Blaise Douros
Forum Replies Created
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OP doesn’t mention that he’s bringing in any of his own lights–just that he’s capturing via the existing overhead fluos. My instinct here is to say “white balance the camera.”
Some cameras don’t seem to account for the green-magenta axis, but as long as his camera does…then just getting a white balance would correct the worst of the issues.
Yes, theoretically, the fluorescent spectrum doesn’t really give you full color spectrum, but it would at least correct the color shift.
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The answer: you can’t. GoPro footage doesn’t contain enough color information to make the kind of changes that you need to make in order to fix this footage in post. With the highly compressed codecs they use, it is absolutely imperative to get it right in-camera.
I worked in the underwater camera housing business for five years, and have shot a ton of underwater footage. Even if this had been shot in RAW, you would be hard pressed to fix it. This time, you’re going to have to chalk it up to experience.
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It certainly makes a difference that Cuphead is not being composited in AE. All compositing is happening in realtime, via the game engine. There are a number of rendering tricks that game engines can do in order to sell the blending–one of them would be the slight blur, as though it’s transferred from film, and the noise, which would help unify the image. It’s also possible that the assets were created clean, and then run through a process that would automatically apply some of these changes in saturation, sharpness, etc.
In AE, it’s just a matter of picking apart what it is about the image that you want to duplicate, and then figuring out how. A slight blur, a little color work, and maybe some film grain overlays?
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Parent the color of whatever effect you’re using to tint the area to the color of the blade in Saber. That will make sure the color always matches, even if you’re changing the color of the blade.
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Most DSLRs at the low end, like the T7i, don’t really output 1080p video fromt heir HDMI port. In fact, Canon themselves have a list of DSLRs that have a true clean output, and the T7i is not on it.
I think the reason you say it looks like a webcam is that you may only be getting 720p or even 480p–it’s usually 480p.
What other cameras are available to you, if any?
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I have a 48TB QNAP TVS871T with three seats editing a mix of 1080p (100mbps) and 4K (400mbps) content; it handles things no problem. Even a 1G connection does pretty well with just 1080P.
I’ve never tried 8 simultaneous streams per user, though.
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You probably shouldn’t be using autofocus anyway, unless, for some reason, the camera has no operator and the scene requires lots of focusing. AF hunting can ruin a shot in short order. Turn AF off, have your camera op focus manually, and the problem is solved!
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Are you using Premiere? It has an auto-match color feature in Lumetri Color.
Otherwise, you’re going to need to hook them up to a waveform/vectorscope, and start fiddling with the settings.
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Maximum quality and file portability are mutually exclusive. Use ProRes or DNxHD at the native resolution for a visually lossless transfer, but don’t expect it to be small.
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If they don’t have the media, they can’t edit it. Are you suggesting that you’d like to transcode all the media to a smaller-file-size codec, and send it to them along with the sequence? If so, Adobe Media Encoder will batch export them. You can also render proxies via Premiere’s proxy workflow.