Blaise Douros
Forum Replies Created
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Check to make sure that Lumetri isn’t applied both to the individual original clip in the nested sequence, and to the nested sequence in the main timeline.
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One of the Blur effects, I forget which one, has the ability to select horizontal vs vertical directional blur. Select the horizontal direction, and keyframe the Blur Amount from whatever high value creates the amount you want, down to zero.
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Echoing Bob; you can get into an incredibly well-performing QNAP system for a couple thousand bucks that has terabytes and terabytes of space. If you consider the NAS system your “online” drive, and use your old drives to archive and/or back up your outdated content, you can get by for a long time with that as your main storage system.
No, you can’t do shared video storage with any kind of WiFi. Forget it!
My advice is to budget about $7000-$8000 for this system, and hire Bob to help you get it specced out and set up remotely–he is incredibly knowledgeable about this kind of system, and his very reasonable fee is worth every penny. It might seem like a lot of money at first, but let’s be honest–we’d all spend that in seconds on a new camera system, and you will use a shared storage system like this practically every second of every day. It’s not sexy like a camera, but it will save you SCADS of time, and works really well. It’s been a great investment for my company’s video team.
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It sounds like you didn’t need to bother with 3D Camera Tracking, then–the point tracker would do what you describe, and more easily, too.
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Yeah, I definitely understand where you’re coming from. It’s a tough problem, and one that really can only be solved by a completely manual camera setup on scopes. Good luck!
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You can’t shoot Slog2 on the PMW-200, and you can’t re-create it via menu settings. I would suggest either proposing to the client that you shoot in one of the Hypergammas, or renting a camera that can handle Slog2.
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Consider the second mike, and also the K1M or K2M XLR add-on which will allow you to have four XLR inputs (shotgun mike plus two lavs). Forget the gimbal. As a solo shooter, you will kill yourself trying to carry that kind of weight all day. Plan on leaving your prime lenses, and bringing the zoom.
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If you didn’t specify the Angle Of View in the 3D camera tracker, you may be working with a track where AE thinks that it’s a ridiculously wide lens, and is distorting the virtual objects in the scene as a result. Look up the horizontal Angle Of View of whatever drone camera was used to shoot this, re-solve the 3D camera track, and you may get results that are more natural and fit the rest of the scene.
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Make a really visible track point at both the tip and the hilt of your lightsaber. Use the Point Tracker to track each of these points. And then download this plugin:
https://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/
Use the point tracking data to control the Start and End points of the Saber plugin, and then all you have to do is clean it up. You’ll still have some hand work to do, but it’s much easier than going frame by frame.
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So let me first say that I’m doing the same thing with FS7 and A7III, just on a smaller scale.
My first reaction is to point out that you’re asking for two completely incompatible things: maximum dynamic range, and usable straight-out-of-camera. So first, you’ll need to decide which of these is most important to you, and pursue a solution to that. Frankly, I don’t see why SLog2 isn’t your best solution; applying a LUT in post can take less than 15 seconds for all of your clips on the timeline (at least in Premiere):
1: Add clips to timeline
2: Add Lumetri Color to first clip
3: Apply your LUT from the drop-down
4: Copy the clip, highlight the other clips in the timeline, and “Paste Attributes” to the other clips. You’re done!Beyond that, what you need to do is hook up your cameras to a monitor with a waveform and scope, and start fiddling with custom color profiles until you can match the waveforms and vectors. Frankly, even shooting straight to a Rec709 STD gamma profile which is supposed to be identical on the FS7 and A7III (with identical white balance settings), I still have to do some corrections in post. Every individual camera will have slight variations in Hue shift, and 10-bit color vs 8-bit color is non-trivial, too; my FS7 picks up a number of orange shades in skin tones that the A7III just can’t seem to see, so I have to compensate for that.
Ultimately, I’ve found that it’s a lot easier to match SLog2 material than it is Rec709, simply because you have more information available to you.