such as UV or STMaps). This is also useful if you want to save a calibration
so it can be used on another shot, by importing the Distortion Map back into Mocha.
By default the Distortion Map will only render 1 frame, unless you have an animated
distortion calibrated in Mocha.
Distortion Maps may also generate a map larger than your footage dimensions in order
to accommodate overscan of the distortion.
1. Click on Export Lens Data in the Lens Module or the File menu
2. Select "Distortion Map Clip" in the drop down
3. Note that:
a. The dimensions of the distortion map will be automatically calculated at a larger

size to your footage to make sure there is enough overscan for correct distortion.
b. The frame range is automatically set to only render 1 frame unless you have
an animated distortion.
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4. Choose whether you want to render a map to Undistort or Distort with the radio
buttons on the right
5. Choose a destination folder for the image
6. Distortion maps must be 32 bit floats, so TIF or DPX will be the best options
7. Click "Save"
8. Load the Distortion Map into the program of your choice
Using Tracking Data Exports with Lens
Using Tracking Data Exports with Undistorted Shots
If you have undistorted a shot and plan to export tracking data to the result, you will
need to check "Remove lens distortion" in the tracking data export dialog in order to
match the undistorted data.
This will make sure the tracking information is set to fit the same flattened information
you are using elsewhere.
Using Tracking Data Exports with Distorted Shots in After Effects
Equirectangular Lens Distortion does not currently support After

Effects Lens data export.
If you want to keep a shot distorted and plan to export tracking data, you will also need
to check "Remove lens distortion" in the tracking data export dialog and then apply the
lens distortion to the result in After Effects.
Because of the way After Effects handles render order, you need to do a few extra
steps to get a corner pin working correctly:
1. Click on Export Tracking Data… in the Track Module or the File menu.
2. Select your format and select the "Remove lens distortion" checkbox.
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3. Click "Copy to Clipboard".
4. Switch to After Effects.
5. Make sure your insert layer is the same size as the source comp. If not:
a. Precompose the layer and move all attributes into the new composition.
b. Open the Precomp and fit the layer to the composition dimensions (Layer |
Transform | Fit to Comp).
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c. Paste the tracking data you exported on the clipboard to the insert layer. You
will notice that it will probably not be sitting in the right spot. This is normal.
6. In order to apply the lens distortion to the insert layer correctly, you now need to
Precompose the layer to make it fit the same dimensions as the original source.
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. You can now go back to Mocha and export the Mocha Lens for After Effects data.
7. Paste the lens data you exported on the clipboard to the Precomposed insert layer.
8. Choose "Apply Distortion" from the drop down in the effect.
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If you notice your insert is clipping, this may be because the precomposed layer is going
past the boundaries of the pre-composition. You can fix this by opening the precomp
and making it larger:
1. Open the Lens-Distorted Precomp
2. Open Composition Settings
3. Increase the dimensions of the Composition. For example with a 1920x1080 shot
with large distortion try adjusting the width to 2500.
4. Close Composition Settings and go back to your original composition to check the
clipping
Tips for Lens Calibration

When working on large files, drop the proxy scale
If you set the proxy scale in View Controls from Full Res to Half Res it should still give
enough information to locate good lines, and will be a lot faster.
Make sure your aspect ratio is correct
Note that for the radial distortion models you need to have selected the correct pixel
aspect ratio for the images when you started the project. If you have chosen the correct
aspect ratio the image will appear in the correct proportions on the screen.
The film back width and height selected when you started the project determine the
pixel aspect ratio. Mocha Pro will normally select the correct film back from the image
dimensions, but sometimes it may be necessary to make manual adjustments if the
correct match was not found.
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Using Mocha Pro for 360 VR workflow

The Mocha Pro 360 features are specifically designed to work on equirectangular shots.
To use Mocha Pro on a 360 equirectangular shot you need to first set up the 360 image.
You can then begin using Mocha just like you would any other footage.
Using Equirectangular footage in Mocha Pro
1. Load Equirectangular footage into Mocha and set the Lens

type
The first step for working in 360 VR mode is to import and define you are working in
Equirectangular space.
Mocha Pro can set this in the New Project dialog on standalone:
Or in the Views drop down in the plugin:
You can also change to Equirectangular in the Lens module:
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1. Go to the Lens module
2. In the “Calibrate” section, choose “Equirectangular” from the drop down.
VR footage with an odd pixel width may not wrap correctly and you
could see artifacts.
And that’s it! You’re now ready to work in VR lens space. If at any time you want to
adjust the 360 view numerically, the fields Longitude, Latitude and Field of View are
available to adjust in the Lens page.
2. Switch to the Track module and view your footage in 360

mode
As soon as you have set the Equirectangular lens type, a new “360” button will appear
in the view controls. Switch over to the Track module and click on this button to
immediately jump to 360 Rectilinear space.
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If you press and hold the 360 button, you can also jump to a specific 360 view, such
as Zenith, Nadir, Front, etc.
To navigate in the 360 view:
• The Pan tool (X by default) pans the view in all directions
• The Zoom tool (Z by default) changes the Field of View (FOV). You can reset the
FOV in the Lens module
You can change the Pan and Zoom shortcut keys in preferences.
Panning and Zooming in 360 mode also updates the Latitude,

Longitude and FOV parameters in the Lens module. Panning and
Zooming outside of 360 mode just zooms and pans the image as
normal.
3. Draw a layer and start tracking
You can draw layers in either 360 view or Equirectangular mode.
We recommend working in 360 view, as this is the intended workflow and is much more
natural because you don’t have to consider seams or poles.
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See the Tracking Basics chapter for more details on how to set up layers for optimal
tracking.
(Images courtesy of Makoto Hirose, SeaPics Japan)
4. Rotoscope in 360 mode
Like tracking, we recommend doing all roto in 360 mode. Roto will automatically warp,
cross over poles and seams and create seam duplicates to make it easier for rendering
and export.
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Feathering is also handled in 360 mode using the inner and outer edges.
You can preview the flattened version of the roto at any time by simply toggling off the
360 button.
See the Rotoscoping Basics section for more details on Rotoscoping effectively.
(Images courtesy of Makoto Hirose, SeaPics Japan)
5. Work in Insert, Remove and Reorient modules
The Insert module and Remove module work exactly like regular Mocha Pro. See their
respective chapters in the user guide for more details.
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You still draw the layers and set up renders in the same way, and they are rendered
across the 360 seams correctly.
For Reorienting and stabilzing the horizon of a VR shot, you will need to use the
Reorient module, which is only available when your project is set to work with 360
footage. See Mocha Pro: The Reorient Module for more details on how to Reorient a
VR shot.
See other relevant module sections of this user guide for more details on each module
use.
The Camera Solve and Stabilize module are presently unsupported

in VR mode.
6. Render and Export
Rendering
Renders work in the same way as they do in the standard Mocha Pro workflow. You
can either render them to file, or render via the plugin host.
You can render the current 360 view from the Lens tab, as panning and zooming in
360 mode is a lens calibration. In the standalone, this is controlled via the Lens tab.
In the plugin, you can control and render the lens directly from the Mocha Pro plugin
interface. See Mocha Pro Lens Plugin Rendering Workflow for 360 VR below for more
details.
For everything else, such as Remove and Insert, renders are rendered into
Equirectangular space.
Exporting
Currently export of tracking data is unsupported. Tracking data will paste to the correct
location in your equirectangular view, but will not be corrected for Lens distortion due to
most editors and compositors not correctly supporting pole or seam splitting of tracking
data. It is best to use the Insert module render process to get what tracking data you
need out of Mocha.
Shape export data presently exports as duplicate splines. This means that any roto
shape that crosses the seam will automatically be duplicated into two separate splines
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on either side of the Equirectangular view. Split VR shape data is presently supported
for:
• After Effects and Premiere shapes
• Nuke Roto and RotoPaint
• SSF
For other compositors and editors you can either use the matte rendering in the Mocha
Pro plugin, or render matte clips from Mocha directly.
See Using the Mocha Pro Plugin for more details on controlling mattes in the plugin
interface and Exporting Rendered Shapes for how to render mattes to file.
Mocha Pro Plugin Lens Rendering Workflow for 360 VR

You can use the Lens: Undistort and Lens: Distort options in Mocha Pro Plugin to
render out 360 patches for easier paint and effect work back in the host.
The patch workflow is a one-way control system in the plugin interface independent of
the Mocha GUI, which means you don’t need to open Mocha to control the lens view.
By choosing Lens: Undistort from the render options in the plugin, you can then control
the view by adjusting three controls:
• VR Lens Latitude
• VR Lens Longitude
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• VR Lens FOV
Alternatively you can pick a view using the Views dropdown option. This replicates the
360 views in the Mocha GUI, allowing you to choose between specific angles such as
Zenith, Nadir, Front, etc.
The lens distortion workflow for the plugin is:
1. Click Render in the Module Renders section of the plugin interface and choose
Lens: Undistort from the Module drop down. You should see the view change to
a rendered 360 view.
2. If you don’t see the view change after choosing Lens: Undistort:
a. Open the Mocha GUI and set your footage to Equirectangular mode in the Lens
module.
b. Close and save Mocha
3. Set your view using the VR lens parameters in the plugin interface
4. Copy the current Mocha effect
5. If necessary, Nest/precomp the rendered lens patch. You must precomp in After
Effects for the next steps to work correctly.
6. Paste the original effect back on top of the nested comp.
7. Choose Lens: Distort from the Module drop down in the pasted effect to restore
the warp back to its original position
8. Merge/layer the final result back on top of your original footage.
You can then perform any paint or effect work on the lens-distorted version of the
footage and it will be re-distorted correctly on top of the original footage.
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The Reorient Module

This section applies specifically to Equirectangular 360 VR footage
To use the Reorient module on a 360 equirectangular shot you need to first set up the
360 image.
See the Using Mocha Pro for 360 workflow section for details on how to set up and
work in a 360 shot.
Reorienting Equirectangular Footage in Mocha Pro

The Mocha Pro Reorient Module provides two useful tools for adjusting the VR camera:
• The ability to track and stabilize the VR horizon in each rotational axis
• The ability to control the position of the VR horizon in tilt in each rotational axis
1. Track Horizon or Track Near-Objects
Horizon Tracking
The most efficient way to stabilize and reorient is to track a layer (or series of layers)
near the horizon. It doesn’t have to be exactly on the horizon, but it helps to be as
close as possible. Multiple layers in sequence will concatenate for a single solution
(see below).
Mocha assumes that if you are tracking with more than one layer
at a time that you’re using a near-object track. See "Near Object
Tracking" below.
Near-Object Tracking
From Mocha version 5.6.0 onwards, if you do not have an obvious horizon to track or
it is constantly obscured, the next best option is to use a series of layers closer to the
camera. You will need at least two layers that are non-coplanar, which is a fancy way
of saying "Not on the same plane". This is necessary for the Reorient module to work
out the relative motion between the planes and calculate a smooth result.
For example, if you are trying to reorient a scene with a corridor, tracking one wall is not
enough: You will need to also track the opposite (non-coplanar) wall or the floor/ceiling
to get the near-object depth for mocha to understand the movement of the scene.
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A Mix of Near-object and Horizon Tracking
If you have a long shot where you can see the horizon in parts and not in others you
can track both the horizon and near objects in sequence. Mocha will assume that a
single layer is tracking the horizon and multiple layers on the same frames are tracking
near-objects.
For example, you can track the ground plane and a wall plane and they are on different
planes.
Tracking Long or Rapidly Changing Shots
If a shot is moving very far, or has a lot of changes (such as moving through trees),
you can concatenate tracked layers together.
However, it is important to make sure there is a little overlap between the tracked layers
in order to blend the tracked layers together, for example:
• Layer 1: Tracked from frame 0 to frame 100

• Layer 2: Tracked from frame 90 to frame 280
• Layer 3: Tracked from frame 265 to 400
• Etc.
This helps to smooth any jumps from one tracked layer to the next.
2. Adjusting the Horizon
Like most modules in Mocha, to use the Reorient module stabilization you first need
a tracked layer.
1. Track a layer(s) for the stabilization (see step 1 above!)

