Blaise Douros
Forum Replies Created
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If you’re talking about using Warp Stabilizer, just let it cook away, and start with a low number for your Smoothness setting–like, 5%. If that’s not enough, then you can crank it up a little. Make sure to use the Detailed Analysis under Advanced settings.
If you’re talking about resolving a couple of minor shakes, you can use the old-fashioned point-track stabilizers, and keyframe in and out of stabilized sections; i.e. when everything is fine, return the comp to its normal position and size.
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Kelly,
The solution is very simple–you need to tell your IT team that it’s not their fault but they aren’t qualified to set it up (they aren’t), this is an extremely specialized area (it is), and that you’re going to hire Bob (like I did).I’ve got three edit seats working off an 8-drive QNAP system that Bob specced out and set up for us, and barring one or two extremely minor hiccups (which Bob resolved immediately), it’s been flawless. The whole system and all components, setup included, came in well under $10K. I think it was closer to $7K or $8K.
It will be easy, and it will work great. The hardest part will be figuring out your backup system (not hard at all, just get a second QNAP system and have it run regular backups).
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No. It’s a physical limitation of the sensor–there are no more pixels there to shoot wider. Even 16×9 is just a crop of the actual 3:2 sensor size–so you could always just crop it more in post, it would have the same effect.
You can always screw around with anamorphic lens adapters.
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I’d just lean into it, if I were you. There is NO automated solution to this–you would need to go frame by frame to matte the color, change the exposure of the matted areas, etc., and paint the foreground back in. So, I would suggest either use it as is, or stylize it even more by forcing frame blending or something. I see no problem with it as club footage–I doubt anyone but you would be bothered by club footage looking like this.
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Not having done any VR work, I can’t comment on that, but I can tell you that it’s important, if you don’t already know how it works, to get some education on how the point tracker works–it’s a little different than you might expect.
https://blog.pond5.com/11977-motion-tracking-in-after-effects-how-to-use-the-point-tracker/
Also, if you don’t have well-defined edges on your object, you’ll need to mess with contrast, saturation, SOMETHING, to make your tracked object stand out–you can also define what aspects of the image the point tracker looks for, like Luma, Chroma, or Saturation–so a red object that has the same Luma value as the background is hard to track in Luma mode, but easy in one of the other modes.
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Hard to know, without knowing what you’re tracking, but generally, you will not use any kind of camera tracking for something like that–you’d be using the point tracker, or Mocha’s planar tracking abilities, depending on what you’re trying to accomplish.
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Have you precomposed and increased the contrast? If you know what lens and sensor it was shot on, calculating and specifying the Horizontal AOV can be really helpful for the tracker, as well.
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Sorry you feel it’s unhelpful. Just pointing out that in this industry, a client’s requirement that a freelancer use a specific camera usually means that the freelancer rents that camera, rather than buying one. If your client suddenly decided they wanted you to use a RED setup that cost $50,000 to buy, would you consider it a reasonable request that you buy one out of your own pocket? Or would you rent it, and pass the rental fee along to the client, since they’re the one who is making that requirement?
Sorry also that you feel it’s unhelpful to suggest that Sony, who built these camera systems, is probably your best bet for getting helpful answers about interoperability of two cameras using out-of-date acquisition formats.
Their professional services division is likely to have the answer for this. Their contact information is here: https://www.servicesplus.sel.sony.com/sony-service-contacts.aspx
I hope you don’t find this contact information to also be unhelpful.
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Pretty specific question! Why not just rent a Sony F800, which you know will be compatible? If the client’s going to specify camera package, they pretty much need to be willing to pay for the rental, especially if they’re going to specify a weird, out-of-date format.
Otherwise, I’d check with Sony on the compatibility.