Blaise Douros
Forum Replies Created
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Is it an old manual lens? If so, and something is blocking the aperture dial, you can take the lens off, adjust the aperture, and put it back on. Yes, it sucks, but if it’s your only solution, then you’ll have to live with it.
If it’s a modern lens, and the camera isn’t talking to the lens electronically, then I don’t know what to tell you; if it doesn’t work, it doesn’t work.
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Try pre-composing the footage and use Curves to bring the shadows up a little. I got more consistent results with the file you uploaded when the green platform was a little brighter. I’m assuming you have a better copy of the footage than what you uploaded, right? The compression is super heavy on the one you uploaded, and that made it hard to get a really clean track on the platform.
Finally, since this was a motor-driven rig with constant speed, you should be able to reverse-engineer it without worrying about tracking. Create a virtual camera with an appropriate virtual lens focal length that follows a horizontal, circular path, and play with the timing until it matches.
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You could also create a series of animated straight lines in a pre-comp, and then use Polar Coordinates to turn them into a ring.
https://www.youtube.com/watch?v=HU6stByUsFU
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Have you tried the brand new technique called “futzing around with it until you get the results you want?”
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Use Scatterize to break them into particles, and keyframe a Warp effect to animate them funneling into the phone.
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In XAVC-I mode, the bitrate is 300mbps at 29.97. There’s no way that’s too low for some light grading. Maybe you recorded in XAVC-L by accident, which is 100mbps.
Did you shoot in S-Log?
However, if you’re looking for serious grading, you’d need to be shooting RAW–there’s only so much you can do with XAVC-I footage, even in a log color space.
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Are you tracking your roto’d shot? Or the camera original? You should be tracking the camera original–it has way more information available.
As for which tracker: right-click on the clip in the AE timeline, and select “Track Camera.” If you know the lens focal length and sensor size, you can calculate the Horizontal Angle Of View, and enter that in the tracker effect–it usually improves the track.
Try pre-comping it and increasing contrast, and/or sharpening it. Mess with it until the tracker sees what it needs to see.
In the future, some tracking markers on the background and/or the platform might help you out.
I’d love to know more about the rig–was it motor-driven or manually spun?
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Radio Waves combined with Displacement Maps (to distort the shape) would work–make one version of it, then pre-comp it, duplicate it a bunch of times, and offset the copies in time to get the echoing effect.
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In short, yes. The 80D is five years newer than the C300 and C100, and thus, incorporates some better features! Usually, that highest bitrate is reserved for the 59.94 framerate–I don’t know that for sure on the 80D, but that’s what I suspect.
The bitrate literally refers to how much data is being compressed into each frame–the higher the bitrate, the less compression. In general, that’s what you need to know. However, codec DOES matter, and the C300’s mpeg2 MXF files are very different from the h.264 that you’ll get in the 80D and C100.
Don’t make the mistake of believing bitrate and codec are the only thing that matters. The C300 and C100 have very nice dynamic range, and the integrated XLR audio features are priceless for a working shooter. Both these cameras, despite the fact that they competed with cameras that shot 10-bit 4:2:2 files, were extremely popular for working shooters who weren’t going to do a ton of color work; they get clean, nice-looking footage with no fuss.