2. Move to the Reorient module. This will turn on the View Horizon checkbox, which
shows the red horizon line on screen. It will also disable Preview so you can work
with the original clip.
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3. Adjust the red horizon line to fit your horizon using the column “Horizon Align”.
You can do this in either 360 mode or in Equirectangular mode. We recommend
Equirectangular mode, as it is much easier to see the whole horizon.
4. If you would prefer a visual control, you can turn on “Show Control” under the
Horizon Align rotation fields:
• Move up and down to control tilt
• Left and right to control pan
• Rotating the circle controls roll.
5. Once your line fits the horizon, you can turn off the View Horizon check box.
6. If Preview doesn’t turn on immediately, you can toggle it in the view
controls. The button is to the left of the 360 icon in the view controls.
3. Smoothing the Horizon

You can control the Smoothing to any rotational axis by turning off the tilt, roll and pan
controls.
For example, if you’re only interested in stopping the camera from panning, you can
just leave “Pan” on.
If you don’t want to lock the smoothing completely, you can turn off “Maximum
Smoothing” and adjust the number of frames to stabilize the horizon jitter.
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4. Reorienting the Horizon
Finally, if you want to position the camera exactly, you can do so by using the ‘Horizon
Reorient’ column.
This has exactly the same parameters as the Horizon Adjust column, allowing you to
either move the camera via the fields, or via the on-screen control.
If you have the Preview button turned on, it will update in the view automatically.
5. Rendering
Like all modules, you can choose to either render in the Mocha GUI, or choose
“Reorient” from the render options in the main plugin interface back in the host.
(Footage images courtesy of Makoto Hirose, SeaPics Japan)
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The Dope Sheet and Curve Editor

The Dope Sheet
The Dope Sheet is used to move, copy and paste keyframes in your layers.
Navigating the Dope Sheet

You can navigate the Dope Sheet space by using the scroll bars horizontally and
vertically.
Holding CTRL/CMD+Scrolling the mouse wheel will let you scale up and down the
timeline.
You can also zoom to specific ranges by selecting one of the options from the "View"
drop down at the top of the dopesheet view:
Group Keyframes vs Parameter Keyframes
As you create animation or tracking data, you will see a number of hollow keyframes
appear in the Dope Sheet. These are known as Group Keyframes which are keys that
contain multiple sets of Parameter Keyframes underneath them.
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You can move the Group Keyframes like normal animation keyframes, but instead of
a single animation key, they will move all the keyframes underneath them.
This is useful when you need to shift a whole section of animation in a layer, and not
just an individual point or parameter.
Expanding a section of the layer tree in the dope sheet will reveal either Parameter
Keyframes or more Group Keyframes, depending on how many levels in that layer tree
there are.
Selecting and Moving Keys
To select keyframes, you either click on one of them in the Dope Sheet, or marquee
select a section. You can use SHIFT to pick multiple keys.
You can move the keyframes manually by dragging them with the mouse, or you can
use the standard Copy/Paste keys (CTRL/CMD+C, CTRL/CMD+V) to copy keys and
paste them at the current playhead position. NOTE: At this time you cannot copy and
paste Group Keyframes, only Parameter/Animation keyframes.
Sliding Keys
To move all keyframes in the project up or down the timeline to accomodate frame
offsets or new clip lengths, you can use "Slide Keys".
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You can slide keyframes one of two ways:
1. Enter the keyframe position you want into the Slide Keys field and press enter
2. Select the "Move to playhead" button to push the keyframes to the current playhead
position.
If you need to only move some of the keyframes, just select the ones needed and use
the "Selected" radio button option before performing the slide.
The Curve Editor
The Curve Editor is used to review how the data in your animation and tracking looks,
as well as some value and frame manipulation options.
Navigating the Curve Editor
You may navigate the Curve Editor space by using the middle mouse button to Pan and
the mouse wheel to zoom. Alternately, you may pan using the ‘x’ key on the keyboard
and zoom using the ‘z’ key on the keyboard. When zooming with the ‘z’ key, left/right
mouse movements will zoom in/out horizontally and up/down mouse movements will
zoom vertically.
Selecting and Moving Keys
To select keyframes, you must first select the curve, then the keyframes. Keyframes
of unselected curves are not selectable.
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You may move the keyframes manually by dragging them with the mouse, or you may
type in a “Nudge” value at the top right of the Curve Editor.
Entering a negative value in the “Nudge Time” field and hitting the button will move
selected keyframes backwards in time by that amount every time you hit the button.
Entering a positive value in the “Nudge Value” field and hitting its button will move
selected keyframes up in value by that amount every time you hit the button.
Changing the Interpolation of Keys
Interpolation describes the method of how values are calculated between keyframes. It
defaults to linear interpolations between keyframes but you may wish to convert them
to Bezier for easing in and out. Or if you wish them to hold their position until the next
keyframe, you may wish to select Constant as the mode of interpolation.
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Right click on a selected keyframe and choose Interpolation->Bezier. Bezier tangent

controls will appear on your keys and you may adjust them for easing in and out.
Changing the Extrapolation of Keys
If a keyframe is the first or last keyframe on the curve, its extrapolation can be chosen.
Extrapolation describes the method of how values are calculated “off into space” before
the first keyframe or after the last keyframe. It defaults to Constant, which simply holds
the value steady.
Choose linear extrapolation and the curve editor will continue the value on its current
slope (sometimes called Gradient Extrapolation in other applications).
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The Clip Module
Managing clips
You can import any number of clips into the project. Much like a compositing application,
you can have a multitude of assets in the application you may wish to work with at
any given time. As clips are imported into the project, they populate Clip list drop-down
menus found throughout the application.
Above is shown a list of clips that have been loaded into a project.
You can also add additional footage streams to each clip in Mocha Pro using the Add…
button.
Importing New Clips
The first clip is always imported when you start a new project, and the location of the
clip’s footage stream is shown in the Footage Streams section to the right. The first
clip you start with establishes the aspect ratio and resolution for that project. This can
be adjusted in the clip tab.
Additional clips can be imported into the project through the Clip tab.
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The clips should match the original project clip ratio set for the project (the dimensions
of the first clip you imported when you started the project). You can choose the "inherit
attributes" drop down to match the original project clip settings.
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Clip and Footage Stream Workflow
The Clip tab handles multiple footage streams in a single Mocha clip.
Clips consist of a container and one or more footage streams. Clips can contain any
number of footage streams, which you can then map to a view if required.
Most commonly you will only be working with one footage stream, which is mapped to
the Mono view. If you are working in stereo (Mocha Pro only) you will have multiple
views.
If you import multiple footage streams into the same clip, you can use the View
Mapping dropdown to change which footage stream is shown.
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If you are dealing with multi-channel clips such as EXR files, all views are loaded
automatically.
If you are working with individual views (TIF, DPX, JPG etc), you can import the
additional footage streams using the Add… button under the Footage Streams
dropdown (Mocha Pro only).
Importing New Footage Streams to an existing Clip
This feature is only available in Mocha Pro.
If you want to import additional footage streams in Mocha Pro, you can do so using the
Import button under the Footage Streams dropdown.
You can then choose a new footage stream to add to the current clip from the Import
dialog.
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Removing Clips
You may clean up the project by deleting clips you no longer need. Select the clip in
the clip drop-down list and hit Delete. That clip will be removed from the project.
Relinking Clips
When moving project files or updating footage, you may need to relocate the footage
on your system. To do this:
1. Select the clip you need to relink from the clip drop-down list
2. In the Footage Streams section of your clip, choose the footage stream you want
to relink. Most commonly for non-stereo projects there will only be one clip stream.
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3. You will be presented with a relink dialog. Click the Choose… button to browse for
a new clip you wish the original to be replaced by.
4. Make sure an imported footage stream has the same aspect ratio as the original
project clip. You can conform your relinked clip to the current settings in the project,
or keep them the same.
Selecting a Clip to Track
Most often, the first clip you imported will be the one you wish to track. There are times
when you may get an updated shot with color correction or some other enhancements
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to make tracking easier. To use this new clip, you must first import it into the project
as described above.
To select to track on this new clip, you must choose it in the Track tab’s Input drop-
down.
An imported clip must have inherited attributes from the original base
clip to become trackable. See "Importing Clips" above.
Selecting a Clip to Rotoscope

Rotoscoping can be done on any of the clips you have imported. To change the clip
you are viewing in the canvas, select the clip in the View Controls drop-down list. You
will notice that any clip you’ve imported into the project will appear here.
An imported clip must have inherited attributes from the original base
clip to be able to roto correctly. See "Importing Clips" above.
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Keyboard Shortcuts
Keyboard Shortcut customization
You can now customize keyboard shortcuts for almost every tool, action and menu
item in Mocha.
You can access the keyboard shortcut customization dialog in two

ways:
1. Directly, via File | Keyboard | Customize…

2. By going to Mocha Preferences and clicking the Key Shortcuts tab.
You can create a new profile by duplicating a default profile, then customize the keys.
These profiles are then available from the Keyboard menu:
Keyboard customization is very simple:
1. Duplicate one of the default profiles and rename it

2. Select a category and choose an action you want to change or add a key sequence
to
3. Click in the "Shortcut" column
4. Enter your key sequence
5. Click anywhere outside of the entry cell to complete
6. Click "Default" if you want to revert your change back to the default shortcut
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Pressing return or delete/backspace counts as a key entry, so please

click outside the cell to complete the entry and use the "Clear" button
to clear an entry.
Default Mocha Shortcuts

Below are some of the common default shortcuts for Mocha
Tools
CTRL/CMD + F Enable Picker tool

I Toggle insert point mode on/off
Z Enable Zoom tool while pressed
X Enable Pan tool while pressed
CTRL/CMD + L Enable X spline tool
CTRL/CMD + B Enable Bezier spline tool
CTRL/CMD + Click Break Bezier handle
CTRL/CMD + Z Undo
CTRL/CMD + SHIFT + Z Redo
C Close contour
D Delete point
Transform
W Rotate
Q Translate
E Scale
Down Arrow Nudge Point/Layer down 1 pixel
Up Arrow Nudge Point/Layer up 1 pixel
Left Arrow Nudge Point/Layer left 1 pixel
Right Arrow Nudge Point/Layer right 1 pixel
SHIFT + Down Arrow Nudge Point/Layer down 10 pixels
SHIFT + Up Arrow Nudge Point/Layer up 10 pixels
SHIFT + Left Arrow Nudge Point/Layer left 10 pixels
SHIFT + Right Arrow Nudge Point/Layer right 10 pixels
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Viewer Canvas
- Zoom out
+ Zoom in
/ Zoom to 100%
* Zoom to fit
Alt + 1 Show/Hide Mattes
Alt + 2 Show/Hide Color Layer Mattes
Alt + 4 Show/Hide Layers
Alt + 5 Show/Hide Spline Tangents
Alt + 6 Show/Hide Surface
Alt + 7 Show/Hide Grid
Alt + 8 Show/Hide Zoom Windows
` (Back dash) Show/Hide All Overlays
Timeline
Alt + Left Arrow Go to start of clip

