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Warp Stabilizer, Neat video noise reduction, transitions, color correction workflow tips
Hi,
Ive been producing commercial, corporate and product videos and yet haven’t stablished a workflow Im comfortable with, one that I could consider an efficient one.
Im not sure if I should edit and tweak my timeline till its where I want it, then do warp stabilizer on the clips that need so or the head video noise reduction in Premiere Pro, or I should do that in After Effects, or one in Premiere Pro and the other in AE (I found that If I applied both on same software the crop will vary).
Premiere Pro wont let me do warp stab if I change the clips speed, so, in those cases I should do that in Premiere, then do Warp Stab in AE, then Neat Video in a Pre-Comp? Or viceversa. It might not make a difference, Im not sure, but I feel like I do it differently everytime, and everytime I feel there must be a better way of doing it all.
So any suggestions, tips, etc on the above and beyond would be greatly appreciated.
Many thanks and all the best,
Alex
Alex Ojeda
http://www.alexojeda.com -
10 Replies
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What footage are you working with? (resolution and codec) also what are your sequence settings? Are you delivering HD?
Chris Gunningham
Online/VFX EditorAny opinions expressed are solely my own.
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Hi,
Im working mostly with footage from a Canon’s XF300 MFX files, XF Codec. 720 24p, 30p and 60p or sometimes 1080 @ 24p, 30p, 60i.
A few clips from Canon 5D mII and Hero 3 Black E.
Current sequence settings are: 1080, MPEG i-Frame, 30fps drop frame, Timebase 29.97. And im delivering 2 versions, SD and HD.
Many thanks!
Alex Ojeda
http://www.alexojeda.com -
Ok, The reason i asked about resolution is that i approach stabilizing footage bigger than HD in a different way but i’m assuming all your footage is HD (including the go pro) I’d make sure you interpret your different frame rates correctly in the project window first off. Personally I do all my stabilization work in AE CC, So i would take your shot into Ae (if dynamic linking dupe on the timeline first) Then apply warp stabilizer, precomp then apply noise reduction. This way you aren’t noise reducing then scaling up but the other way round. I would then render to your final master codec (cineform/prores/dnx) and import back into premiere. Mute your original layer and dynamic link but keep them there as a reference. When exporting be careful not to use previews as your preview codec is mpeg i-frame (you could change that to prores, dnx or cineform).
Cheers
Chris Gunningham
Online/VFX EditorAny opinions expressed are solely my own.
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ok. Got it. Many thanks, Chris. I’ll do as you suggest.
Yes, Go pro is HD too. Im having trouble stabilizng that as It was shot from a quadcopter, so theres a bit of jello effect on it.
Theres also some shots produced with the Kessler Cineslider that have some vibration from a very close by moving train, and when applying warp stab it crops the image a bit and the background seems to float as on a wave. Is there a way of removing that secondary effect or reducing it without eliminating warp stab?
I will change my preview codec.
Many thanks again!
Alex Ojeda
http://www.alexojeda.com -
Try rolling shutter repair in Ae as a secondary effect, for the jello play around with settings. Sometimes subspace warp gives unwanted effects try position, scale and rotation instead.
Chris Gunningham
Online/VFX EditorAny opinions expressed are solely my own.
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Actually, it’s much more efficient (and effective) to tick the box within Warp at Premiere for Detailed Analysis, and enable its own rolling shutter fix.
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Yes but the rolling shutter repair effect in ae has more controls which I find can help in certain circumstances.
Chris Gunningham
Online/VFX EditorAny opinions expressed are solely my own.
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I didn’t realise but the standalone rolling shutter repair effect is also available in premiere.
Chris Gunningham
Online/VFX EditorAny opinions expressed are solely my own.
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Ok, great, many thanks for the info. I appreciate it very much.
cheers!
Alex Ojeda
http://www.alexojeda.com -
Old thread, but maybe you guys will still see it.
Chris G, I’m curious, how does your workflow differ for UHD footage?
Alex, another way to minimize jello on a GoPro is to shoot at a higher framerate. We use 60fps. This tricks the camera into shooting with a faster shutter speed which is less vulnerable to rolling shutter issues. You may have re-time the footage and add motion blur back in to get the look you want.
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