LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Imagineer's Mocha Version 2

Imagineer's Mocha Version 2
Creative COW Product Review


Brendan Coots reviews Mocha v2 from Imagineer

Brendan Coots Brendan Coots
Splitvision Digital
San Francisco Bay area, California, USA


©2010 by Brendan Coots and CreativeCow.net. All rights are reserved.

Article Focus:
In this article, CreativeCOW leader Brendan Coots takes a look at Imagineer's Mocha Version 2, a standalone 2D tracking and rotoscoping tool. Read on to see what impressions Brendan's experience with this powerful and innovative tool yielded.

Tracking and rotoscoping tools typically fall into one of two camps - simple, lightweight applications meant for the smallest of jobs (such as the tracking tools included with Adobe After Effects), and expensive, robust applications aimed at the feature film market. Having tried tools from both sides of this divide, it's easy to see why the split is so clean with virtually no middle ground. Cheaper tools are almost always a "good enough" solution strictly meant for non-critical applications. Ease of use and simple, toy-like interfaces are mandatory, as they are typically aimed at entry level users who seldom reach for these tools and don't want to learn a complex new workflow. Professional grade applications, on the other hand, tend toward extreme complexity that can take even experienced users several days to tackle. The depth of features that make these tools so useful in critical environments almost always means complicated workflows and, by extension, complex interfaces. Simple and cheap, or complicated and expensive - it's usually a bit of an an either/or proposition, but Imagineer's Mocha is changing that equation.

A few months back I reviewed Imagineer System's Mocha V2 for After Effects, a tracking and roto tool that integrates with After Effects to provide a seamless, cost effective solution. You can read that review to get a feel for the overall functionality and use of Imagineer's approach to tracking and roto tools, but generally speaking Imagineer has done a fantastic job of bridging the divide between ease of use and depth of features. It's not easy to reduce interface complexity without impacting functionality, while simultaneously reinventing the actual process of tracking and roto itself. These advances are very apparent in Mocha's standalone application, which is pretty impressive considering the broad functionality and feature set. In the end, the result is a tool that antiquates other systems as "the old way." It is precisely this type of forward-thinking innovation that changes entire industries for the better. I for one won't ever look back.

Anyone who has ventured into the world of rotoscoping knows what a nightmare it can be. Thousands of keyframes (and even more cups of coffee) later, you might have a usable matte. Imagineer's approach simplifies the process and significantly reduces the amount of time required to get a clean matte. Mocha's roto tools are definitely accurate and reliable enough for feature film work, yet easy enough to use that less experienced users won't feel discouraged.

Tracking footage with Mocha is dead simple - believe it or not, it's actually difficult to generate a poor track. In testing the software I experimented with a wide array of footage types and shooting conditions, and Mocha easily tracked almost everything I threw at it on the first pass, requiring no additional adjustments to get a solid track. I almost felt as though I should meddle with it just to earn my keep. Mocha also does a phenomenal job of tracking elements which move out of the frame, a task that usually requires heavy user intervention to clean up. The images below show Mocha tracking dark, fuzzy, heavily motion blurred elements moving completely off the screen, and it did so on the first pass without skipping a beat. That's powerful stuff.

Mocha Screen Shot Figure 1



Mocha Screen Shot Figure 2


In short, this is easily the best tracking software I've ever used, and its roto tools are so simple and innovative that it almost makes me look forward to rotoscoping. Almost. This is a solid, production-ready tool that is priced to kill.

Version 2 of the Mocha standalone brings some great new features. The biggest news is that Mocha is now 64-bit, which should provide decent performance gains, especially for users working with larger plates such as 2K footage. Mocha V2 has a more refined interface, new stabilization features, and improved overall stability and performance. Imagineer also tells me that support for both Apple Motion and Nuke are coming, which will make a lot of users very happy.

Product will ship April 12.


Brendan Coots
Splitvision Digital
www.splitvisiondigital.com




Comments

Re: Imagineer's Mocha Version 2
by Alexsandr Garuk
I am very interested in your products.
I would like to learn, to work in this program.
Do you have free lessons on this topic?
Yours Alexander
Outstanding software
by Rick Zeimann
V2 is a HUGE time-saver. I upgraded early and spent a week on training and learning the new features. V2 is money well spent.


Related Articles / Tutorials:
Imagineer Systems
Mocha v2 for After Effects

Mocha v2 for After Effects

In this article, CreativeCOW leader Brendan Coots takes a look at Mocha v2 for AE and concludes that overall, Mocha v2 for After Effects is fast, friendly and cost effective, making it an excellent choice for freelancers and major studios alike.