CTRL/CMD + Left Arrow Go to previous frame
CTRL/CMD + Right Arrow Go to next frame
Alt + Right Arrow Go to end of clip
ESC Stop processing
Space Start/stop playback
Alt + Down Arrow Set in-point
Alt + Up Arrow Set out-point
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Preferences
Some of the preferences below relate to Mocha Pro. Some
preferences may not be available in the Mocha Pro Plugin, Mocha
AE and Mocha HitFilm.
Preferences location
Preferences are accessed through File > Preferences on Windows or Linux (Mocha
Pro only) and Application Menu > Preferences on OS X.
Preferences are not changed until you click the OK button. In some cases you will need
to restart the Mocha application for preferences to take effect.
You can also choose to reset all preferences back to the default using the "Restore
Defaults" button in the bottom left of the dialog.
Output Settings
File Storage
Output Directory (Standalone only)
The Output Directory settings specify the default location of the directory in which the
project file and rendered clips are stored. There is a choice between:
• Relative Path: The project directory is a subdirectory of the directory containing the
original project clip. By default, the subdirectory is Results. If you often load your
project clip over a network, it would be best not to choose Relative Path, because
the performance of project and clip I/O will not be as fast as the local disk.
• Absolute Path: The project directory as an absolute path. For the best performance
choose a folder on a fast disk, with plenty of disk space available.
Autosave
The Autosave box is selected by default. This will automatically save the project you
are working on.
Set the interval between saves by increasing or decreasing the value in the Interval
(minutes) box. The default is 5 minutes. If Save Images Every Frame is checked,
rendered frames are saved to disk as soon as they are created in memory; otherwise
the render to disk only occurs when rendering a sequence of frames.
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You can define the Autosave directory or leave it to the system default.
In the standalone, if there is an autosave file available for the project you have loaded,
a dialog will appear asking if you want to open that instead.
In the plugin, the dialog will appear if there is an autosave available for a Mocha project
done in that host. You can then choose to open, save or remove the project file.
For example, if you are working in After Effects and there is a problem, recovering
your AE project and opening the Mocha GUI will show a Mocha Autosave recovery
dialog for the project made in After Effects. If you have other autosaves (for example
from another Mocha Pro plugin host), the recovery dialog will NOT appear, as it was
a project made in another program.
An example autosave file is called:
"mochaAE_plugin-6_aftereffects-16.mocha.autosave"
This literally translates to: "Mocha AE Plugin project saved in After Effects v16".
In standalone, Autosave is per-project, i.e it will be directly related to the project you
are working on. This is because we work with a 1-to-1 match of the project file name.
In the plugin, we can only save an autosave file per HOST, that is, we have no
knowledge of the project/layer that is being worked on, so we can only save based on
what we know, i.e the host the mocha project was saved in.
This means that in the plugin, a crash from a previous project will trigger a load prompt
in ANY project you open created in the same host. For example:
1. Create an After Effects project with Mocha

2. Autosave kicks in
3. Force quit with mocha still open
4. Reopen host
5. Start or open another AE project with Mocha
6. Open mocha GUI
7. A Load-Autosave file prompt shows up
We time-stamp the autosave dialog so you can have a better idea of when the file was
saved, but if you open the autosave it will replace your existing work.
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If your plugin autosave doesn’t automatically prompt to open, you can locate the
directory in the support path. By default these are:
• Windows: C:\Users\[username]\AppData\Roaming\BorisFX\Autosave
• macOS: ~/Library/Application Support/BorisFX/Autosave
• Linux: ~/.config/BorisFX/Autosave
You can then Open or Merge the file into a new or existing project.
Autosave Backups
We also back up each session autosave just in case a previous autosave has a problem
or you want to revert back to an older state.
You can define how many backups in the "Number of Backups field" next to the
Autosave interval field.
Autosave backups are saved to an "autosave_history" folder relative to the current

autosave file.
Cache Directory
Specify here the folder to use for caching image data and storing auto-saved project
files. For the best performance, choose a folder on a fast disk with plenty of disk space
available. A lot of data is written out in the background while you work, approximately
three times as much disk space as the taken up by the original clip will be used.
The Cache Original Clip box (Standalone only) is selected by default. This will cache the
original clip to the File Cache when a project is created or opened for a more efficient
playback and workflow. It is only necessary to check this if you are getting footage from
a slow network.
Disk Space Available
The available space in the given disk drive is shown here.
System
Application
Undo History Size
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The Maximum Size of the history is the number of user interactions stored in the undo/
redo command list. The limit is used to conserve memory.
Maximum Memory Usage
The Maximum percentage of memory Mocha will attempt to use.
Maximum threads per thread-pool (Advanced)
This feature is to limit the number of threads Mocha will use on multi-core machines.
On a machine with many cores, users may wish to limit the number of threads per
thread pool to prevent Mocha from creating too many threads and potentially crashing.
We recommend turning this feature on if you experience frequent crashes when

rendering or tracking on high-core machines.
The default value will be the number of available cores. A value of 16 is a good base
value to start from.
Track in Mocha AE
Check the box if you want to open Mocha Pro via the "Track in Mocha AE" option inside
After Effects, rather than loading the bundled Mocha AE.
UI Look and Feel
Number of Shown Layouts
Set how many layouts you want to appear in the View menu. The default is 3.
Field Controls
You can set either:
• Rotation Controls: Adjusts the value in the field by moving the mouse in a circular
motion. The larger the circle motion, the more refined the adjustment.
• Linear Controls: Drag left or right in the field to adjust the value.
Invert Mouse Wheel
Inverts the motion of when scrolling in a field increases the value or decreases it.
Enable mouse timeline scrolling
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Toggles scrolling the timeline playhead with the mouse wheel. This is on by default.
Tablet pressure sensitivity
Toggles whether Mocha reads tablet pressure sensitivity for tools such as the Area
Brush. On by default.
Layer Settings
Default Colors
Defines the default colors for Splines, Mattes and Points
Default Opacity
Defines the default opacity for mattes
X-Spline Default Weight
Sets the default weight of the x-spline control points
Default Bezier Length
Sets the default normalized length of the bezier tangent handles.
GPU
Any changes to GPU settings requires a restart of Mocha. For
standalone, this is simply closing Mocha and reopening.
For the Mocha plugin, you need to restart the host environment to
reload the plugin completely.
Display
Use Vertical Sync
Enable vertical sync in the frame display. We highly recommend you keep this on.
Amount of Texture RAM to Reserve
The amount of memory that you want to be reserved for textures. This determines how
many frames can be played back in real-time.
Textured rendering may not be compatible with Microsoft Windows Remote Desktop
Connection.
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Stereo [Mocha Pro Only]

Here you can enable Active Stereo viewing mode if it is available to you.
Matte Rendering
By default, Mocha will generate matte clips and track mattes by rendering with OpenGL
to an offscreen buffer. If Disable Offscreen Buffers is checked, Mocha will fall back to
a software-based matte rendering implementation which is slower and produces lower-
quality results, but will work on all hardware.
Most users should not need to use this option.
GPU Processing
This option is on by default and sets the planar tracker to use the graphics card instead
of the CPU. If this option is disabled it means you do not have a supported graphics
card for GPU tracking.
OpenCL Device
This option lets you choose the graphics card you want to use for GPU tracking. By
default this is set to Automatic, which attempts to choose the best available option.
Allow unsupported GPUs
This option lets you override the officially supported graphics card list and choose any
GPU on your system. Use this option with care as it may lead to unstable results.
Software Update [Mocha Pro Only]

Settings to check for software updates.
Color
Handles defaults for OCIO color settings. See the OpenColorIO (OCIO) chapter for
more details.
Clip
If you are working on a number of shots that share the same clip attributes (the same
video standard, frame rate and color space), it can be useful to set a default clip setting.
Then you will not have to re-enter the same clip information each time you load a clip.
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Defaults
FPS
Sets the default frame rate.
Custom PAR
Sets the default Custom option in Pixel Aspect Ratio
Frame Offset controls
Options to set you default timeline as frames or timecode, and set a fixed frame offset.
Output matte clips Check this option to output matte clips to disk when previewing
mattes (this option is only available in the standalone version of Mocha).
Revert in input clip Check this option to revert to the source clip if there is an
unrendered frame displayed in the viewer.
A yellow warning telling you the frame is not rendered will appear over the source frame.
Format
Setting the format defines what results are rendered out to, but also define what your
Cleanplate clips will be saved as.
Integer result clip format
What to set you rendering result output to for integer clip formats. Currently the choice
is between DPX and TIFF.
Float result clip format
What to set you rendering result output to for float clip formats. Currently the choice
is between EXR and TIFF. Float clips will be generated internally as 32-bit float,
increasing the precision of compositing operations but using more memory.
Interlacing
Select the Separate Fields button if you normally use field-based clips.
This will usually consist of a video clip with options for PAL (upper field first, also used
for SECAM) or NTSC (lower field first) field ordering. Separate Fields will de-interlace
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the clip and display both fields. When a clip is rendered, the fields will automatically be
interlaced back together again. There is also a 3:2 Pulldown option if you mainly work
with 3:2 pulldown material.
Video Files
Read/write using
The footage handling process to use. The default is GStreamer. You also have the
option to use QuickTime.
Note that your choice of clip media handler does not affect the opening of image
sequences such as TIFF, DPX, EXR and so on.
It also doesn’t affect any host source material being opened from the Mocha Plug-In,
but will affect any clip media you import directly from disk.
GStreamer
This is a versatile media handling library for reading in various codecs and footage
containers.
GStreamer currently has limited support for writing out of clips. More will be available
in later versions.
If you need to render out a clip to disk, we recommend using a lossless sequence such
as TIFF or DPX.
GStreamer is not supported on Apple M1 ARM-64 hardware at this

time.
Run in Rosetta mode if you need to use clip support on 10.15+
QuickTime
Open files using the QuickTime library. This will only open footage that QuickTime can
open.
QuickTime is unsupported on macOS 10.15 and above.

QuickTime will not work on systems that don’t have the QuickTime
essentials installed.
You must restart the host or the standalone application for any change to the read/
write settings.
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Mask
Sets the default clip mask.
Lens [Mocha Pro Only]

Camera Model
Sets the default distortion mode.
Logging
Diagnostic Logging
Enable Diagnostic Logging
This is selected by default. The file generated is useful for Boris FX engineers to
diagnose error messages and fix any problems. You can view the log by selecting View
Log from the Help menu. You can also change the location of the Log File from its
default.
Verbose Mode
This is set to off by default. If you are working on a labor-intensive project, you can
switch to only log errors as they occur, rather than constantly checking. This provides
less information in the event of an error, but can marginally improve performance.
Verbose mode also logs render times. If you are interested in measuring render
performance in your projects, check your log after rendering.
Usage Data Collection
Turn on this option to periodically send anonymous usage data to Boris FX so we can
improve our products.
Key Shortcuts
See the chapter on Keyboard Shortcuts for more information.
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OpenColorIO (OCIO) Color Management
OCIO Color Management
Some OCIO features are only available in Mocha Pro and may be
missing from Mocha AE.
Mocha has extensive color management tools based on the Open Source Color
Management framework called OpenColorIO (OCIO) .
To see more on OCIO, please visit the OCIO website: https://opencolorio.org/
A Brief Overview of Color Management
Color management in Visual Effects is very important for maintaining consistency

throughout a project. There are numerous footage sources of varying bit depths
and color spaces. Equally, there are numerous software and hardware solutions for
processing that footage. Industry standards (such as ACES) were put in place to make
it easier to pass footage in and out of an application without losing the color information
required to match other parts of the pipeline.
Mocha in the Color Pipeline
In order to match what is seen in the compositing or editing environment, Mocha can
match the colorspace use by the host (in a plug-in environment) or can be configured
to match the colorspace of supported software.
Since Mocha often renders out a result (be it a Matte or a render in Mocha Pro) we need
to make sure we are matching the original source Mocha is working with, otherwise
the output will not match.
Setting the Working Color Space
Mocha defaults to an OCIO configuration that matches the nuke-

default configuration found in Nuke by The Foundry.
To set a working colorspace, you can open the Viewer Preferences, which is located
in the top right-hand corner of the viewer:
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Then, choose a role from the “Working Color Space” drop down that matches your
current working space:
These options default to the Mocha OCIO config file, but may show varied options if
you are using a custom configuration file (ACES,for example).
Setting the Display View color space
To set a Display View colorspace, you can open the Viewer Preferences, which is
located in the top right-hand corner of the viewer:
Then choose a Display View type from the list in the drop down:
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Defining the Clip Color Space

