User Manual

Once placed, you can choose how much image detail is considered for analysis by resizing that
tracker control. To resize a tracker, move the pointer over the edge of the inner box, and drag to
shrink or enlarge it.
This plug-in will automatically derive as much motion data as the number of trackers you’ve
placed allows:
 One tracker tracks horizontal and vertical position (pan and tilt).
 Two or more trackers also track rotation.
 Four or more trackers also track perspective.
 If you place six or more trackers, then the Match Move filter is capable of automatically
choosing the best tracker data from the overall collection to give you the most accurate
track that’s possible.
A Match Move Workflow
The following example shows the simplest complete workflow for importing a foreground clip to
composite with a match move to follow a background clip that’s already in the timeline. This
workflow is suitable for such operations as placing a graphic as a sign on a side of a building, or
into the display of a phone.
To match move:
1 Open the Media Pool in the Edit page, right-click a clip you want to match move to a clip
in the Timeline, and choose “Add as Matte For Color Page Clip” to add it to the Color
page Node Editor of the currently selected clip as a Timeline Matte. This is currently the
only way you can match move and composite a foreground clip against a background
clip in the Color page.
2 Open the Color page, make sure the background clip you want to match move to is
selected, then open the OpenFX library and drag the Match Move plug-in directly
onto the connection from the last node in the tree to the Output, to add it as a stand-
alone FX node.
Adding the Match Move filter as a stand-alone FX node
3 Right-click any corrector node in the node tree (Node 01 in this example) and choose
the clip you added in step 1 in the Add Matte > Timeline Mattes submenu of the
contextual menu to expose that clip as an Ext. Matte node. Delete the connection
between the new Ext. Matte node and the node it’s connected to, and then reconnect
its RGB output to the second input of the FX node.
Chapter – 147 ResolveFX Transform 3100