ABSTRACT
In a shot with more movement, like a pan across a vast horizon, a long dolly in a complicated Steadicam, or one with a lot of action in the foreground, there will most likely be no single feature in frame for the entire shot. In this particular piece of tracking software, one can color-correct their plates from within the software itself, which is pretty handy. There are settings for saturation, contrast, brightness, noise elimination, and blur, along with a more sophisticated curve interface to color-correct channel by channel. The masking tool in the 2D tracks and other automated trackers is similar to spline-based rotoscoping tools, and is relatively easy to work with. The camera starts to turn toward the building as the actor passes by at this point as well, so motion blur becomes an issue. The X translation indicates the cameraman's position relative to the width of the sidewalk and the face of the buildings.
