Angelo Lorenzo
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Using warp stabilizer? Set the mode to position or position/scale/rotation instead of subspace warp and see how you prefer the result.
Alternately there are a number of stabilizing motion. ProDad makes a great plugin called Mercalli Pro which performs better on some footage that Warp Stabilizer; that’s why I still keep it around.
You can also do point tracking. There are scripts and techniques to keep the camera move but smooth out some of then shake.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
There are a few things to consider:
– Upgrade your system and get CS6. The newest version of After Effects has some performance updates that make it speedier than the previous 5.5 release. Expensive but probably the biggest gain in performance.
– What file types are you using? It may be worth looking into an intermediate file format like ProRes or Cineform to take some of the burden off of your CPU
– Are you rendering onto the same hard drive as you’re reading off of? It may make a small render time improvement to render to a second drive separate from your footage drive.
– Look at your projects and plan out which precomps and other items you can pre-render as proxy footage. This can speed up future renders and help with client sit-ins. https://help.adobe.com/en_US/aftereffects/cs/using/WS619F56A5-4D32-4b44-A229-27433A8FF02Ea.html#WSB356ACD2-AF59-4604-B378-31D687DB5ACCa
– Change the way you work. If you can, along with pre-rendering, try showing things changing by using shape layers to represent anything you may really have to animate later on. A previs basically.
– Beyond that, set realistic expectations with your bosses. If they have an issue with how long things take, then ask them to invest in a system for you, if you’re an in-house employee.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Besides the Ken Burns effect, consider overlapping some audio from the previous video (L and J cuts) when you move to stills if it makes sense. You may also want to consider an overall voice over narration to tie everything together.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
When you apply Colorista II, go to the options drop down. It does use OpenGL to speed rendering.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Colorista has some not-quickly-apparent advantages to the tools in Premiere if you’re not use to color grading.
– Colorista has a bunch of adjustments in one preset, instead of 3-5 of Premiere’s being thrown on.
– Colorista is 32bit precision all the way through. Premiere’s effects are still of varying processing precision. Useful if you have to make wildly large corrections.
– Colorista has three stages
– Stage 1 (Primary)is pretty similar to the three way color corrector in Premiere. It has a hugely beneficial addition of a hue/saturation/lightness control for each of the primary and secondary color ranges, something that you don’t get in Premiere. Controlling the oranges for basic skin tone… worth the money alone spent on simple tweaks.– Stage 2 (Secondary)is more unique in comparison to Premiere’s tools. It allows you to mask another adjustment based on either a selected color range or a circular/rectangular mask. Try going through the trouble of creating a feathered mask for any effect in Premiere…. see what I mean? Brighten a face, add a vignette or whatever you need to do in a selective manner.
– Stage 3 (Master)is similar to the first stage with the addition of curve adjustments. It also adds another mask for a secondary masked effect.
I would say the biggest advantages are the masking features. If you don’t use selective adjustments, you may not find Colorista all that different. If you want to finesse your adjustments or give your work a real “look” then Colorista is the tool for it.
Colorista isn’t Speedgrade, but it’s a capable alternative if you can’t afford Speedgrade or are sticking to a lower version of the creative suite.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Good to know.
Did a bit more testing and it seems that if size matches, it carries over the framerate regardless of the framerate setting
If you mismatch the size, then it will also resample the framerate if you’ve selected the wrong framerate as well.
I compared original to a few mismatched renders by putting down two video layers, with one of the two clips set to a blending mode of “difference”
I never caught this because I always render out 1080 @ 220x from 1080 source material.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
You’ll need to install the DNxHD Quicktime codecs. In Premiere’s export window, it’ll be a codec listed once you select Quicktime as your output. In the options panel, you’ll be able to select DNxHD175 or 220, etc. They have presets for 720p, 1080i, and so forth, but Quicktime seems to override them with whatever you set in the main export panel; The only thing of importance is the codec’s bitrate.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
It happens to everyone. h.264 and AVCHD (which is another MPEG variation) are both interframe codecs; codecs that store some full frames with partial frames in between. The lag is because it’s trying to calculate partial frames.
You can transcode to one of a few intermediate codecs; codecs that are designed for editing. Avid DNxHD is a good choice since it’s free, Cineform is free up to 1080, and there is always ProRes.
Your intermediate files will be larger than your originals because they’re much less compressed. You’re basically trading performance for hard drive space.
At that point, you can decide “hey, I’ll just finish with a high quality intermediate like ProRes 422” or you can go for a small intermediate like ProRes LT and then relink the originals. The process of relinking original media is called conforming.
Just because you can edit natively, doesn’t mean it’s the greatest. Part of Avid and Final Cut’s robustness has to do with their use of DNxHD and ProRes at a time when editing compressed camera files was simply just taxing on a computer’s CPU.
Personally, I’m split. If it’s a large edit, or an edit with a lot of footage to review, I might transcode and conform later regardless of the camera being used. If it’s a smaller edit then I’ll just keep it native.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
After changing and saving your illustrator file did you do one of the following:
– Restart After Effects
– In the project bin in After Effects, did you right click the AI file and select reload?In After Effects, also make sure you’re now interpreting the AI file as sRGB as to avoid introducing a conversion in the other direction if it’s still interpreting the file as US Coated, or some other CMYK profile.
Just want to hit this with some of the “duh!” troubleshooting first.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
No, I mistaken in my reference to the CUDA file. Beyond that, I’m stumped as to why it wouldn’t work when added to the OpenCL file unless there were hardware revisions or some other issue.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks