Blaise Douros
Forum Replies Created
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Ah, I see the confusion.
So, I’m not suggesting that the problem is that the tripod is unstable. And looking at how your timeline is set up, I see why you’d think I’m full of it–my suggestion wouldn’t work with this timeline.
Let’s say your original stills are 4000×3000. Create a timeline that is the same size as the original stills, at the desired framerate: 4000×3000, 23.976 (or whatever). Render out this timeline to a clip.
Now you can import this new, full-size, full-rez clip to a 1080P timeline. Resize it to the desired initial framing.
Now, apply Warp Stabilizer to the clip. Warp Stabilizer is designed to correct camera movements and make compensations for lens distortion; and while there are no actual movements on the tripod, the transitions from one clip to the next may be perceived as camera movement by Warp Stabilizer…and so it may be able to compensate for them.
If not, you can try the method I suggested in my second post. Since the image sequences will now be one long file, they’ll be easier to manipulate using AE’s motion tracker.
I’m not aware of any AE feature that allows you to align features from two different clips; to use any of its automated tools, you’ll need to get the images all on one timeline.
I also found this: https://forums.adobe.com/message/4198205#4198205
Photoshop might be able to do it, if you have enough RAM (see above linked comment).
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https://helpx.adobe.com/after-effects/using/utility-effects.html
Apply the LUT in After Effects. If you want to make changes to the brightness, it’s probably best to apply them above (i.e. before) the LUT in the effects order. After the LUT has been applied, you can do your fine-tuning and pull the key.
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The other technique you might try (if warp stabilizer didn’t do anything) is using AE’s tracking and stabilization. If you create a tracker, and select all three boxes (Position, Rotation, Scale), you can select three points to track that AE can then use to stabilize the footage. The nice thing about this tracker is that you can correct bad tracks manually. Without some kind of warp stabilization, you’re not going to completely correct the lens distortion variations, but you can get the movement to line up much more closely using Position, Scale, and Rotation.
Just a quick thought; make sure that you’re using the full-rez image sequence as the tracking input–if you’ve rendered off a QT movie that you created from the image sequence, you’ll rob yourself of resolution and wiggle room for moving the image around. -
The embed was weird, didn’t show up, but I managed to find the vimeo link in the page source.
Your problem is not an EQ problem. What happened here is that your levels were set too high, and the audio signal is clipping; the distortion is caused by that. On set in the future, you need to make sure that your audio levels never exceed about -12db, giving you some headroom for louder moments. This is exactly like making sure your highlights don’t get blown out; you have to do it on-set, because once that detail is gone, there’s no getting it back.
There is no filter that will get rid of it–as Ryan suggests, you will need to ADR this audio in order to clean it up.
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Here’s what the shot looks like with the standard slog3 to rec709 LUT applied in Premiere, no other color correction.
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This footage looks as though it was shot in the slog3 color space, which is a flat color profile that allows the FS7 to capture higher dynamic range. You’ll need to check with your camera guy to be sure he was shooting in slog3 vs slog2, but what you need to do is apply a LUT to the footage. slog3 to Rec709 is probably the one to use.
After that, the contrast and saturation should pop to the correct level, and be much easier to key. Because it’s log footage, you’ll have plenty of dynamic range for color correction after the key is pulled.
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You can’t fix what isn’t there. If the audio was recorded with very little low-frequency sound, you can’t replace it. That’s like asking if there’s a filter that can re-create the details from highlights that are completely blown; there just isn’t data there.
Post examples and we may be able to make recommendations, if it’s salvageable.
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If each shot is only a few frames, you might try this:
Take the first frame of the shot into photoshop, cut out her back, and clone out the tatt. Then, bring that cloned torso back into AE. Roto/animate that shape to match her torso using whatever warping/transform tools you can. Then, at least, the texture wouldn’t change over time like it would if you were painting out individual frames. This will be a hugely painful operation and you will wish you were dead by the time it’s over, but it might work.
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Realistically, you can’t do this without hiring a Maya artist. That artist will need to animate a torso to match hers, and composite it into that scene. You are setting yourself up for probably a week’s worth of wasted work if you try to paint it out, since you will discover that it is too complicated. Even rotoscoping it by hand will result in problems, since your paint strokes would have to remain absolutely consistent between frames.
It will be cheaper to re-shoot the scene with a body double or the same model with lots of coverup.
Did the director consult you before deciding that this shot could be fixed in post? Contact a local effects/animation house, and get a quote from them. Once you give that to the director, that tattoo will probably start looking a lot better.
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Warp Stabilizer in After Effects and/or Premiere is probably your best bet. It’s designed to cope with exactly those problems in motion video, so there’s no reason it shouldn’t help with timelapse video, too. With the extra rez, you’ll have plenty of wiggle room for the small amount of crop it introduces.
