Blaise Douros
Forum Replies Created
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Yep, this is moire, or aliasing. Changing the camera angle so that the strings are parallel in frame or zooming in a bit may help.
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Can you pre-compose the 3D tracked footage, and apply a fisheye-like distortion to the pre-comp to make it match more closely? Otherwise, you would have to apply some kind of distortion correction to your footage, and I don’t know how well that would work with 360Ëš footage.
What about using the depth of field option to add falloff to your objects in 3D space?
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Hey Jenn,
Great, this is very helpful in making some recommendations.I am getting pretty tired of Canon’s DSLRs for video. I have the 5DIII, and let me tell you, the video situation on it is ancient compared to what’s out there today. The audio integration situation is lousy, and they don’t have good codecs or gamma spaces for color correction. So I’m going to suggest you consider a radically different direction.
Take a look at the Sony mirrorless cameras, and specifically at the a6500. The a7s and a7sii are your full-frame options, but they are expensive, and the a6500 is more affordable and is a great APS-C/Super-35 solution.
This camera, with a Metabones adapter, can use and control your EF-mount glass, and the shallow flange depth means it can take almost ANY adapted glass–everything from vintage rangefinder glass to EF to PL, with the correct adapters. It can shoot 4K internally at 100mbps if you care about that (I don’t), but more importantly, it records an XAVC-S codec which absolutely trounces the bitrate of the standard h.264 codecs in the Canon DSLRs (unless you want to hack them with Magic Lantern to shoot RAW, in which case they’ll overheat a lot). And even more importantly, you can shoot in Sony’s stellar Slog-2 and Slog-3 gamma spaces, which give you a wider dynamic range for color grading.
It also has clean uncompressed HDMI out, even in 4K, which means that Blackmagic recorder is useful if still want to use it instead of the XAVC-S codec.
There’s an accessory called the K2M and/or the K1M that adds a dual XLR input on the camera’s hot shoe, allowing you to record audio internally in most situations.
With no lens, the a6500 is $1400. Which means you have a BUNCH of money left over to pick up the Metabones ($400) adapter, the K2M/K1M (whichever you prefer, the K2M is $500 and comes with a little shotgun mic, bonus!), and some extra batteries. Then, you’ve still got $1100 to pick up extra camera support gear, maybe even an inexpensive gimbal since the rig will be so light.
I have turned into a complete Sony fan over the last couple of years. I keep my Canon DSLRs for still photography, but my video work is ALL done on Sony gear now. They’ve paid attention to a lot of the things that working pros need, while keeping the bodies small and the gear affordable. Honestly, with this setup, you’d be looking at a rig that can compare favorably with a C100 mkii, in a smaller footprint. Granted, not all the ease-of-use of the C-series is there–you’ll have to navigate some menus to make certain things happen, and that’s just the way it is. But for those of us that need compact rigs for run-and-gun at reasonable prices, Sony is not to be dismissed right now.
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For video, the 7DII will not give you an appreciable change in the quality of your imagery from the T5i.
What’s your budget? What kind of work are you trying to do? Are you getting paid to do it? Is audio important to you? Do you really need the HDMI out (i.e. are you investing in an external monitor/recorder like Shogun or similar) or is that just nice-to-have? What is your current lens load-out?
It would help to know your goals, and then we/I can make better recommendations. Just asking which one is better is going to get you a bunch of spitballed opinions that aren’t based on the goal, which is to recommend a tool that will work best for the job you’re trying to do.
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Try Echo, or Force Motion Blur.
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This is going to sound like a stupid question, but why not just move the keyframe?
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This is great. Good work.
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Sigh. Read very carefully.
Position your mask, and set a Mask Path keyframe. Then move your transport a few frames, or seconds, or however long you want the movement to last. Then grab the mask, resize, reposition, whatever. A second keyframe will be automatically set to reflect the changes. Now scrub along the timeline. The mask will animate between those two keyframes. That’s how you animate a mask. You don’t need to track anything.
You need to spend some serious time with the Premiere documentation. I’m not saying that to be mean, or to troll you–it’s just evident that there are very basic concepts that you don’t understand, and it’s going to hurt you in the long run. Better to learn with the manual than to rely on the kindness of Internet Strangers.
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Just enable Mask Shape keyframes. Then drag the center point to where you want. Mask Shape encompasses size, shape, and position.
You need to read up on how masks work in Premiere. The documentation has basically everything you need to know.
https://helpx.adobe.com/premiere-pro/using/masking-tracking.html
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Try animating the mask shape keyframes, rather than the Scale property. Or the Mask Expansion property. It looks like you’re trying to use a Color Matte with partial transparency, and animating the Scale property of the Matte rather than the mask itself?