[Barend Onneweer]

One thing I can think of: by default Remove Grain takes the grain sample at the first frame of the source footage (not the inpoint).

If for instance the footage was exported from Avid with a black frame in the beginning, or a totally different image, the algorithm isn’t going to be very effective.

In the Remove Grain plugin you can actually choose to see the sample frame to see what’s going on and if you want to sample from a different frame you can adjust the source frame number.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Oh well, can’t have it all. Although it seems like a ridiculous limitation. Not as ridiculous as having to create a RenderQue item to be able to collect the output templates though…

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

And of course that works like a charm!

Thanks so much again. I’ll be sure to share the script with the COW community once it’s doing everything it needs to 🙂 Might be back for more help before that though…

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Hi Dan,

It turns out that when the source item is a movie, the result is that the filename is completely stripped, because it doesn’t find a bracket…

I’m guessing some kind of extra if statement checking whether there’s a bracket and if no, skipping these lines could solve that but actually putting the syntax together is beyond me at the moment.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Goodmorning, that works like a charm! And I can actually follow what you did there, so it’ll be a good example for future work. Not sure if I would have found out about the ‘lastIndexOf’ property without help, though.

Thanks so much. Now I’ll continue coding myself into a corner.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Ha! That’s so obvious – but I’ve browsed through the Javascript guide for quite a while and didn’t stumble upon it.

Thanks a lot! And I’ll be back for more obvious answers soon 😉

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

My solution usually is to select the offending area and re-colour it. So you want to either mask or find a way to key the window blinds and make them monochrome blue. One way to do this is fill the matted layer with the right colour (by adding the Fill effect and sampling the colour) and then setting layer blend mode to ‘color’.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

The resolution has nothing to do with the depth of field characteristics. I still don’t see where you get the 1280×720 number. The active area of the chip is 15×8 mm which is slightly larger than a Super16 frame, (much larger than 1/3″) which in the last decades has been more than useful for feature film, documentary and television drama. So although you won’t get the super shallow DoF 5D look from it, the sensor size is very useful for a lot of people.

Unfortunately it looks like lenses for 16mm cameras won’t work on the BM camera so that’s my main gripe.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

Where do you get that it records a 1280×720 area of the chip? It seems to record a 2432 x 1366 area in RAW, that it scales down to 1920 x 1080 if you record Prores.

If the downsampling is less prone to moire than the Canon 5D this looks like a very interesting little camera.

Barend

Raamw3rk – independent colourist and visual effects artist

[Barend Onneweer]

I’d go with Dave’s suggestion of changing the make-up on the face. A bright blue would probably work, as would orange.

Barend

Raamw3rk – independent colourist and visual effects artist