To set a Clip color space, go to the Clip Module and switch to the Color Space tab.
You can then choose an option from the “Clip Color Space” drop down:
You can also convert the image Depth to float or 8-bit if so required:
These options default to the Mocha OCIO config file, but may show varied options if
you are using a custom configuration file.
Defining the Overall Project Color Space

You can define general color settings for the overall Project in the Project Settings
dialog.
This gives you all the colour settings in one place to setup the color workflow for clips,
display and working space.
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To access Project Settings, go to File > Project Settings…
Here the Color Space section is divided into several sections:
• OCIO config: Here you can change the OCIO config or reset back to the default.
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• Working Color Space: The color space or Role you want to work with
• Display View: The color view you want to display, such as sRGB, Rec709 etc
• Clip Color space Mode: This is either OCIO or Legacy, which is important if you
are opening projects from an earlier version of Mocha.
• Default Color Spaces: Here you can define what color space to set for clips at
various bit depths.
• Depth conversion: This lets you define if you want to convert clips by default to
8-bit or Float.
Loading OpenColorIO configurations into Mocha
Loading via the Mocha interface

You can load the path to a different config by accessing any of the config path options
in Mocha.
You can load a new config file path via:
• The Color tab in Preferences (where you can set defaults)

• The Viewer Preference dialog in the view controls
• The Project settings of a specific project
Configuration files are usually named as config.ocio in the directory of the color
standard you are working with.
Changing the color configuration will automatically update the Working Space, clip
space and Display View options.
Clicking the "Reset" button will reset your color to the Mocha default configuration.
OCIO Environment Variable

You can define an OCIO environment variable on your system to point to a custom
configuration.
For example, if you wanted to use the default Nuke OCIO config, you could define:
export OCIO=$HOME/OCIO/nuke-default/config.ocio
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Then run Mocha (or your plugin host) from the terminal after defining this variable.
You could also set the OCIO environment variable system-wide using an appropriate
OS-specific method (e.g. the Environment Variables dialog in Windows). If there is no
config set, you should see the Mocha default configuration in the interface.
If you set a valid config path, you should see the complete list of supported color spaces.
Once set, the OCIO config will be saved with the project.
Mocha Pro OCIO inside Silhouette

When using the Mocha Pro plugin inside Silhouette, you don’t generally need to worry
about setting a color space, as the plugin will try to inherit the current working color
space that Silhouette is using.
Setting Defaults for Color Space Workflow

If you’re planning on being in a particular working space for ongoing projects, you can
define defaults in Mocha Preferences under the Color tab:
These map exactly like the controls in Project Settings, but will be assigned
automatically when creating new projects.
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File Formats
Format support is mainly relevant to the standalone version of
Mocha Pro. The Mocha plugin reads the native host source, with the
exception of imports done inside the Mocha GUI.
Reading files via the Mocha Plug-In

If you are using the Mocha plug-in, footage handling is done via the host you are using
the plug-in with.
File input happens automatically when you launch the Mocha GUI. Mocha reads the
source footage directly from the layer, node or track you have applied Mocha to.
The formats below are only relevant to you if you need to import an external file from
disk, such as an additional Insert clip or matte clip.
Reading files via Mocha Standalone

Mocha can read in sequences, still images and video clip files.
In order to read in video clip files, you need to set the way video files are read in via
Preferences.
Mocha Standalone has two standards for reading in Media files from disk, which you
can set via the Clip section in Preferences:
• QuickTime: This is the legacy way of reading clip files. This method will only read
clip files that QuickTime supports. In order to use clips with QuickTime (i.e. not
image sequences) you must have QuickTime installed. Level of QuickTime support
can vary depending on the operating system.
• GStreamer: This is an open source multimedia framework for reading many

different file formats. It is the current default for reading clips into Mocha.
Supported in this version

Mocha supports most standard movie clip and image sequence formats.
Note that some of the file formats and codecs below will vary depending on whether
you have QuickTime or GStreamer selected in Preferences (see above).
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Movie clip formats
• AVI files (.avi)

• DV Stream files (.dv)
• MP4 files (.mp4)
• MPG files (.mpg)
• QuickTime Movie files (.mov and .qt)
• RED files (.r3d)
• AVCHD files (.mts, .m2t, .m2ts)
• Windows Media files (.wmv)
• MKV files (.mkv)
• MPEG movie files (.mpg, .m2v, .MPG)
• MXF files (.mxf)
Some clip formats such as MXF will use codecs that Mocha does
not support.
In this case you may need to convert the clip to another format. See
What to Do if Mocha Does Not Support Your Footage below.
Image formats
• OpenEXR files (.exr)

• OpenEXR 2.0 files (.exr)
• Cineon files (.cin)
• DPX files (.dpx)
• JPEG files (.jpg and .jpeg)
• PNG files (.png)
• SGI files (.bw, .iris, .rgb, .rgba and .sgi)
• TGA files (.tga)
• TIFF files (.tif and .TIFF)
Not Directly Supported in this version

These formats are either not supported directly by Mocha or require additional plugins
for QuickTime or your system.
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Movie clip formats
• Cineform files (without supporting codec)
Image formats
• RAW image files (.RAW)

• BMP files (.bmp)
What to Do if Mocha Does Not Support Your Footage

In the event that you are working in a format that Mocha doesn’t support, we
recommend converting the footage to an image sequence.
If you are just tracking, you can use any compressed format such as a JPG sequence
and then use your original footage when you apply the data.
If you are going to be doing rendering, such as using Mocha Pro’s remove or insert
modules, then we recommend converting to a DPX or TIFF sequence.
Make sure of the following when converting to an image sequence:
1. The frame rate, aspect ratio and dimensions are the same as the original footage.
2. If you are creating proxy footage, make sure the aspect ratio and frame rate are
the same.
3. If you are using a particular bit depth, make sure you convert to the same depth if
you are using the footage for rendering inside Mocha
4. If using compressed footage, don’t set the compression too low, as this will create
artifacts that may hinder tracking and roto.
5. Make sure Mocha supports the sequence you are converting to!
If you would prefer to convert to a movie clip format then we recommend a standard
format that QuickTime would understand, such as Animation or ProRes.
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Command Line
Below you will find a list of command line arguments that can be used to load mocha
with preset parameters.
Note that loading a project file on the command line will ignore all other parameters.
Standard usage:
+mocha [arguments] [file…]
Table 1. Arguments
--in frame Specifies an in-point frame for your

footage. The frame value is zero-
indexed, so all in points assume a
base of 0. For example, If your frames
start at 250 and you want to begin at
261, you would type mocha --in 12
myFootage.mov. A 0.5 value will let
you set on the second field in interlaced
footage, for example: mocha --in
12.5
--out frame Specifies an out-point frame for your
footage. The frame value is zero-
indexed, so all out points assume a
base of 0. For example, If your frames
start at 250 and you want to end at
261, you would type mocha --out 12
myFootage.mov. A 0.5 value will let
you set on the second field in interlaced
footage, for example: mocha --in
12.5
--frame-rate fps Set the frame rate for the imported
footage. For example mocha --frame-
rate 24 myFootage.mov
--par par Set the Pixel Aspect Ratio for the
imported footage. For example mocha
--par 0.5 myFootage.mov
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--interlace-mode mode Set the interlacing mode for field

ordering and pulldown for the imported
footage. For example mocha --
interlace-mode 1 myFootage.mov
See Table 18.2 below for interlace mode
codes.
Table 2. Interlace Modes
0 Progressive
1 Sets interlaced mode UPPER FIELD
FIRST
2 Sets interlaced mode LOWER FIELD
FIRST
3 Sets interlaced mode 3:2 PULLDOWN
UPPER FIELD FIRST AA
UPPER FIELD FIRST BB
UPPER FIELD FIRST BC
UPPER FIELD FIRST CD
UPPER FIELD FIRST DD
LOWER FIELD FIRST AA
LOWER FIELD FIRST BB
LOWER FIELD FIRST BC
LOWER FIELD FIRST CD
LOWER FIELD FIRST DD
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Environment Variables
Mocha can be initialised with several different environment variables to make it easier
to configure across studios.
Checking and Setting Environment Variables

Depending on your system, there are different ways to setup the environment variables.
Here is a general guide.
Linux and macOS
The most common way to set environment variables in Linux and macOS is via the
command line.
It is best to check if an environment variable is set before you try creating it. You can
do this on Linux or macOS by typing the following into the terminal:
printenv
Alternatively if you want to check the specific variable you can type it after the command:
printenv MOCHA_INIT_SCRIPT
To set an environment variable on Linux or macOS for any programs run from the
current shell, you use the export command:
export MOCHA_INIT_SCRIPT="/path/to/my/scripts"
To set an environment variable persistently, including for programs launched from the
UI, varies by platform.
On macOS the recommended way is <transcribe from the shotgun website>.
On Linux, set it in your bashrc file or follow directions for your Linux distribution.
Windows
The most common way to set environment variables in Windows is via the Environment
Variables dialog in System Properties.
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There are numerous ways to get to this dialog, but the easiest on Windows 10 is to:
1. Press the Windows key or click the start menu

2. Type "environment"
3. Select the "Edit the system environment variables" option that appears at the top
of the list.
4. Click the "Environment Variables…" button at the bottom of the dialog that appears
Once in the dialog, it is best to check if an environment variable is set before you try
creating it.
To set an environment variable on Windows:
1. Click the "New…" button in the user variables section

2. Enter your environment variable name into the "Variable name" field (such as
MOCHA_INIT_SCRIPT)
3. Enter the value you want to set to this variable in the "Variable Value" field (eg. /
path/to/my/scripts)
4. Click "OK"
Path variables
MOCHA_INIT_SCRIPT
This is used to set the Python init.py script directory.
If the MOCHA_INIT_SCRIPT environment variable points to a file, that file will be used,
if it points to a directory, it will look specifically for init.py in that directory. If unset, the
default locations be used.
An example of setting the MOCHA_INIT_SCRIPT variable as a directory:
MOCHA_INIT_SCRIPT='/Users/Mocha/my_scripts/'
See the Mocha Python Guide for more details on how to use init.py and Python scripts
in Mocha.
OCIO
If you need to point to your OCIO config across many applications, or just want to
automate the configuration, you can use the standard OCIO path environment variable.
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This should specifically point to the config file rather than the directory, for example:
OCIO='/Users/Mocha/my_LUTS/ocio.config'
Display Variables
QT_SCREEN_SCALE_FACTORS
While not specific to Mocha, this environment variable is mostly used to adjust the
scaling of the graphics and text in the GUI when working on high resolution monitors.
If you are having difficulty getting GUI scaling to work, try this variable.
The default for this variable is 1.0, that is, the same scale as the current display scale.
A scale of 0.5 would be half the current display scale, and a scale of 2.0 would be
double the size.
An example of setting the QT_SCREEN_SCALE_FACTORS variable to 2.0:
QT_SCREEN_SCALE_FACTORS=2.0
If there is more than one screen, you can separate the displays with semicolons. For
example in a two-monitor setup with different resolutions:
QT_SCREEN_SCALE_FACTORS=2;1
MOCHA_QT_SCREEN_SCALE_FACTORS
If you are already using QT_SCREEN_SCALE_FACTORS to affect other programs, you
may get conflicting scales with Mocha.
To get around this, you can use MOCHA_QT_SCREEN_SCALE_FACTORS which

overrides the more general environment variable above.
An example of setting the MOCHA_QT_SCREEN_SCALE_FACTORS variable to 2.0:
MOCHA_QT_SCREEN_SCALE_FACTORS=2.0
If there is more than one screen, you can separate the displays with semicolons. For
example in a two-monitor setup with different resolutions:
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MOCHA_QT_SCREEN_SCALE_FACTORS=2;1
License Variables
If you want to point to a default Mocha license directory or file via environment variable,
use genarts_LICENSE, which affects all Boris FX products.
It uses the usual RLM syntax, e.g:
`genarts_LICENSE=5053@server-name`
`genarts_LICENSE=/path/to/file.lic`
You can also set up the RLM environment variable to read all .lic files in a directory:
genarts_LICENSE='your/rlm/directory`
If you wish to point all RLM-based software, including products from other companies
such as the Foundry, to a common license server, you can point to RLM_LICENSE
instead:
RLM_LICENSE='your/rlm/directory`
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Installing Node-Locked Licenses
Node-locked Installation
1. Make sure you have downloaded the correct version of Mocha for your operating
system. The licensing system for this version is different from v5 and earlier.
2. Make sure that your version of Mocha is the product you have purchased (You
will not be able to use a Mocha Pro AVX Plugin activation code for Mocha Pro
standalone unless you have a multi-host license for example.).
3. You will need to install the Mocha package:
• Apple OS: Double-click the dmg package and drag the application to your
application folder
• Windows: Double-click the exe package and follow the instructions
• Linux: Double-click the installation rpm file and follow the on screen instructions.
(64-bit versions of the software will not run on a 32-bit version of Linux).
Standard Node-Locked License Activation for Mocha Pro

