Our Introduction to SynthEyes course got members up and running in the software as well as being able to address common problems that come up in post. This course will build upon the knowledge and tackle trickier and more complex tracks in SynthEyes than were addressed in the 101 course. Taught by our fxphd tracking expert Victor Wolansky, he’ll dive into more detail in how to make sure you get the most accurate track possible and minimize camera drifting.

Class 1: A preview of the shots that will be tracked throughout the term. Manually tracking to guide and improve an auto track. Fine tuning manual trackers. Cleaning up the auto track, and solving the camera. Stabilizing the background, adjusting the trackers to match, and resolving.
Class 2: Working with tracking markers that leave and re-enter the frame. Adjusting Feature Size to get smaller, more accurate tracking points. Using the graph editor to identify and fix or delete bad tracking points. Using Lines to establish x, y, and z axis. Adding geometry for the screens, and exporting to 3DS Max.
Class 3: A continuation of the look at tracking for monitor replacement, using a new shot with many monitors. Dealing with motion blur. Using lines to calculate lens distortion. Additional methods for creating screen geometry.
Class 4: Continued practicing of previously learned techniques on a long, difficult shot, to master the basics before moving on in subsequent classes.
Class 5: Tracking of the car on the airport shot, learning about correct orientation and scaling so the car can be tracked and automatically be in the right place because of the correct scale between the two tracking.
Class 6: Second part of the car shot, now tracking the moving object
Class 7: Dealing with the “I Love Sarah Jane” bicycle shot, a shot that needs a lot of manual tracking and one of the most difficult ones to solve.
Class 8: Showing some tools that are very useful and unique like the green screen tool, the coalesce nearby trackers and the add many trackers with the lasso tool.
Class 9: Again the bike shot, but the very start, going through the big cloud of smoke with almost no visible trackers, how to deal with it.
Class 10: A BIG distortion shot and the whole workflow to deal with it.