Chris Buttacoli
Forum Replies Created
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I’m almost certain if you pre-comp the footage, you can add levels or sharpening or channel effects etc., and then track the pre-comp. Of course, save the data to a null as usual.
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These are actually called “light leaks”. There are already made VFX you can purchase, or try making them yourself.
From good old Aharon Rabinowitz:
https://allbetsareoff.com/tutorials/old-film-look -
You should probably post your machine specs for the computer savvy to inspect.
Also, what codec are you using for capture, and what timeline settings are you using compared to the footage shot.
Without any of this info, it sounds to me like the footage needs rendering for smooth playback.
As for the locking-up issue, could that be heat related??
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Looks like hand animating some colored solids with glow to me.
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“My track point moves off screen halfway through the shot”
In case anyone needs clarity, before the track point moves off screen, you can hold the ALT key and drag the box to a new track point.
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You might not realize it, but you are already half way there. After the stabilization you’ve done, create a null and copy over the anchor point info from the stabilized layer. Make these layers 3d, and create a new camera. Parent the camera to the Null. The camera should be locked to the original shot now.
Use a smooth expression on the null anchor point to steady the shot. Something like: smooth(1,30) – play with the numbers to get something acceptable.
Use the camera zoom to crop out the black borders you will see from steadying the shot.
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The way I do it….
With clip A and clip B on the timeline, I add a 1 sec crossfade between them. For clip A, I set the scale width from 100% to 300% over the last second and a half. I also add a fast blur from 0 to 35 over the same time. For clip B, I set the scale width from 300% to 100% over the first second and a half. The same with a fast blur, 35 to 0 over the first second and a half.
I save these as presets in a folder I called ScaleBlur. The clip A effects are pinned to the out point. The clip B effects are pinned to the in point.
Now, when I need to use this effect again, I just add the crossfade and drag the corresponding presets to the a and b clips.
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Still, any marks or bumps, or anything barely visible on the wall will make hand tracking a lot easier. So look carefully for one. My fingers are crossed for you.
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It is actually an array of 30 or more cameras in a long circular row where the stills from each camera have a different perspective. When combined in a sequence you get this “Matrix” effect.