Standalone
When you purchase your license, you will be emailed a serial number. To activate:
1. Make sure you are connected to the internet
2. Open Mocha and choose Activate from the welcome screen or Activate nodelocked
License from the help menu.
3. The BorisFX License Tool will load. Choose "Activate your license now":
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4. Paste the serial number into the available activation field and click Continue
5. If the activation is successful, details will appear on the next page:
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6. Your license should now be installed and Mocha will close to reset into a licensed
state:
7. Reopen Mocha to start using your licensed version!
If your machine is not connected to the internet, or you are behind a firewall:
1. Open Mocha and choose Activate from the welcome screen or Activate nodelocked
license from the help menu.
2. . The BorisFX License Tool will load. Choose "Activate your license manually" from
the alternative options:
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3. You will be provided with file fields to load a key file:
4. Download and save the key file that you received from your license email from a
computer that has Internet connection.
5. Transfer the key file to your offline machine you are going to activate via a flash/
thumb drive or a shared network.
6. Select the location of the key file in the first field.
7. Pick a location for the request file (which will be created) in the second field.
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8. Copy the request file (.req) to a machine with an Internet connection.
9. Upload it to http://activation.borisfx.com/offline-activation.php.
10.Save the activation file it returns (via download or email), and copy that back to the
offline machine.
11.Enter its location into to the license tool:
12.Your license should install automatically and Mocha will close.
13.Reopen Mocha to start using your licensed version!
Standard Node-Locked License Activation for Mocha Pro

Plugin
First locate the licensing button for your host plugin.
Adobe After Effects Plugin License
For After Effects this is called "License…" and sits on the bar of the effect title in your
Effect Controls:
Adobe Premiere Plugin License
For Premiere, click the small icon next to the effect title:
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Avid Media Composer License
For Avid, click the License Control checkbox under the License and Registration section
at the bottom of the plugin controls:
OFX Hosts License
For OFX hosts such as Nuke, Fusion, Hitfilm, Vegas, Flame and so on, click the License
Control button under the License and Registration section at the bottom of the plugin
controls:
Note that the look of this button will vary in the OFX plugin from host to host, but the
location and button name will always be the same.
Follow the regular activation procedure
After that, the rest of the activation procedure is the same as the process above for
Mocha standalone. See "Standard Node-Locked License Activation for Mocha Pro
Standalone" for more details. We recommend restarting the host if you see any issues
with licensing.
Node-Locked License Troubleshooting
1. It is important that your Mocha software matches your activation code, so check
your purchase order to make sure everything matches up version wise. It may
be that you don’t have the correct version of Mocha installed from our download
section. This is especially important for legacy software before V5, where a different
licensing method is used.
2. If you are attempting to install via a terminal instead of directly on the machine itself
and you are having trouble getting Mocha to install, try installing directly on the
machine.
3. Check to make sure you are not restricted to using certain ports due to a firewall or
other admin permissions. When in doubt, temporarily turn your firewalls off for the
duration of the installation and then turn them back on when you are done.
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4. Troubleshoot your machine; try uninstalling all your Mocha software, restarting your
machine, and installing the software again from scratch, and make sure you follow
installation directions off our website exactly. It sounds redundant, but sometimes
it’s a great way to figure out what is going on inside your machine.
5. If all else fails, our support team is happy to help you figure this out. Please contact
support!
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Installing Floating Licenses

This guide will walk you through the process of installing floating licenses. Installing
node-locked licenses does not require the use of the license manager. See above.
Floating licenses - How it works

A floating license allows central administration of your license deployment, avoiding
the need to manually activate and deactivate our software on every machine, which is
particularly beneficial for large facilities.
Configuring a new machine to use your floating license server is very straightforward
and requires no internet connection.
Similarly, replacing a failed machine can be done without needing to contact technical
support for the license to be released.
How do I Install the Floating License Server?

Mocha uses the Boris FX RLM License server for floating licenses.
You can download the license server from the Boris FX website. See the steps below.
Floating licenses are easy to set up if if you are familiar with configuring network
services, but if you need any help with the process, please contact technical support.
To configure a license server you must have Administrator (or root)

privileges
Installing Floating Licenses with Online Activation
1. Download the RLM License Manager from the download section here: RLM License
1
Server .
2. Run the License Manager file then follow the installation prompts
3. Open a Web browser and go to: http://SERVERNAME:5054/goforms/activate

(Replace “SERVERNAME” with the name of the license server)
4. Click "BEGIN License Activation"
1
https://borisfx.com/downloads/?&product=RLM%20License%20Server
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5. Enter activation.genarts.com in the “ISV activation website” field provided

and click “Next”.
6. Enter genarts in the “ISV” field
7. Copy and paste your Mocha Activation Key license that you received from your
license email into the “License activation key” field. Then, click “Next”
8. Your Ethernet address will auto-populate in the “License Server or Node-lock

hostid” field. Accept the auto-populated Ethernet address
9. Enter the number of licenses that should be locked to this server in the “License
count (for floating licenses)” field. Or just enter 0 to assign all licenses to the
specified server. Click “Next”
10.A default license location will auto-populate in the “License File to create or edit”
field. Accept the default license location and click “Next”.
11.On the “Activation Request Data” screen, verify all the information you have
entered, and click “REQUEST LICENSE”
12.On the “License Activation” page, click on “(Re)start License Server”
13.Then, on the “Reread/Restart Servers” page, click on “Reread/Restart”
The license server should now be set up.
To confirm that the Boris FX license server is working, go to http://SERVERNAME:5054

(replace SERVERNAME with the name of the server), and click “Status” on the top left
hand corner.
genarts should show up under the ISV Servers and it will say Running: Yes.
Installing Floating Licenses with Offline Activation
In cases where you cannot install the license via an Activation code (normally where
the server is not connected to the internet) you can manually install your license:
1. On a machine with internet access, download the RLM License Manager from the
2
download section here: RLM License Server
2. Install the License Manager on both the machine that has an internet connection
AND the offline server you intend to run on (You will use the online machine to get
the license for your offline server)
2
https://borisfx.com/downloads/?&product=RLM%20License%20Server
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3. One the online computer, open a web browser and go to: http://
SERVERNAME:5054/goforms/activate (Replace “SERVERNAME” with the name
of the license server)
4. Click "BEGIN License Activation"
5. Enter activation.genarts.com in the “ISV activation website” field provided
and click “Next”.
6. Enter genarts in the “ISV” field
7. Copy and paste your Mocha Activation Key license that you received from your
license email into the “License activation key” field. Then, click “Next”
8. The Ethernet address of the machine you are on will auto-populate in the “License
Server or Node-lock hostid” field. You will need to overwrite it with the Ethernet
address of the offline license server. To find the Ethernet address on the offline
license server:
a. For RLM Server v13 and newer:
• On Windows: Go to start → Boris FX RLM Server → Get RLM HostID
• On Mac: In a console type: “/Library/Application Support/BorisFX/rlm/Get
Hostid.py”
• On Linux: In a terminal type: /usr/borisfx/rlm/hostid_wrapper.py
b. For older versions of RLM Server:
• On Windows: Go to start → GenArtsRLMServer → Get RLM HostID
• On Mac: In a console type: “/Library/Application Support/GenArts/rlm/Get
Hostid.py”
• On Linux: In a terminal type: /usr/genarts/rlm/hostid_wrapper.py
9. The command above will print out the results – Get the first mac address from the
first line: “Hostid of this machine:“
10.Enter the mac address into the online “License Server or Node-lock hostid” field.
11.Enter the number of licenses that should be locked to this server in the “License
count (for floating licenses)” field. Or just enter 0 to assign all licenses to the
specified server. Click “Next”
12.A default license location will auto-populate in the “License File to create or edit”
field. Replace the default location to a location that you can easily write to and
access the file, such as your Desktop or the Downloads folder.
13.Click "Next"
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14.On the “Activation Request Data” screen, verify all the information you have
entered, and click “REQUEST LICENSE”
15.On the “License Activation” page, click on “(Re)start License Server”
16.Then, on the “Reread/Restart Servers” page, click on “Reread/Restart”
17.Transfer the License File on to the offline license server and save the License File
to the RLM directory.
a. For RLM Server v13 and newer:
• For Windows: C:\Program Files\BorisFX\rlm
• For Mac: /Library/Application Support/BorisFX/rlm/
• For Linux: /usr/borisfx/rlm/
b. For older versions of RLM Server:
• For Windows: C:\Program Files (x86)\GenArts\rlm
• For Mac: /Library/Application Support/GenArts/rlm/
• For Linux: /usr/genarts/rlm/
18.Open the License File in a text editor and edit the file with your offline server’s
Hostname
19.Open a Web browser on the offline server, go to http://localhost:5054 and click on
“(Re)Start License Server”
This completes the License server set up.
To confirm that the Boris FX license server is working, go to http://SERVERNAME:5054

(replace SERVERNAME with the name of the server), and click “Status” on the top left
hand corner. genarts should show up under the ISV Servers and it will say Running:
Yes.
Now that everything is installed and activated, you no longer need the RLM server
installed on the temporary online computer – you can remove it at this time.
Installing the Floating Client License on a Client Machine

(Manual Install)
If you haven’t yet installed the server license, follow the instructions above in How do I
Install the Floating License Server. Once you have the server license installed, perform
the following steps to get the client license running:
1. Install Mocha on the client machine
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2. Get the host line from the server license, which looks like this: HOST ServerName
EthernetAddress PortNumber
For example, HOST camelot 00000000042e 5053
3. Create a new file in a text editor called mocha_client.lic. The file name is not
important, as long as the .lic extension exists.
4. Paste in the HOST line into the client license file and press enter to create a new line
5. You can either keep the server Mac address in the client or replace it with the word
"any". See example below:
mocha_client.lic
HOST camelot any 5053
6. Save the file to the Mocha RLM directory. For your particular system this is:
• For Windows: C:\ProgramData\GenArts\rlm
7. If the installation is successful, you will now be able to use Mocha
How do I point to the server license using an

Environment Variable?
If you want to point to a license file via environment variable, use genarts_LICENSE.
It uses the usual RLM syntax, e.g:
genarts_LICENSE=5053@server-name
genarts_LICENSE=/path/to/file.lic
You can also set up the RLM environment variable to read all .lic files in a directory:
genarts_LICENSE=your/rlm/directory
The genarts in the environment variable name must be lower case.
Troubleshooting Floating Licenses

