[Blaise Douros]

I know, right? I don’t do music videos, sci-fi VFX, or anything like that, so this is the only application I’ve ever found for that effect 🙂

[Blaise Douros]

This is not possible, period. The sensor on a 2/3″ camera is tiny compared to APS-C, and the image circle of the lens will not come anywhere close to covering it. You’ll be looking down a tunnel. It’s not worth wasting your time and money; sell the lens and buy something useful.

Here, follow this link to see the size difference:

https://4.bp.blogspot.com/-ilHAFynRQXM/T8G_r6ZJliI/AAAAAAAAAU4/BXYbv7klZaI/s1600/sensor+comparison.jpg

[Blaise Douros]

Awesome–be bold! You’ll spend a little time learning the Sony menu system, and be sure to read up how to best expose Slog2 and 3. But otherwise, everything will feel pretty familiar.

And come back and post your results, as well as questions!

[Blaise Douros]

Phew! It was just a guess based on what I know about the way AE functions. Glad it paid off!

[Blaise Douros]

For example:

https://youtu.be/MKBO-H9EK24?t=23

At 23 seconds.

PS, this is a hunting video, so don’t watch to the end if you’re squeamish about hunting. No blood but some people get really bent out of shape by this stuff.

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[Blaise Douros]

Good lord. You guys are WAY overcomplicating it!

Use the Generate > Audio Waveform plugin on an adjustment layer or solid, and set Display Options to Analog Dots. Set the Displayed Samples to the number of dots you want. Parent the Start Point and End Point to your two track points. Adjust the color and size of the dots to taste.

Boom. You’re done. I’ve done this a million times, with the Lie To Me opener as the inspiration.

You can’t make the path curve, it’s always a straight line, but that’s the only drawback to using this method. And no expressions are required, except the parenting expressions that you can do just by dragging the pickwhip from the Start and End points to your track points.

[Blaise Douros]

I want to mention one last time–there is NO XLR audio available on the 7DII, and you’ll be working in an outdated h.264 codec that doesn’t handle much grading. The a6500 has HDMI out, higher internal video bitrates and a modern codec, log gamma, and XLR integration possibly. And again, it can control your lenses on a Metabones adapter so you don’t have to buy all new glass–just an adapter that you leave on the camera.

Just throwing it out there one more time, because frankly, the 7DII just isn’t anywhere near as capable a tool, and I hate to see someone giving up capability for familiarity. Sorry if I appear strident–I’ve just been so pleased with the capabilities of all my current Sony video rigs, and so disappointed in the lagging capabilities of Canon.

[Blaise Douros]

Create the slideshow with all the images appearing at a constant speed, then Nest that timeline within another sequence and apply a speedramp to it just like you would any other video clip.

[Blaise Douros]

If your Glow effect is on an adjustment layer, then mask that adjustment layer rather than the underlying object.

[Blaise Douros]

I don’t know this for sure, but try setting your Ground Plane and Origin within the 3D camera tracker before creating the 3D camera. I have a hunch that any Particle World plugin you add to the comp may be correctly oriented after you do that.