Barend Onneweer
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Or instead of a beam effect, you just take a rectangular solid of the needed width and height, and parent the other still to the solid…
May or may not work for you depending on your specific needs, but thought I’d drop it in…
Bar3nd
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Or instead of a beam effect, you just take a rectangular solid of the needed width and height, and parent the other still to the solid…
May or may not work for you depending on your specific needs, but thought I’d drop it in…
Bar3nd
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And the introduction of the following tutorial should give you some background information on interlaced video:
https://www.creativecow.net/show.php?page=/articles/onneweer_barend/deinterlacing/index.html
Bar3nd
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Simple answer:
If it’s interlaced footage, always separate fields, regardless of the final output.
Unless you use 3rd party de-interlacers like Re:VisionFX FieldsKit or Magic Bullet. In that case you don’t separate fields, but leave it to the 3rd party effect.
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First answer:
Ask the transfer house that will do the transfer. There’s not a single worldwide standard, and different equipment needs different framesizes, and not all projects are in the same aspect ratio.
But:
You work at 24 fps.
Most film-out devices have a maximum resolution of 2048×1556. But we almost never use that much vertical resolution, because of widescreen aspect ratios.
Usually starting at 2048 pixels wide (what we call ‘2k’) is a good idea.
Personally I do a lot of feature film work at 1920×1080, because apparently they like to stay compatible with HD framesizes… Makes it easier to play out to HD tape I guess.
But seriously: consult with the transferhouse for specifics.
Bar3nd
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To keep it simple:
Floating point calculations in compositing mean that all the information beyond full white are actually kept.
So if you blow out the highlights in an image and in a later stage of the composite grade down the image a bit, the information in the pixels that you overexposed before, comes back. No details are lost.
Basically you don’t have to worry about clipping your highlights anywhere.
On top of that, this allows for compositing HDR images that store color information well beyond full white. Which can give a far more realistic result in highlights etc.
Stu Maschwitz’s demo movies on eLin are actually quite helpful in explaining the benefits.
https://www.redgiantsoftware.com/elindemomovies.html
Bar3nd
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[Steve Roberts] “I can’t speak for the student version, and its upgrade path. You might not be able to upgrade it …?”
Last thing I heard, with Adobe when you buy a student license, you can upgrade it to a full commercial version when the next version arrives… for the standard upgrade fee!
Not a bad deal if you ask me.
Bar3nd
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Well… that’s sort of how it works… doesn’t it?
How did you expect it to work?
Bar3nd
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Without actually trying it out:
If the Mosaic software doesn’t import and export movies for this purpose, you could always take your movie, export as an image sequence from AE, and manually feed the Mosaic software with the individual frames.
For each frame you create a mosaic, which you then import as an image sequence.
A bit of manual work, but it should work.
Bar3nd
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And how about all of this on an iPod Video 🙂
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