As with any software, problems may arise during the installation process. Please take
a moment to read our troubleshooting section and check for common errors.
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If you continue to have issues installing, please contact support and we will be happy
to help you. You may contact our support team here: https://borisfx.com/support/open-
a-case/
Verify your server license has been successfully installed
Check that your license actually exists on the Server:
For RLM Server v13 and newer:
• For Windows: C:\Program Files\BorisFX\rlm
• For Mac: /Library/Application Support/BorisFX/rlm/
• For Linux: /usr/borisfx/rlm/
For older versions of RLM Server:
• For Windows: C:\Program Files (x86)\GenArts\rlm
Verify your client license has been successfully installed
Check that your client license actually exists on the client machine:
• For Windows: C:\ProgramData\GenArts\rlm
Verify you are using the latest version of the license server
software.
Check to make sure your License Manager is up to date.
Verify there is not a firewall running between the server and

the client computer
If your organization needs to run a firewall, you will need to check if the ports for the
RLM server are open for use.
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Check to make sure your Mocha software matches your

activation code
Check your purchase order to make sure everything matches up version wise. It may be
that you don’t have the correct version of Mocha installed from our download section.
This is especially important for legacy software.
Check for conflicting licenses installed in your licensing

folder
If you have more than one Mocha license installed on the server or client machine check
to make sure they are not expired licenses. While rare, sometimes these licenses can
conflict with any current ones you have on your system.
The client does not connect or see the server host name
If your client machine does not connect to the server based on the server name, try
replacing the server name with the IP address of the server instead in the license file.
You can easily do this via the License Manager or via a text editor.
When in doubt, check the logs!
Check logs and their paths: Read the logs from Mocha and from your server, they will
tell you all about what is happening to your machine.
Check your firewall settings
Check to make sure you are not restricted to using certain ports due to a firewall or other
admin permissions. When in doubt, temporarily turn your firewalls off for the duration
of the installation and then turn them back on when you are done.
Check your host name settings
If your client machine is not able to connect to the server you may have a networking
issue. Try changing the server name in the client license to the IP address of the server
instead, or check to see if your host has ".local" appended to the end of it. You can
also do this in any text editor by opening up the client license and server license and
manually editing the server name.
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Sometimes the best solution is to start again
You might roll your eyes at this one, but try uninstalling, restarting your machine,
and installing the software again from scratch. Make sure you follow installation
directions off our website exactly. It sounds redundant, but sometimes it’s a great way
to troubleshoot what is going on inside your machine.
When all else fails…
Contact us! Our support team are more than happy to help you fix any floating license
issues you may have. Please contact support here: https://borisfx.com/support/open-
a-case/
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Installing Render Licenses

This section will discuss the installation of floating render licenses and how they differ
from standard interactive floating licensed.
Render Floating Licenses vs Interactive Floating

Licenses
A render license is a specific kind of floating license that only allows rendering of Mocha
project output, be it inside a plugin or in the standalone application.
When you are using a floating license, it is broken into two parts: The interactive portion
and the rendering portion.
For plugins, this is separated like so:
1. If you open the Mocha GUI in the Mocha Pro Plugin (and a license is available) you
are entering the interactive portion.
2. If you are back in the host and not using interactive elements such as layer choosing
or opening the GUI, you are using the rendering portion of the license.
For the standalone, this is separated like so:
1. If you open the Mocha Pro standalone application (and a license is available) you
are entering the interactive portion.
2. If you have the Mocha Pro standalone application closed and are using the
mocharender.py render script, you are utilizing the rendering portion. (See the
Python guide for more details on rendering with mocharender.py)
If the interactive license is in use elsewhere or missing, the Mocha GUI will become
unlicensed and attempting further work may encrypt your project if you choose to save.
If you have no interactive floating licenses available to render with, additional render
licenses can be helpful to let you free up interactive licenses elsewhere.
Workflow for Render Licenses: Example 1
To help illustrate the Render License workflow, let’s look at the following situation:
• 5 floating licenses (interactive)

• 10 render licenses (render only)
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• There is only 1 user
The license server is operating with both sets of licenses.
• If only one person is using Mocha on the network, there are 4 interactive and 10
render licenses still available to use.
• If only that one person was using Mocha on the network, they would have 15 render
machines available for use including the one they were working with.
• If another person started working and all machines were in use for rendering, their
version of Mocha would be unlicensed, as there would be no available seats.
Workflow for Render Licenses: Example 2
To help illustrate the Render License workflow, let’s look at another situation:
• 5 floating licenses (interactive)

• 10 render licenses (render only)
• There are 5 users
The license server is operating with both sets of licenses.
• There are 5 people working in Mocha.

• If another user tries to work on a 6th machine, they will open Mocha unlicensed,
because all interactive licenses are in use.
• They open an existing project with Mocha in it (or render from the command line),
they will be able to render, because all render licenses are available.
Now, say one person wants to send off a render to the network:
• If 5 people are using Mocha on the network already, there would be 11 render
machines available for use including the one the user was presently working with.
• If another person stopped working in Mocha, the interactive license would be
released, and a new machine would then be free to either use for work (interactive)
or render (non-interactive) by another user.
Installing Render Floating Licenses

The installation of a render license is exactly the same as that of a standard interactive
floating license. See the Installing Floating Licenses for a complete guide.
380
File Management for Rendering on a Network

If you are planning to render either via the Mocha render scripts, an Adobe watch folder
or a render farm (for example in Nuke), there are some file workflows you need to adopt.
You will need to make sure the necessary source footage is available for all machines.
This includes anything you have imported into the Mocha GUI such as clean plates,
insert clips and other imported files.
These files need to be managed by any of the following methods:
• Placed in the same file structure on all machines
• Relinked manually with an interactive license on all machines
• Pointing to the same shared directory.
Failing to set this up may result in incorrect renders.
If you are using the plugin, you may have imported footage into the
Mocha GUI separate from the host source footage. Make sure any
imported footage is also available.
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Troubleshooting Mocha issues

Uh Oh. You’ve run into a problem using Mocha. Here are some guides to tackling some
roadblocks.
Common Error Messages

Mocha will occasionally throw out an error message when launching, tracking, or
performing rendering tasks.
Here are a fe of the more common messages you’ll see, and what they mean.
Tracking
"Tracking Terminated Prematurely"
Often paired with the error "One or more layers were not tracked properly."
This usually means Mocha can’t see where to track next. This can be for a variety of
reasons:
1. Your tracking area is too small or does use enough pixels. Try increasing the size
of the spline area or the Min % of pixels used.
2. The area you are tracking has jumped a significant distance. Try moving back
a frame where the tracking was good and increase the horizontal and/or vertical
search area.
3. The area has become completely obscured by something else, the edge of the shot
or by motion blur. Check the next frame to see where it went. If you can’t see an
obvious reason, try expanding the spline area, increasing the percentage of pixels
used, or move the spline to a different part of the shot that is coplanar to the area
you were tracking.
4. Mocha can’t find the frame. This could be because the host hasn’t sent the plugin
a frame or you have a corrupted frame on disk. Check if you need to purge your
cache or free up some memory.
"Tracking failed: couldn’t decompose motion matrix"
This usually means the tracking surface has gone behind the camera and cannot
calculate the plane as it’s gone out of bounds. Normally this happens in tracking with
extreme perspetive distortion.
382
One way around this is to track from the middle of the motion as opposed to starting
at one end.
Splines
"Point could not be transformed into frame due to distortion.

Error: SEL3"
When you move a point and get this error, there can be a couple of reasons for the
problem:
1. Usually this is a symptom of a bad track. The track has becme very distorted and
moving the point is trying to translate within that space.
2. A corrupted spline. This can happen when points are very close together or have
very extreme handles, or are looping in on themselve.
In both situations it’s often best to either find the problem point or keyframe and delete
it or remove the spline and attempt to retrack it.
File and clip problems
Frame Not Rendered in Clip
If you open Mocha and you may see a yellow warning that says "Frame X not Rendered
in Clip" and the name of a rendered clip, like Remove, Insert, Stabilize etc.
This is very normal. Your render cache is just cleared and needs to be re-rendered.
To go back to seeing your footage, you can either use the top left hand dropdown in
the viewer to select "Selected Layer" to view the source clip or you can click "Render"
to re-render the frames of the clip that you are missing.
If you’re wondering why you get this message at all, read on:
When you are in the standalone version of Mocha, you will often see the rendered clip
when you reopen, because it is not cleared unless you tell it to. In the plugin, however,
the render is always cleared on exit. You won’t ever see the render when you go back
to the Mocha GUI in the plugin, because it is always removed.
Because a plugin environment relies on the host’s images, if any changes are made
to the source footage (brightness, color correction, editing, effects etc) the plugin
needs to be updated with the new information. If we retain the old cached render, the
output wouldn’t reflect the changes made by the user in the host and you would get
383
inconsistent results. So, when you see a message saying “Frame X not rendered”, it
literally just means there isn’t currently a frame to view, because it’s either never been
rendered, or it’s been cleared.
"Failed to open file"
This error will also say "The file is corrupted or in an unsupported format."
Generally the reason this occurs is for that very reason: The file can’t be read because
it’s not currently supported. In most cases the best way to get back to work is to convert
the clip in question to an image sequence such as TIF or DPX.
You can also try to convert to one of the suppported media formats listed in the File
Formats section of the user guide.
"Bad Argument Provided"
If you get this error, it usually means the host hasn’t sent Mocha any readable
information.
This can be for several reasons: . The host has run out of cache memory and can’t
supply any new frames . The node or layer you’ve added the Mocha effect to has hold
or retiming applied to it and is feeding Mocha incorrect frames. . A frame is missing
or corrupted
In most cases, you need to solve this on the host end and find where the problem has
occured. If you’re unsure, please contact Boris FX support.
“Clip must be converted to 8 bit greyscale for use as a matte

clip.”
If you need to use a matte clip in your project you need to import a Grey formatted
file, not RGB.
If you don’t have a file that supports Grey as a color format, we do the conversion for
you and save the resulting clip to the clip cache.
License problems
"Licensing error: heartbeat failure"
The error occurs when a floating license client loses connection to the license the
server.
384
Normally to fix this you need to restablish the connection to the license server.
Common problems encountered when working with

Mocha
Tracking
Tracking slips or becomes erratic
In most cases, a slipping, drifting or jumping track is going to be because Mocha cannot
find the area you were tracking on the next frame.
There can be multiple causes for this, so let’s take a look at some common cases.
The tracking area has been interrupted or obscured
This is probably the most common. When the area you are tracking has something else
enter the layer shape, it can throw off the track.
This can be a small, high-contrast object entering the edges of the shape or even
completely covering the main area.
It can also be caused by the area itself updating, such as screens or reflective objects.
It’s important to check over your clip to see if anything (e.g. a bird, elbow, hair, etc) has
drifted into the space you are tracking. If it has, you need to either adjust your tracking
shape to avoid the object, or create a separate layer mask on top of your tracking layer.
In cases where the foreground interruption is very large, you may not have enough
information left in the tracking shape to get any worthwhile tracking data. In this case,
you may need to track a coplanar area or manually adjust the tracking to ignore the
problem.
The tracking area is moving very fast
If an object is moving fast, you can get two problems: The tracking not being able to
keep up and the introduction of motion blur.
If the object is moving very fast vertically or horizontally, you may need to turn off the
"Auto" checkboxes in the search area parameters and enter a larger value. If the object
is rotating or zooming/scaling very quickly, you can also adjust the angle and zoom
parameters to provide an estimate of the speed of motion.
385
For motion blur, it can be trickier. Start by increasing the Min % of Pixels used to see if
there is enough detail to keep Mocha latched on. If the track is still slipping, it may be
worth continuing the track and adjusting the drift with AjustTrack afterwards.
386
Third Party Open Source and Commercial

Licenses Used by Mocha
Mocha uses the following third-party libraries and commercial licenses. Where relevant,
full license text is listed under each heading.
Qt 5.12.3
Qt is available under the GNU Lesser General Public License version 3.
The source code for Qt 5.12.3 can be obtained from https://github.com/boris-fx/qt5/

tree/bfx/5.12.3
License
GNU LESSER GENERAL PUBLIC LICENSE

Version 3, 29 June 2007
Copyright (C) 2007 Free Software Foundation, Inc. <http://fsf.org/>

Everyone is permitted to copy and distribute verbatim copies
of this license document, but changing it is not allowed.
This version of the GNU Lesser General Public License incorporates

the terms and conditions of version 3 of the GNU General Public
License, supplemented by the additional permissions listed below.
0. Additional Definitions.
As used herein, "this License" refers to version 3 of the GNU Lesser