Review
Brendan Coots
Recent Articles / Tutorials:
Art of the Edit
Living The American Dream: Editing Sharknado 5

Living The American Dream: Editing Sharknado 5

Ana Florit is your typical Los Angeles-based film editor: among other things, she grew up in the French Alps, moved to Paris, directed a one-hour movie, moved to Hollywood, and has served as the lead editor on the 2nd, 3rd, and now, the latest in the pop-culture phenomenon Sharknado franchise, Sharknado 5: Global Swarming. You know, your usual run-the-the-mill American Dream story. In Ana’s case, the journey also includes a stint at Video Symphony, a Saturn Award nomination, and playing a major role in moving independent production powerhouse The Asylum fully from FCP7 to Premiere Pro. Here, Ana talks with Creative COW Associate Editor Kylee Peña about workflow, VFX, and some of the secrets of Sharknado's success. (Spoiler alert: they're not comedies.)


Kylee Peña
Adobe Creative Cloud
Motion Graphics Templates in Adobe Stock! Everybody Sing!

Motion Graphics Templates in Adobe Stock! Everybody Sing!

The recent addition of Motion Graphics templates to Adobe Stock in the Creative Cloud offers immediate access to over 1000 templates for title screens, lower thirds, and transitions, with more to follow, created by some of the world’s leading motion graphics artists and mograph pioneers Digital Juice. Motion Graphics templates inside Adobe Stock also offer a new avenue for Creative Cloud artists to monetize their work, by offering their own motion graphics templates for sale. This is a multi-faceted story that dives deep into multiple parts of a rapidly expanding Creative Cloud ecosystem that doesn’t handily lend itself to brief soundbites. It does, however, lend itself to song. Everybody sing along!

Feature
COW News
Blackmagic Design Fusion
Blackmagic Fusion 9's Most Powerful Tool: The Custom Tool

Blackmagic Fusion 9's Most Powerful Tool: The Custom Tool

Meet The Custom Tool, the most powerful and versatile tool in Blackmagic Fusion's entire toolbox ??" which ironically appears to do nothing when you first apply it. That’s because it’s a tool designed for building your own tools from scratch. That may sound daunting, but under the guiding hand of longtime VFX artist, editor, and business owner Simon Ubsdell, it’s engaging, empowering, and just plain fun. If you are new to Fusion and to compositing you'll find plenty of useful information here, including how to work with channels to create complex effects surprisingly simply. Bonus tips on expressions and keying, too!

Tutorial
Simon Ubsdell
Adobe After Effects
Adobe After Effects: Glitch Effects Without Using Plug-ins!

Adobe After Effects: Glitch Effects Without Using Plug-ins!

Join VFX guru Tobias Gleissenberger for a fun, high-energy look at how to create all sorts of digital noise, glitch, and other disturbing video effects with any version of Adobe After Effects, without using any plug-ins!

Tutorial
Tobias Gleissenberger
Blackmagic Fusion 9 Advanced Keying: Fixing Problem Edges

Blackmagic Fusion 9 Advanced Keying: Fixing Problem Edges

In this advanced keying tutorial for Blackmagic Fusion, longtime VFX artist Simon Ubsdell addresses a common problem: edges too brightly lit, along with light wrap that makes compositing a challenge. Learn how to build custom keyers using Fusion's node-based compositing that solve the problem more quickly and more completely than traditional layer-based approaches.

Tutorial
Simon Ubsdell
Art of the Edit
A Newbie Looks at EditFest LA

A Newbie Looks at EditFest LA

Thanks to the Blue Collar Post Collective's Professional Development Accessibility Program, Indiana shortform editor Hillary Lewis was able to attend the American Cinema Editor's EditFest LA. Rather than the lion's den she feared, Hillary found unexpected support among people who were more like her than she'd imagined. This rare opportunity provided unique insights into what Hollywood editing is really all about, and what it takes to succeed wherever you are.

Feature
Hillary Lewis
Adobe Premiere Pro
Cinematic Look Using Lumetri Color in Adobe Premiere Pro

Cinematic Look Using Lumetri Color in Adobe Premiere Pro

Want to give your video that elusive cinematic look? Visual effects guru Tobias Gleissenberger will show you the secrets of the Lumetri Scopes and Lumetri Color panels in Adobe Premiere Pro and After Effects that make it super easy to properly correct & grade your footage.

Tutorial
Tobias Gleissenberger
Adobe After Effects
Adobe After Effects Energy Ball

Adobe After Effects Energy Ball

In his latest high-energy Adobe After Effects tutorial, VFX guru Tobias Gleissenberger of Surfaced Studio combines a variety of effects to create the pulsating energy ball, composited with motion tracking, optical flares, and more.

Tutorial
Tobias Gleissenberger
Cinematography
Robert McLachlan: Cinematographer for Game of Thrones

Robert McLachlan: Cinematographer for Game of Thrones

Robert McLachlan is the cinematographer of Game of Thrones, Westworld and Ray Donovan, and he joins commercial director and Go Creative Show host Ben Consoli to share behind the scenes stories from some of his most iconic scenes including The Red Wedding and The Loot Train Battle.

Feature, People / Interview
Ben Consoli
MORE
© 2017 CreativeCOW.net All Rights Reserved
[TOP]