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SynthEyes offers a complete high-end feature set, including tracking, stabilization, motion capture, and mesh building. It handles camera tracking, object tracking, object tracking from reference meshes, camera+object tracking, multiple-shot tracking, tripod (nodal, 2.5-D) tracking, mixed tripod and translating shots, stereoscopic shots, nodal stereoscopic shots, zooms, lens distortion, light solving. It can handle shots of any resolution—DV, HD, film, IMAX, with 8-bit, 16-bit, or 32-bit float data, and can be used on shots with thousands of frames. A nifty feature simplifies and speeds tracking for green-screen shots. The image preprocessor can help remove grain, compression artifacts, off-centering, or varying lighting; improve low-contrast shots; or shoe-horn shots into available RAM for quicker handling.
SynthEyes offers complete control over the tracking process for challenging shots, including an efficient workflow for supervised trackers, combined automated/supervised tracking, incremental solving, a hard and soft path locking system, and cross-camera constraints for stereo. You can set up a coordinate system with tracker constraints, camera constraints, a line-based single-frame alignment system, or manually.
SynthEyes exports to about 25 different 2-D and 3-D programs. The Sizzle scripting language lets you customize the standard exports, or add your own imports, exports, or tools. You can customize the color scheme, keyboard mapping, and viewport configurations.
Our fxphd tracking specialist, Victor Wolansky, takes members through the economical but incredibly powerful Syntheyes 3D tracking application. The course will be using the recent release of Syntheyes 2008. This course will give you the base knowledge you need in order to solve various types of shot.
Professor: Victor Wolansky
Class 1: Tracking, solving, and using meshes in Syntheyes. Uses helicopter shot in desert.
Class 2: A bit of 3D tracking theory and a look at the manual tracker.
Class 4: A look at tracking stationary cameras on tripods with and without zooms. Also, a look at orientating the camera on a still or locked off shot.
Class 5: Stabilization and more tricks on orienting the 3D world with the footage.
Class 6: Tracking a DV shot and dealing with interlacing, compression artifacts, and an intro to masking.
Class 7: Brief on importing interlaced footage in a 3D app. A difficult handheld shot using manual tracking.
Class 8: Tracking a steadycam shot through the lab. Cleaning up trackers and prepping a shot for use in 3D.
Class 9: Tracking a shot with a lot of lens distortion. Adding distortion to CGI elements for use in compositing applications.
Class 10: Getting started with a very challenging shot. Instead of achieving a perfect track in one class, overall techniques are discussed that are useful when approaching more difficult shots.

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