LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Stabilizing Camera Bounce with Mokey

Stabilizing Camera Bounce with Mokey
A CreativeCOW Mokey Tutorial


Stabilizing Camera Bounce with Mokey

Doug Bischoff Doug Bischoff
Ceridwen Productions
Harrisburg, Pennsylvania USA

©2004 Doug Bischoff and Creativecow.net. All rights reserved.

Article Focus:
This tutorial by Doug Bischoff describes a technique for reducing or eliminating vertical camera movement "jitter" or "bounce" using the Mokey software package from Imagineer Systems. By examining the simple techniques involved, readers will learn the basics of Mokey's powerful tracking and stabilizing features.


Download source .mov file Download Mokey project

This tutorial begins with a source QuickTime movie file of footage shot using a camera stabilizing system. As sometimes happens, a slight "bounce" is noticeable when the operator repositioned their feet. This kind of movement can be disconcerting for viewers, and so the desire here is to reduce or eliminate the bounce.

Click here to view the source QuickTime .mov file: note the slight instability in the vertical movement of the camera.



Getting Started - The first step in any Mokey work is to create a new project, either by clicking on the "new project" icon in the toolbar or by selecting "New Project..." from the File menu. Select the MokeyInput.mov source file, and check the following settings as they come up by pressing the "Next>" button:

Range to Import: First Frame: 0, Last Frame: 43

Interlaced: Frames

Frame Rate: 29.97 frames per second

Time: Frame Number

Film Type: NTSC

Camera Model: No distortion

Layers - Most Mokey operations make use of "Layers" as defined in the Layers tab. Using the Selection Tool from the toolbar, draw a square all around the entire image. You may need to use the Zoom tool to zoom out in order to see everything you're working on. In order for the Stabilizing function to work properly, your selection should include enough "headroom" on both the top and bottom of your frame to allow for the maximum camera movement. If your footage includes any panning motion, as this one does, be sure that your selection allows enough room to cover the duration of the pan: in this example note the extra "space" allowed on the right side of the footage (the middle of the footage has been compacted for brevity). Name this layer "Background."

Tracking - Since we are interested only in the movement of the entire frame (as opposed to the movement of a particular object in the frame), we need only track this one selection. The Tracker is one of the most powerful features of Mokey, and one that I will cover in more detail in future tutorials. Suffice it to say for now that using the default settings for a Background such as this will be fine for most applications: Mokey will treat the entire background as one, flat plane. This is appropriate because, in this case, that is exactly what we are interested in: the footage as a single "plane" being stable. With the background still selected (as shown), simply click "Track Forwards"

Stabilizing - Now that Mokey has calculated the movement of the background, we can instruct it to counteract that movement. This is done by simply selecting the layer we wish to track (it is already selected unless you clicked elsewhere in the work area), telling Mokey what sort of correction we wish applied, and selecting the "stabilize forward" button in the "Stabilize" pane. For our example, we want to eliminate vertical (Y axis) movement while preserving the pan in the X direction: de-select "X Translation." If there was some rolling movement present in the shot as well, we could attempt to correct this with "rotation" stabilization as well.

Here is where the true power of Mokey becomes apparent. If you wish to dampen rather than completely eliminate the motion, de-selecting "Maximum" in the Smoothing Level pane and setting a level in the box below will give you control over how much movement Mokey eliminates. Finally, in the "Borders" pane, the "Auto Fill" check box is the hidden gem. With this selected, Mokey will use data from other frames to re-construct the missing pixels after applying the stabilization. No more repeated-pixel borders or zoomed-in effects! Note in this finished clip how the woman's hair and the chainmail on the man's arm have been restored seamlessly!

Click here to see Mokey Stabilized movie

If you find that there is some artifacting or color shifts in the reconstructed areas, try selecting "Model Illumination" (for color and brightness shifts) or "Dissolve" (for detal artifacting) and re-applying the stabilization.

Conclusion - All that remains is to save the results out of Mokey for use elsewhere. There is one slight "gotcha" to be aware of, and that is the "RGB Channels" pop-up. If you leave it at the default of "Original" then you will simply save to disk your original clip! To be sure that you have what you want saved, ensure that this pop-up is set to "Stabilized." I recommend using "Image Sequence" Exporting for later re-assembly in QuickTime Pro or other application.

I hope this gives you a taste of the power of Mokey and remember, we've just scratched the surface!

For questions or other feedback, please visit the Cow's mokey forum.

-Doug Bischoff




Please visit the forums or read other articles at Creativecow.net if you found this page from a direct link.



Related Articles / Tutorials:
Mocha | Mokey | Monet | Motor
The Gatorade Effect Using Mocha: Part TwoThe Gatorade Effect Using Mocha: Part Two
  Play Video
In this part two Mocha video tutorial from Aaron Zander, we take a look at linking splines to other tracks, adjusting tracks and keyframes, and rendering.