General Public License, and the "GNU GPL" refers to version 3 of the GNU
General Public License.
"The Library" refers to a covered work governed by this License,

other than an Application or a Combined Work as defined below.
An "Application" is any work that makes use of an interface provided

by the Library, but which is not otherwise based on the Library.
Defining a subclass of a class defined by the Library is deemed a mode
of using an interface provided by the Library.
A "Combined Work" is a work produced by combining or linking an

Application with the Library. The particular version of the Library
with which the Combined Work was made is also called the "Linked
Version".
387
The "Minimal Corresponding Source" for a Combined Work means the

Corresponding Source for the Combined Work, excluding any source code
for portions of the Combined Work that, considered in isolation, are
based on the Application, and not on the Linked Version.
The "Corresponding Application Code" for a Combined Work means the

object code and/or source code for the Application, including any data
and utility programs needed for reproducing the Combined Work from the
Application, but excluding the System Libraries of the Combined Work.
1. Exception to Section 3 of the GNU GPL.
You may convey a covered work under sections 3 and 4 of this License
without being bound by section 3 of the GNU GPL.
2. Conveying Modified Versions.
If you modify a copy of the Library, and, in your modifications, a

facility refers to a function or data to be supplied by an Application
that uses the facility (other than as an argument passed when the
facility is invoked), then you may convey a copy of the modified
version:
a) under this License, provided that you make a good faith effort to
ensure that, in the event an Application does not supply the
function or data, the facility still operates, and performs
whatever part of its purpose remains meaningful, or
b) under the GNU GPL, with none of the additional permissions of

this License applicable to that copy.
3. Object Code Incorporating Material from Library Header Files.
The object code form of an Application may incorporate material from

a header file that is part of the Library. You may convey such object
code under terms of your choice, provided that, if the incorporated
material is not limited to numerical parameters, data structure
layouts and accessors, or small macros, inline functions and templates
(ten or fewer lines in length), you do both of the following:
a) Give prominent notice with each copy of the object code that the
Library is used in it and that the Library and its use are
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b) Accompany the object code with a copy of the GNU GPL and this license
document.
388
4. Combined Works.
You may convey a Combined Work under terms of your choice that,
taken together, effectively do not restrict modification of the
portions of the Library contained in the Combined Work and reverse
engineering for debugging such modifications, if you also do each of
the following:
a) Give prominent notice with each copy of the Combined Work that
the Library is used in it and that the Library and its use are
covered by this License.
b) Accompany the Combined Work with a copy of the GNU GPL and this license
document.
c) For a Combined Work that displays copyright notices during

execution, include the copyright notice for the Library among
these notices, as well as a reference directing the user to the
copies of the GNU GPL and this license document.
d) Do one of the following:
0) Convey the Minimal Corresponding Source under the terms of this

License, and the Corresponding Application Code in a form
suitable for, and under terms that permit, the user to
recombine or relink the Application with a modified version of
the Linked Version to produce a modified Combined Work, in the
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Corresponding Source.
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Combined Work produced by recombining or relinking the
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you use option 4d0, the Installation Information must accompany
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389
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for conveying Corresponding Source.)
5. Combined Libraries.
You may place library facilities that are a work based on the
Library side by side in a single library together with other library
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License, and convey such a combined library under terms of your
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a) Accompany the combined library with a copy of the same work based
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b) Give prominent notice with the combined library that part of it

is a work based on the Library, and explaining where to find the
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6. Revised Versions of the GNU Lesser General Public License.
The Free Software Foundation may publish revised and/or new versions
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Each version is given a distinguishing version number. If the

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If the Library as you received it specifies that a proxy can decide

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Python
License
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-----------------------
/* Copyright (C) 1995-1998 Eric Young ([email protected])

* All rights reserved.
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This copy of the libpng notices is provided for your convenience. In case
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TRADEMARK:
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OSI CERTIFICATION:
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EXPORT CONTROL:
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it is open source, publicly available software, that does not contain
any encryption software. See the EAR, paragraphs 734.3(b)(3) and
734.7(b).
Glenn Randers-Pehrson
glennrp at users.sourceforge.net
July 15, 2018
libjpeg
This software is based in part on the work of the Independent JPEG Group.
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so that distribution is permitted only in or among countries not thus
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but may differ in detail to address new problems or concerns.
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NO WARRANTY
408
15. BECAUSE THE LIBRARY IS LICENSED FREE OF CHARGE, THERE IS NO

WARRANTY FOR THE LIBRARY, TO THE EXTENT PERMITTED BY APPLICABLE LAW.
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END OF TERMS AND CONDITIONS
How to Apply These Terms to Your New Libraries
If you develop a new library, and you want it to be of the greatest

possible use to the public, we recommend making it free software that
everyone can redistribute and change. You can do so by permitting
redistribution under these terms (or, alternatively, under the terms of
the
ordinary General Public License).
To apply these terms, attach the following notices to the library. It

is
safest to attach them to the start of each source file to most effectively
convey the exclusion of warranty; and each file should have at least the
"copyright" line and a pointer to where the full notice is found.
<one line to give the library's name and a brief idea of what it
does.>
Copyright (C) <year> <name of author>
This library is free software; you can redistribute it and/or

modify it under the terms of the GNU Lesser General Public
License as published by the Free Software Foundation; either
version 2.1 of the License, or (at your option) any later version.
409
This library is distributed in the hope that it will be useful,

but WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU
Lesser General Public License for more details.
You should have received a copy of the GNU Lesser General Public
License along with this library; if not, write to the Free Software
Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA
02110-1301 USA
Also add information on how to contact you by electronic and paper mail.
You should also get your employer (if you work as a programmer) or your
school, if any, to sign a "copyright disclaimer" for the library, if
necessary. Here is a sample; alter the names:
Yoyodyne, Inc., hereby disclaims all copyright interest in the

library `Frob' (a library for tweaking knobs) written by James Random
Hacker.
<signature of Ty Coon>, 1 April 1990

Ty Coon, President of Vice
Shiboken2
The source code for Shiboken2 can be obtained from https://github.com/boris-fx/
mocha-shiboken2/tree/5.12
Shiboken uses Lesser General Public License (LGPL) version 2.1.
License

Version 2.1, February 1999
Copyright (C) 1991, 1999 Free Software Foundation, Inc.

51 Franklin Street, Fifth Floor, Boston, MA 02110-1301 USA
[This is the first released version of the Lesser GPL. It also counts
as the successor of the GNU Library Public License, version 2, hence
the version number 2.1.]
Preamble
410
This license, the Lesser General Public License, applies to some

specially designated software packages--typically libraries--of the
Free Software Foundation and other authors who decide to use it. You
can use it too, but we suggest you first think carefully about whether
this license or the ordinary General Public License is the better
strategy to use in any particular case, based on the explanations below.
When we speak of free software, we are referring to freedom of use,

not price. Our General Public Licenses are designed to make sure that
you have the freedom to distribute copies of free software (and charge
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distributors to deny you these rights or to ask you to surrender these
rights. These restrictions translate to certain responsibilities for
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code. If you link other code with the library, you must provide
complete object files to the recipients, so that they can relink them
with the library after making changes to the library and recompiling
We protect your rights with a two-step method: (1) we copyright the

library, and (2) we offer you this license, which gives you legal
To protect each distributor, we want to make it very clear that

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Finally, software patents pose a constant threat to the existence of
411
any free program. We wish to make sure that a company cannot

effectively restrict the users of a free program by obtaining a
restrictive license from a patent holder. Therefore, we insist that
any patent license obtained for a version of the library must be
consistent with the full freedom of use specified in this license.
Most GNU software, including some libraries, is covered by the

ordinary GNU General Public License. This license, the GNU Lesser
General Public License, applies to certain designated libraries, and
is quite different from the ordinary General Public License. We use
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libraries into non-free programs.
When a program is linked with a library, whether statically or using

a shared library, the combination of the two is legally speaking a
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Public License permits more lax criteria for linking other code with
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We call this license the "Lesser" General Public License because it

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are the reason we use the ordinary General Public License for many
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For example, on rare occasions, there may be a special need to

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In other cases, permission to use a particular library in non-free

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Although the Lesser General Public License is Less protective of the

users' freedom, it does ensure that the user of a program that is
412
linked with the Library has the freedom and the wherewithal to run
that program using a modified version of the Library.

former contains code derived from the library, whereas the latter must
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0. This License Agreement applies to any software library or other

program which contains a notice placed by the copyright holder or
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Each licensee is addressed as "you".




413

Library.
fee.





414
it.


these notices.




415


6. As an exception to the Sections above, you may also combine or

of these things:

416

b) Use a suitable shared library mechanism for linking with the

Library. A suitable mechanism is one that (1) uses at run time a
copy of the library already present on the user's computer system,
rather than copying library functions into the executable, and (2)
will operate properly with a modified version of the library, if
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c) Accompany the work with a written offer, valid for at

d) If distribution of the work is made by offering access to copy

e) Verify that the user has already received a copy of these

the materials to be distributed need not include anything that is
normally distributed (in either source or binary form) with the major
the executable.

distribute.
417


Sections above.


You are not responsible for enforcing compliance by third parties with
this License.

418



impose that choice.


add
countries,
versions of the Lesser General Public License from time to time.

419
NO WARRANTY


DAMAGES.
How to Apply These Terms to Your New Libraries

the

is
420
does.>

modify it under the terms of the GNU Lesser General Public
version 2.1 of the License, or (at your option) any later version.

Lesser General Public License for more details.
You should have received a copy of the GNU Lesser General Public
License along with this library; if not, write to the Free Software
Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA
02110-1301 USA

Hacker.

FBX SDK
The FBX SDK is supplied by Autodesk.
License
This software contains Autodesk® FBX® code developed by Autodesk, Inc.

Copyright 2018 Autodesk, Inc. All rights, reserved. Such code is provided
"as is" and Autodesk, Inc. disclaims any and all warranties, whether
express or implied, including without limitation the implied warranties
of merchantability, fitness for a particular purpose or non-infringement
421
of third party rights. In no event shall Autodesk, Inc. be liable for

any direct, indirect, incidental, special, exemplary, or consequential
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or services; loss of use, data, or profits; or business interruption)
however caused and on any theory of liability, whether in contract,
strict liability, or tort (including negligence or otherwise) arising in
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OpenEXR
License
Copyright (c) 2002-2011, Industrial Light & Magic, a division of Lucasfilm

Entertainment Company Ltd. All rights reserved.

met:
Redistributions of source code must retain the above copyright notice,

this list of conditions and the following disclaimer.
Redistributions in binary form must reproduce the above copyright notice,
this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution.
Neither the name of Industrial Light & Magic nor the names of its
contributors may be used to endorse or promote products derived from this
software without specific prior written permission.
OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL,
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TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR
PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF
LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING
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SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
R3D SDK
This software is based in part on the work of RED.COM, LLC
422
FreeType
License
Portions of this software are copyright ©2009 The FreeType Project

(www.freetype.org).
All rights reserved.
fontconfig
License
Copyright © 2000,2001,2002,2003,2004,2006,2007 Keith Packard

Copyright © 2005 Patrick Lam
Copyright © 2009 Roozbeh Pournader
Copyright © 2008,2009 Red Hat, Inc.
Copyright © 2008 Danilo Šegan
Copyright © 2012 Google, Inc.
Permission to use, copy, modify, distribute, and sell this software and
its
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the above copyright notice appear in all copies and that both that
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without
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It
is provided "as is" without express or implied warranty.
THE AUTHOR(S) DISCLAIMS ALL WARRANTIES WITH REGARD TO THIS SOFTWARE,

INCLUDING ALL IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS, IN NO
EVENT SHALL THE AUTHOR(S) BE LIABLE FOR ANY SPECIAL, INDIRECT OR
CONSEQUENTIAL DAMAGES OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF
USE,
DATA OR PROFITS, WHETHER IN AN ACTION OF CONTRACT, NEGLIGENCE OR OTHER
TORTIOUS ACTION, ARISING OUT OF OR IN CONNECTION WITH THE USE OR
PERFORMANCE OF THIS SOFTWARE.
libtiff
License
423
Copyright (c) 1988-1997 Sam Leffler

