Adolfo Rozenfeld
Forum Replies Created
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Nicolas: there are no cameras that record in the same raw format still cameras use (in fact, even Canon and Nikon use different formats for that), but there are some VERY high end and expensive cameras that record a raw HD stream to hard disk. You would have to sell your entire familiy to afford using one of those, though 🙂
Besides, as I understand it, HDR sources are not so much (or not just) about the RAW format as they are about combining different exposures to produce an image with super wide latitude, right?
The Automate to HDR feature in Photoshop is only available for still images. The same process for video footage could be developed, but as far as I know it’s not available today. With some automation skills, though, you could convert video footage to a numbered still image sequence, produce the HDR exposure fusion, and finally convert the resulting frames into video again. It shouldn’t be that hard. It could be more about clever automation than manual work. Could be a nice experiment!
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
Well, uncompressed means uncompressed, not DV 🙂
Animation is a lossless/uncompressed (see post about Animation/Meriden codecs today for more on that), but it’s not the native codec FCP uses when editing an uncompressed timeline (although Animation is still used when you need to embed transparency information).FCP uses the Apple Uncompressed codecs (8 bit and 10 bit versions) when you set it for uncompressed editing. As long as you have an Apple Pro applcation (FCP/Motion/DVD SP) the Apple Uncompressed codecs will be available for you to use in AE. If your computer doesn’t have those apps installed, no problem: the free Blackmagic Design Quicktime codecs (you can dl them from the BMD site) are totally compatible with the Apple UC codecs.
Hope this helps.Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
Hello, cjfilm.
The Quicktime Animation codec is a strange animal. It usess a lossless compression scheme. When set at 100 per cent quality, it is uncompressed in terms of image quality but achieves data rate/file size reduction by using a technique known as solids compression.What that means is: areas that truly have the same exact color values are expressed in a more economical way. Because of this, files with large areas of solid color or transparency (like… Animation!) frequently show suprisingly small file sizes with excellent qualityu. On the other hand, including fulll screen video -as acquired by a camera- would produce really large (uncompressed) files. If your project is somewhere in the middle of those cases, data rates will be also somewhere in the middle too.
This lossless nature and the fact that’s one of the few standardized video codecs that allow to store transparency information, make Animation a very important option as an archival or intermediate codec (this is, a working codec for processes where your material goes through several applications during the production chain).
Its’ disadvantages are also clear: not really optimized for real time playback (becuase of the demading nature of its’ file reduction scheme) it will make older computers choke in playback, Also, the fact that no NLE uses Animation as a native editing codec, ie, they will have to translate it into something else. I belive Avid does this translation on import, while FCP does it when rendering the timeline,
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
So, while not with expressions, it can be done with scripts. Great to learn that!
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
So, while not with expressions, it can be done with scripts. Great to learn that!
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
As far as I know, expressions can’t access the values of individual mask nodes. But one thing you could do is: pre-compose the layer, and then track the motion of the end of the stroke so you can make your object follow it (it may be easier if you temporarily bring down the stroke spacing values, since a dotted stroke will be easier to track).
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
As far as I know, expressions can’t access the values of individual mask nodes. But one thing you could do is: pre-compose the layer, and then track the motion of the end of the stroke so you can make your object follow it (it may be easier if you temporarily bring down the stroke spacing values, since a dotted stroke will be easier to track).
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
Select the position keyframes (if that’s what you meant by motion path), right click (control click on a one button mouse) and in the contextual menu go to Keyframe Assitants > Time reverse keyframes.
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
The preferences section is called “File handling and clipboard”. You have to make sure the AICB format is on There’s no need to turn off the other (PDF) option, though.
Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com -
[Martin Banks] “I was just wondering if there was more the soronsen3 and why not to use it that I would find out later when something went wrong. It seemed odd that people were suggestion not to use it when it was giving fast and good results.”
Martin: The Sorenson Video 3 codec is a rather ancient technology that was designed to be a strictly delivery/distribution codec rather than a production codec. And you know what? Even at its’ core area of relevance, it has been surpassed long ago. So much so, that Apple stopped relying on it and moved to open standard based delivery codecs, like the outstanding H-264/Advanced MPEG-4 thing.
Why a codec like Sorenson is not usually such a good idea in the production stage? Since it was again designed as a production codec for low data rates mediums like the Web, there’s a threshold of quality above which increasing the data rate will only produce a bigger file, not a better one. Then it uses an interframe compression scheme, where most frames don’t really “exist” but are calculated from how different they are to other frames (and thus it’s completely impractical for editing, it’s not “scrubabble”). And for all its’ merits in shrinking file sizes, it is very expensive in terms of processing power: a full NTSC or PAL size file encoded with it is very demanding for the CPU (the last thing you want in a post-production workflow). Finally, while you will get results that can look really good, on the really demanding stuff it will show its’ limitations, or its’ nature as low bandwidth codec.
Still, as Steve said, if it works for you….
But don’t expect post production people to be thrilled when you give them a Sorenson encoded file as a master 🙂Adolfo Rozenfeld
Buenos Aires – Argentina
https://www.adolforozenfeld.com
adolfo@adolforozenfeld.com