Tutorial, Video Tutorial
Aaron Zander
mocha | mocha AE | mocha Pro
The Gatorade Effect Using Mocha: Part One

The Gatorade Effect Using Mocha: Part One
  Play Video
In this video tutorial, Aaron Zander takes an introductory look at Imagineers Mocha and its toolset. Aaron also demonstrates some basic rotoscoping to be applied into a Gatorade style look.

Tutorial, Video Tutorial
Aaron Zander
Recent Articles / Tutorials:
Adobe Creative Cloud
Creating Adobe Motion Graphics Templates for Profit

Creating Adobe Motion Graphics Templates for Profit

Adobe Motion Graphics templates can be created in either After Effects or Premiere Pro. Using them in your own work, or in teams with clients, allows you to create a still or animation that can then be customized across multiple projects, but you can also sell them through Adobe Stock. Learn more about how to create another profit center from your work!


Rod Harlan
Audio Professionals
Perfecting Audio: Professional Audio Add-ons For Your iPad

Perfecting Audio: Professional Audio Add-ons For Your iPad

You're going to be amazed how easy it is to turn your iPad into a professional audio powerhouse for a variety of applications: a field recorder, a front end for controlling your DAW, MIDI keyboards and turntables for musicians and DJs, and more. Whether you're a filmmaker, a podcaster, an audio engineer, or a musician, there are surprisingly affordable and powerful options for pro audio with your iPad.

Tutorial
Adorama TV
Adobe Creative Cloud
Increase Productivity with Adobe Motion Graphics Templates

Increase Productivity with Adobe Motion Graphics Templates

Motion Graphic Templates created in either Adobe Premiere Pro or Adobe After Effects are a great way to work with clients. They help you keep a consistent look and feel while protecting your project from inadvertent changes as it passes through different hands. Here are the steps you can take to share work across teams and organizations, quickly and powerfully.

Feature
Rod Harlan
Apple Motion
Apple Motion 5: Animating Raindrops On A Window

Apple Motion 5: Animating Raindrops On A Window

Ready to have your mind blown? Longtime VFX artist, editor, software developer, and business owner Simon Ubsdell is inspired by an Andrew Kramer AE tutorial to combine Apple Motion's particles, displacements, 3D compositing, and advanced blurs to create an incredibly realistic animation of raindrops on a window. You're not going to believe how fast and fun this effect is to create, and how realistic it looks.

Tutorial
Simon Ubsdell
RED Digital Cinema
RED TECH: Black Shade Calibration: When, Why, and How

RED TECH: Black Shade Calibration: When, Why, and How

Learn how (as well as why and when) to run a Black Shade Calibration on your RED Digital Cinema camera to ensure clean and consistent pixel sensitivity across your entire image.


RED Digital Cinema
Panasonic Cameras
Pansonic AG-CX350 First Look: 4K, HDR, Streaming, and more

Pansonic AG-CX350 First Look: 4K, HDR, Streaming, and more

Introducing the new Panasonic AG-CX350 4K HDR 10-bit 60p camcorder, featuring Enhanced Network Capabilities for live events,, sports, and news gathering. The CX350 is equipped with the RTMP/RTSP/RTP protocol for live streaming and NewTek NDI | HX-ready for IP Production. In addition, it offers future P2 capability (via a free firmware update). At only 4.2-lbs. (body only), the CX350 is also the lightest 4K 10-bit fixed-lens camcorder in its class -- all for under $4K! Check out the details here.

Tutorial
Adorama TV
Adobe After Effects
What Are Adobe Motion Graphics Templates?

What Are Adobe Motion Graphics Templates?

A Motion Graphics Template, referred to as a MOGRT, is an animated sequence that is self-contained and can be used in Adobe Premiere Pro, Adobe Premiere Rush and Adobe After Effects, combining graphics, text, audio and video files, as well as vector or still images (including logos), to create a still or animation that can then be customized by the MOGRT user. The result is a dynamic creative tool that provides design freedom and is consistent to its users across apps and devices. Reuse, share, and even sell them!


Rod Harlan
Workflow That Plays For Keeps: How Netflix Is Protecting Stories' Futures

Workflow That Plays For Keeps: How Netflix Is Protecting Stories' Futures

If you hope to distribute your work via Netflix, you NEED to know this, but even if you're only interested in the best thinking currently available about how to preserve your own work for an unknown digital future, this is a must-read. Kylee Peña, Coordinator of Creative Technologies & Infrastructure at Netflix, and co-authors Christopher Clark and Mike Whipple share insights on the origin of Netflix archival elements, the importance of color management, and how all this comes together to preserve creative intent -- insights you can start using yourself, today.


Creative COW
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]