Copyright (c) 1991-1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software and
its documentation for any purpose is hereby granted without fee, provided
that (i) the above copyright notices and this permission notice appear in
all copies of the software and related documentation, and (ii) the names
of
Sam Leffler and Silicon Graphics may not be used in any advertising or
publicity relating to the software without the specific, prior written
permission of Sam Leffler and Silicon Graphics.
THE SOFTWARE IS PROVIDED "AS-IS" AND WITHOUT WARRANTY OF ANY KIND,

EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY
WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR

ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND,
OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS,
WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF
LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE
OF THIS SOFTWARE.
uuid
OSSP uuid uses the MIT license.
License
OSSP uuid -- uuid Library

Copyright (c) 2002-2008 Ralf S. Engelschall
Copyright (c) 2002-2008 The OSSP Project
This file is part of OSSP uuid, a uuid library which

can be found at http://www.ossp.org/pkg/lib/uuid/.
Permission to use, copy, modify, and distribute this software for

any purpose with or without fee is hereby granted, provided that
the above copyright notice and this permission notice appear in all
copies.
THIS SOFTWARE IS PROVIDED `ÀS IS'' AND ANY EXPRESSED OR IMPLIED

WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED.
IN NO EVENT SHALL THE AUTHORS AND COPYRIGHT HOLDERS AND THEIR
424
CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL,

LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF
USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND
ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT
OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF
SUCH DAMAGE.
libxml
License
Copyright (C) 1998-2012 Daniel Veillard. All Rights Reserved.
Permission is hereby granted, free of charge, to any person obtaining a

copy
of this software and associated documentation files (the "Software"), to
deal
in the Software without restriction, including without limitation the
rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is fur-
nished to do so, subject to the following conditions:
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THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
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AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
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THE SOFTWARE.
libz
License
zlib.h -- interface of the 'zlib' general purpose compression library

version 1.2.11, January 15th, 2017
425
Copyright (C) 1995-2017 Jean-loup Gailly and Mark Adler
This software is provided 'as-is', without any express or implied

warranty. In no event will the authors be held liable for any damages
arising from the use of this software.
Permission is granted to anyone to use this software for any purpose,

including commercial applications, and to alter it and redistribute it
freely, subject to the following restrictions:
1. The origin of this software must not be misrepresented; you must not
claim that you wrote the original software. If you use this software
in a product, an acknowledgment in the product documentation would be
appreciated but is not required.
2. Altered source versions must be plainly marked as such, and must not
be
misrepresented as being the original software.
3. This notice may not be removed or altered from any source
distribution.
Jean-loup Gailly Mark Adler

[email protected] [email protected]
GStreamer
The source code for GStreamer 1.16.3 can be obtained from https://
gitlab.freedesktop.org/gstreamer. Boris FX modifications to gst-plugins-good are
available at https://github.com/boris-fx/gst-plugins-good/tree/1.16.
License
GNU LIBRARY GENERAL PUBLIC LICENSE

Version 2, June 1991
Copyright (C) 1991 Free Software Foundation, Inc.

51 Franklin St, Fifth Floor, Boston, MA 02110-1301,
USA
[This is the first released version of the library GPL. It is

numbered 2 because it goes with version 2 of the ordinary GPL.]
Preamble
426
This license, the Library General Public License, applies to some

specially designated Free Software Foundation software, and to any
other libraries whose authors decide to use it. You can use it for
your libraries, too.
When we speak of free software, we are referring to freedom, not

price. Our General Public Licenses are designed to make sure that you
have the freedom to distribute copies of free software (and charge for
this service if you wish), that you receive source code or can get it
if you want it, that you can change the software or use pieces of it
in new free programs; and that you know you can do these things.

anyone to deny you these rights or to ask you to surrender the rights.
These restrictions translate to certain responsibilities for you if
you distribute copies of the library, or if you modify it.

code. If you link a program with the library, you must provide
complete object files to the recipients so that they can relink them
with the library, after making changes to the library and recompiling
Our method of protecting your rights has two steps: (1) copyright
the library, and (2) offer you this license which gives you legal
Also, for each distributor's protection, we want to make certain

that everyone understands that there is no warranty for this free
library. If the library is modified by someone else and passed on, we
want its recipients to know that what they have is not the original
version, so that any problems introduced by others will not reflect on
the original authors' reputations.
Finally, any free program is threatened constantly by software

patents. We wish to avoid the danger that companies distributing free
software will individually obtain patent licenses, thus in effect
transforming the program into proprietary software. To prevent this,
we have made it clear that any patent must be licensed for everyone's
427
free use or not licensed at all.
Most GNU software, including some libraries, is covered by the ordinary

GNU General Public License, which was designed for utility programs. This
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The reason we have a separate public license for some libraries is that
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Because of this blurred distinction, using the ordinary General

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former contains code derived from the library, while the latter only
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Note that it is possible for a library to be covered by the ordinary

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GNU LIBRARY GENERAL PUBLIC LICENSE
428
0. This License Agreement applies to any software library which

contains a notice placed by the copyright holder or other authorized
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General Public License (also called "this License"). Each licensee is
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Library.
fee.
429





it.


430
these notices.




431


6. As an exception to the Sections above, you may also compile or

of these things:

b) Accompany the work with a written offer, valid for at

432

c) If distribution of the work is made by offering access to copy

d) Verify that the user has already received a copy of these

the source code distributed need not include anything that is normally
distributed (in either source or binary form) with the major
the executable.

distribute.

Sections above.


433
You are not responsible for enforcing compliance by third parties to
this License.



434
impose that choice.


add
countries,
versions of the Library General Public License from time to time.

NO WARRANTY

435

DAMAGES.
Appendix: How to Apply These Terms to Your New Libraries

the

is
does.>

modify it under the terms of the GNU Library General Public
version 2 of the License, or (at your option) any later version.

Library General Public License for more details.
You should have received a copy of the GNU Library General Public
436
License along with this library; if not, write to the Free

Software Foundation, Inc., 51 Franklin St, Fifth Floor, Boston, MA
02110-1301, USA.

Hacker.

That's all there is to it!
Alembic
License
TM & © 2009-2015 Lucasfilm Entertainment Company Ltd. or Lucasfilm Ltd.

All rights reserved.
Industrial Light & Magic, ILM and the Bulb and Gear design logo are all
registered trademarks or service marks of Lucasfilm Ltd.
© 2009-2015 Sony Pictures Imageworks Inc. All rights reserved.

met:
* Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer.
* Redistributions in binary form must reproduce the above
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* Neither the name of Industrial Light & Magic nor the names of
its contributors may be used to endorse or promote products derived
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437

OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL,
LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY
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REQUIRED NOTICES FOR DISTRIBUTION
The Alembic Software is distributed along with certain third party

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SOURCE COMPONENTS, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
Boost C++ Libraries

------------------------------------------------------------------------
Boost Software License – Version 1.0 August 17th, 2003 Permission is

hereby granted, free of charge, to any person or organization obtaining
438
a copy of the software and accompanying documentation covered by this

license (the "Software") to use, reproduce, display, distribute,
execute, and transmit the Software, and to prepare derivative works of
the Software, and to permit third-parties to whom the Software is
furnished to do so, all subject to the following:
The copyright notices in the Software and this entire statement,

including the above license grant, this restriction and the following
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in part, and all derivative works of the Software, unless such copies or
derivative works are solely in the form of machine-executable object
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THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS
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DISTRIBUTING THE SOFTWARE BE LIABLE FOR ANY DAMAGES OR OTHER LIABILITY,
WHETHER IN CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN
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Eigen
License
Copyright (c) 2011, Intel Corporation. All rights reserved.

modification,
are permitted provided that the following conditions are met:
* Redistributions of source code must retain the above copyright notice,

this
list of conditions and the following disclaimer.
notice,
this list of conditions and the following disclaimer in the
documentation
* Neither the name of Intel Corporation nor the names of its contributors
may
be used to endorse or promote products derived from this software
without
specific prior written permission.
439
THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS

IS" AND
ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
IMPLIED
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ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES
(INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR
SERVICES;
LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED
AND ON
ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF
THIS
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
OpenCV
License
By downloading, copying, installing or using the software you agree to

this license.
If you do not agree to this license, do not download, install,
copy or use the software.
License Agreement
For Open Source Computer Vision Library
(3-clause BSD License)
Copyright (C) 2000-2020, Intel Corporation, all rights reserved.

Copyright (C) 2009-2011, Willow Garage Inc., all rights reserved.
Copyright (C) 2009-2016, NVIDIA Corporation, all rights reserved.
Copyright (C) 2010-2013, Advanced Micro Devices, Inc., all rights
reserved.
Copyright (C) 2015-2016, OpenCV Foundation, all rights reserved.
Copyright (C) 2015-2016, Itseez Inc., all rights reserved.
Copyright (C) 2019-2020, Xperience AI, all rights reserved.
Third party copyrights are property of their respective owners.

modification,
are permitted provided that the following conditions are met:
440
* Redistributions of source code must retain the above copyright notice,

this list of conditions and the following disclaimer.

notice,
this list of conditions and the following disclaimer in the
documentation
* Neither the names of the copyright holders nor the names of the
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Mocha® 2022 User Guide

Edit Track Mesh ............................................................................................. 107

Open Splines ................................................................................................. 138

Exporting Stereo Rendered shapes ............................................................... 197

Tips for Mega Plates ...................................................................................... 251

The Curve Editor ............................................................................................ 327

Supported in this version ............................................................................... 355

libtiff ................................................................................................................ 423

The Art of Tracking

There Are No Point Trackers

New features in Mocha Pro 2022 9.0.3

New features in Mocha Pro 2022 9.0.2

New features in Mocha Pro 2022 9.0.1

New features in Mocha Pro 2022 9.0.0

See the Insert Module chapter for more details.

• PowerMesh to Alembic Transform: Export the mesh vertex position data to

See the Dopesheet chapter for more details.

• Layer editing is now possible outside set layer frame ranges

• Channel selection has been changed to a dropdown

The Panel contains the following features (from top to bottom):

Track Motion Options

The 5 motion types you can track in:

4. Shear (sometimes known as Skew)

For tracking backwards, forwards and to stop the track

Big Picture Layout

Saving Custom Layouts

1. Choose "Essentials" from the layout drop-down

Alternatively, you can save the layout as a new custom layout:

1. Make changes to your existing layout

The Advanced Toolbar

Save Project: Save the project

Select: Selection tool for splines and points. Hold

Select Both: Selects both the Inner spline points and

Select Inner: Only selects the inner spline points

Select Edge: Only selects the outer edge points

Select Auto: Automatically selects between Inner and

Add Point: Tool to add points to the spline

Pan: Used to pan the footage in the Viewer

Zoom: Used to zoom into footage in the viewer

Create X-Spline Layer: Draw a new X-Spline layer

Add X-Spline to Layer: Draw an X-spline that is

Add Area Brush to Layer: Paint on the canvas to add

Scale: Scale Selection

Move: Move selection

EditMesh: Toggles layer into Edit Mesh Mode for

Show Planar Grid: Toggles a grid relative to the

Save Project: Save the project

Select: Selection tool for splines and points. Hold

Add Point: Tool to add points to the spline

Pan: Used to pan the footage in the Viewer

Zoom: Used to zoom into footage in the viewer

Create X-Spline Layer: Draw a new X-Spline layer

Add X-Spline to Layer: Draw an X-spline that is

Add Magnetic Shape Selected to Layer: Add a

Align Surface: Expands the layer surface to fit the

The Viewer Controls

Clip to Show: Choose which clip to view from this

Show RGB Channels: Turns on the RGB view of

Show Alpha Channels: Turns on the Alpha view of

Show Spline Tangents: Toggles spline tangents view.