Blaise Douros
Forum Replies Created
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It’s on the same horizontal line of windows as the Source window. I’ve found that I can either (a) undock it, (b) move it down to the Timeline level, or, weirdly, I can Reset To Saved Layout in the workspaces menu. However, if I click directly on a Workspace, the bug comes back. I have to click a Workspace, then Reset To Saved Layout.
So, there are some workarounds…but this is a silly, silly bug that is playing silly buggers with my ability to switch Workspaces. Now that I’ve figured out the workarounds, it’s only annoying rather than a serious impediment.
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Update: I’ve just found that if I undock the panel, the regular options come back. But the second I dock it, it’s back to the same thing. Bug?
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You’re so close! Take your key layer, duplicate it, and apply a blur. Maybe bump the size of the layer up to 105%. You want to expand the edges of the key behind the actor. Then, use the new key with blurred edges to key in your Turbulent Noise behind your actor. Presto.
Add some Glow over the top on an adjustment layer, keep the blue color wash that you’ve already made, and you’re done.
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You might shoot both cameras in their respective log spaces, and then use the appropriate LUT to convert one log space to the other. Then you’re at least working from data that’s as close as possible.
You can generate LUTs at https://cameramanben.github.io/LUTCalc/LUTCalc/index.html
There is a MAJOR exposure difference between your two cameras in the samples you’ve posted, which certainly isn’t helping you. Your best bet is to arrive early, get the cameras hooked up to a single monitor, and do your best to color match them beforehand, as well as get your exposure settings to agree. Remember, ISO is a completely non-standard number, so ISO 400 for one camera can pick up the equivalent of ISO 800 on another. My FS7 and RX10ii can be matched really closely…if the RX10ii is set at half the ISO number.
If you can get a color chip and monitor with waveform and vectorscope, so much the better. Once you arrive at a setup that works for you, save it from the camera on an SD card so you can use it to match other FS5s to your C100, or save a C100 setup that you can use to match to an FS5.
Consider, too, that with theatrical lighting, you often have multiple colors of lights hitting actors at the same time. If you’re shooting from two separate angles, different lights are going to reflect differently at different angles…resulting in certain objects changing colors at different angles. This isn’t the only thing going on here, but it could be a factor.
4K vs HD is probably not a factor here. In theory, at least, resolution doesn’t affect color. In practice, of course, anything is possible, but I suspect that it’s a camera setup issue rather than something that esoteric. Your Sony shooter may have his camera set up with a ton of saturation, or something. Only a very detailed, side by side comparison in a monitor will solve this.
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Bob, thanks for the response and for the call this morning. Your recommendations are spot-on for what we need. As usual, you’re the guy with the answer!
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Furthering what Todd said; I’ve had decent luck with speeding up the footage to 250% and enabling Frame Blending (rather than Frame Sampling or Optical Flow) as the setting for the clips and timeline. You get a modicum of motion blur from the combining of frames, so the motion looks a hair more natural. Give that a try before you do anything else, and see if the results are good enough. You may need to do more in-depth processes on certain shots, but this might be a good-enough solution that gets you most of the way there.
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Aww, it was no trouble 😉
Yeah, it has both a headphone and mic 1/8″ jack, which I found out by googling the name of the camera and clicking on a site that sells it. It took me ten seconds. A lot quicker than coming to CC, posting the question, and then waiting for someone to reply. In fact, the time it took you to write the post, you could have had your answer just by typing your question into the search bar on your browser instead of here.
I mean, yeah, this is a site for Q and A…but come on.
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https://lmgtfy.com/?q=a7r+audio+jack
How are you accessing Creative Cow if you don’t have access to the rest of the Internet?
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https://helpx.adobe.com/premiere-pro/using/video-effects-transitions.html#video_effects
There’s an effect for that.