Matchmover is available to all subscription customers for 3ds Max 2010 and 3ds Max 2011. It's one of the great values added when being on subscription for 3ds Max.

In this set of video tutorials, you will see how Matchmover and 3ds Max work together. You'll be able to see how an image sequence can be used to extract 3D information that can be used in 3ds Max to create a perfect match between virtual elements and the 2D image sequence, even if the camera has fast and unstable movements.

Basics

In This first video, we'll explore the very basic workflow between Matchmover and 3ds Max. We'll use Matchmover's automatic tracking to generate a 3D camera movement and 3D points that we will bring in 3ds Max.

Directed Manual Tracking

For shots where you need specific points to be tracked in order to be referenced later in 3ds Max, you'll need to manually assign track points in Matchmover. In this video, you'll see how manual tracking works and how 3D tracking points can be used in 3ds Max as a modeling reference.

Difficult Shot Tracking

In reality, film shots are hard to track and a lot of hand work needs to be done. In this video, we'll track a difficult shot and solve the shot for a 3D camera and 3D track points. More advanced tracking techniques and tips are covered in this video.

Using 3D Tracker to Recreate Real World from Image Sequence

In this video, we'll see how to start using the 3D trackers from Matchmover in order to add 3D elements in 3ds Max that will match perfectly with the original image sequence. With the camera exported from Matchmover, the overlapping of the 3D rendered scene and the original image sequence will be seamless even with very difficult camera movements.

Replacing Reflections

In this video, we'll continue from the previous one to add 3D elements in 3ds max in order to recreated the real world from the image sequence. In practice, we will replace the reflections in all the windows.

Using the MentalRay Matte/Shadow Material

Here, we'll fix some of the problems that were highlighted in the previous video regarding shot elements that should be in front of the 3D rendered scene. We'll see how to use the Mental Ray matte/shadow material to help bring background elements in the foreground, on top of the 3D rendered objects.

Capturing Good Shadows for Floor Contacts

This video continues on what was done in the previous one. We'll add a character in the scene that is supposed to walk in front and behind some of the image sequence objects. Also, we'll see how to capture the shadows of the character and add them on top of the background so that the floor contacts are beleivable.

Final Result

Here is the final result in 850x450.