Alan Lloyd
Forum Replies Created
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Even without looking at it, my first thought is that you have to stabilize the car and (at the very least) the camera first.
Trying to fix road bumps, etc., after the fact is not the way to go.
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There is a very slight – yet visible – darkening across the bottom of the wood floor in the second image.
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Does your machine itself see the camera? Since you’re on a Mac, can you capture to something like iMovie?
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VHF especially would be prone to EM interference.
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I have had occasion to work on files both here and on the road.
One thing I did is to set up the data drives on both machines so all the paths are the same. (I have a nice laptop with two physical drives for that very reason.) Using an external purely as a “bucket” I can preserve paths and edit either here or…Arizona, California, Missouri, the Denver airport – you get the picture.
Once your session at home is done, save it all back to the external to preserve the project and update the directory at work.
I don’t think a Team Viewer approach would be very pleasant, though it would work in a pinch. I even know a guy who did that using the old “remote desktop” in the Windows XP days.
That way everything will track nicely.
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The answer really is to keep things in the middle.
Shoot your big bad wolf at a more or less normal exposure and you’ll have more latitude to do what you want to the image in edit. Take it to extremes of luminance or darkness (or saturation, for that matter) and you constrain your options rather dramatically.
Too much flat black or white (too dark, too blown out) and you have nothing to work with.
I once had someone send me footage where a speaker’s face was pure 100 IRE white. All I could do was make it gray, not recover information on features or skin tone. Same thing if you go too dark. Once you’ve hit 0 (or 7.5) there’s nothing usable left.
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Is export through AME always resulting in it?
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I have used Morph Cut in a number of pieces under varying conditions, and while at times the results were not optimal, usually due to more difference in head position (and once from daylight variance) between clips, I have yet to encounter anything with the “Analyzing in background” baked in.
Is it consistent? If not, what are the circumstances when it appears, and how do they differ from when it doesn’t happen?
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I suspect it can be done with masking and luma keying.
I won’t say it will be simple. I will say I bet it can be done in Premiere.
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[David Lynch] “I toyed with the idea of taking the raw footage and color correcting that and exporting new files, then replacing the original footage with the color corrected files. But that would be a pain to try to get the timecode on the new files to match the original.”
And that would give you the best results.
You can use the previous edits as reference, and by adding the timecode display (set to “media”) on each clip in the edit, you turn it into conforming – tedious yet accurate.