Blaise Douros
Forum Replies Created
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This is an oldish thread, but I see no answers, so I’m going to do a quick one.
This artifact can be caused by fluorescents, in which case the answer is to shoot in ECS (Extended Clear Scan) to minimize the effect: https://www.manualslib.com/manual/860623/Sony-Pxw-Fs7.html?page=61Faster shutter speeds will actually make this harder, so 23.976 or 29.97 is actually better in this case. But still turn on ECS.
It is more likely that it’s being caused by your LED lights. LEDs often use Pulse Width Modulation to dim the lights, and there is no industry standard for the frequency. If your LEDs were cheap, then it’s highly likely that this is the case. A similar thread from awhile back:
https://creativecow.net/forums/thread/lights-for-dslr-video/#post-2005103
If you find that it’s your LEDs, one solution might be to turn your LEDs on full blast, so they are hopefully not pulsing, and just move ’em back.
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Oh my gawd, yes. My absolute favorite new (free and open source!) tool for any interview-based editing is called AutoEdit3 – it’s an AI transcription tool that allows you to build paper edits which can be exported to EDLs. It is a HUGE time-saver, and feels like cheating. There are companies out there charging subscription fees for the exact same service.
You can set it up to transcribe using a free Mozilla Text-To-Speech engine, or select from a couple higher-quality options that require payment after a certain amount of hours of transcription.
Once the transcript comes back, you can edit it to correct any errors. THEN the magic happens.
You go to another interface that allows you to highlight and drag phrases from one page to another to create a paper edit. And once you have your paper edit, you can export a number of different formats; the most useful one is an EDL.
Then, you import the EDL, connect your media, and BOOM: you have your first cut, which you built by copypasting text. It is GREAT.
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@glennsakatch for some reason this ended up in the Resolve forum, but @daneshubert mentioned that he is in Premiere and needs to use Lumetri to accomplish this.
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Jim’s on the right track here–AI files will NOT import to Premiere Pro as vectors. PP will rasterize the file at the native resolution of the AI file. A lot of Illustrator users have a nasty habit of using a tiny canvas, and as long as the assets stay in vector formats, that’s fine–but when you bring it into PP, it will be rasterized at that small size. Jump into Illustrator with that AI file, and export a PNG that is natively the correct size for your sequence. That should improve matters significantly.
Your export format definitely will matter too, but if you are exporting from a low-res source, it’s always going to look bad.
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You can do this easily in Lumetri, no need for a Resolve round trip; mask off the area you want to isolate (in this case your chest, I’m assuming?). If you move around a lot, you may need to track it–in the Effects control panel, you can draw the mask, and then use the little transport buttons that look kind of like: <| < > |> (they’re right next to the Mask Path) to track forward or backward.
You won’t want to just crank up saturation, because that’ll make the whole mask area look different than the rest of the shot; I’d use the secondary color correction controls down toward the bottom of the Lumetri panel. Basically, this allows you to do a chroma key of the color you want to affect, then lets you apply an effect to only that keyed area. In this case, that’s the orange-y red on your shirt, yeah?
Get that color dialed in to the Key section, then use the Correction section to add back in the more saturated red color to the area you’re keying out.
In general, it looks like you’ve applied a somewhat desaturated treatment to this shot setup, so you may want to revisit that look–more saturated and contrasty in general will probably make the logo look more poppy, as well. Also, if the shirt itself doesn’t have a good printed ink color to start with, well…then it’s time to have your boss go have a talk with your screen print shop, no?
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The 3D Camera Tracker doesn’t love tripod pans–what it really likes is camera movement with parallax. In fact, there’s an Advanced setting in the tracker that you can toggle for a camera that is mostly just a tripod pan–and it’ll tell you that you won’t quite get a 3D track. But it’s worth a shot–messing with the settings can be helpful.
Also, pre-composing and adding contrast and definition to the scene will always be a good idea.
It would help if you told us what you wanted to do, or even posted a still frame of the scene. Hard to know how to help if we don’t know what you’re trying to accomplish.
If you’re just tracking in 2D graphics or something, then the Point Tracker might actually be your best option. There are a number of ways to skin the cat in AE, including the planar tracking in Mocha that can also get you a long way.
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You can fake motion blur with Time Remapping, as you tried up-thread: just make sure to turn Frame Blending on for that clip, and (this is the crucial part) render that section of the timeline. You will NOT see an accurate preview unless you render it–it will show up like Frame Sampling until you actually render.
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Your YouTube example links are not viewable, as they are all set to Private. Set them to Unlisted.
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I’m with Eric, I don’t mind the little bits of shake. But: if you’re hell-bent on it, I think that the Point Tracker will be your best bet for this. If you’re having trouble finding a solid contrasty point to track, try pre-comping a copy and bringing up the brightness with Curves, and use the tracking data from that one to apply to your darker original.
You may only have to track a few places–there are really only four or five little bumps that I’m seeing, and the Point Tracker could easily be used to just smooth those out.
Alternately, the other trick I like to use for something like this is just a simple Ken Burns transit-and-zoom-in-or-out so there’s a little additional motion, and the jumps will feel more natural.
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Are you looking for a Layer Space Transform? Put this expression on the 2D layer, and connect it to the 3D Null:
this_comp.layer(“your3Dlayername”).to_comp([0,0])
Replace coordinates with coordinate of the feature to be followed.
Alternate spelling:
L = thisComp.layer(“My3DLayer”);
L.toComp(L.anchorPoint);