DSLR Video Metadata (For Camera Tracking, etc)

In order to read the metadata off of a DSLR video, go in Adobe Bridge and click on the corresponding THM file.  It should hold most of the relevant data for a camera track, not including physical height, etc.

Camera data includes:

• Lens Type
• Focal Length
• Shutter Speed
• ISO

UNFOLD 3D: Workflow and Notes

Tips:
- pan with LMB
- rotate with RMB
- zoom with MMB

- hold shift + click to select
- SPACE to deselect
- hold ALT to draw temp line on loop, then double click to select.

MAYA: Tips for Retopologizing with Maya Live

Set high resolution mesh on a different display layer and set it to "Template" mode.  Runs much faster than working with the high res mesh on the same layer and 100% visible.  Makes sense, since it's rendering only the wireframe instead of the actual mesh.

After laying down proper topology, the model might sit slightly inside the high res mesh after smoothing.  In order to get a slightly more accurate normal map bake, select all vertices and move them outward in the normal direction.  The exact amount differs depending on your topology and density, so play around until it looks right.

MOCHA PRO: Removing Tracking Markers

http://www.youtube.com/watch?v=dfGQ7jYcCDQ

Notes:

• layer order matters.
• closest to lens, highest in stack.
• track from most detail to least detail.
• can add and subtract points on the fly, tracking data is independent.
• Join Layers Tool: using the little "vampire teeth / ladybug head"
• you can attach layers to other layers (and enables point snapping between the two layers.
• can interpolate between clean plates.
• Box-Blur in AE is computationally cheap.
• clip layers when you no longer need them.

• make sure to be on the first frame in AE before pasting data from Mocha.

For shots that require removing markers behind wet glass with beats of water in front, use a color key and garbage mattes.  Mocha can be used for matte generation, but not necessary.

PHOTOSHOP: Expanding Canvas Using Crop Tool

You can manually expand a canvas by using the crop tool and enlarging the crop area.  Sure beats going to Image > Canvas Size and trying to tweak to fit.

Saw the instructor in this video doing it:
http://www.youtube.com/watch?v=KOSy1RLxUt4&feature=em-subs_digest-vrecs

Z-BRUSH: Partial Visibility + Clip Brushes

Select Selection or Clip Brush - hold Shift+Ctrl while selecting brush from popup

Show mesh portion – Shift+Ctrl+Click, release keys & drag (green selection area)

Hide mesh portion - Shift+Ctrl+Click, release keys & drag - press Alt (red selection area)

Move selection or clip area - 'press Spacebar without releasing mouse/pen

Show entire mesh - Shift+Ctrl+Click Background

Show only selected Polygroup (on fully visible mesh) - Shift+Ctrl+Click

Hide selected Polygroup (on fully visible mesh) - Shift+Ctrl+Click twice

Hide selected Polygroup (on partially visible mesh) - Shift+Ctrl+Click

Reverse visibility - Shift+Ctrl+Click & drag Background

Hide edge loop - with Lasso option selected, Shift+Ctrl+click on edge that crosses loop

ClipCurve add soft direction change - click Alt once

ClipCurve add sharp direction change - click Alt twice

reverse clip area - Alt (hold down)

Z-BRUSH: SpotLight

General Z-Brush Shortcuts

SHIFT+Z = show / hide Spotlight
z = enable / disable paint mode

" , " (comma) = show / hide Lightbox

In order for Spotlight painting to work, you have to double click on the texture in Lightbox to load the texture into the texture editor.  From there, you have to 'Add To Spotlight' in the texture panel.

MAYA: UV Mapping Workflow with Transfer Maps

Part of the ongoing Maya-to-Unity studies, today's exercise was to transfer UV maps to and from objects with identical vertices, that were offset to facilitate faster UV mapping.  Use:

Polygon > Mesh > Transfer Attributes (option)

Select the SOURCE first, then TARGET second.  Usually Maya tools are "Target first".
Make sure "UV Sets" are toggled on, and to use sample space: "Topology".  Transfers UV's like a charm.