[Chris Gunningham]

Keep it all 59.94 interpreting your off speed footage to 59.94 will make it the correct speed without duplicate or skipped frames, I would then use the posterize time effect to force to 14fps in premiere.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

I wouldn’t attempt it without AE, however if you have access to a PC you could try this: https://compression.ru/video/deflicker/index_en.html It a plugin for virtual dub https://virtualdub.sourceforge.net/ (free), i’ve had success with this in the past.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

Yeah sure just do the speed ramps in premiere then. I do it this way because it looks much better and solves progressive judder issues, but depends how long you want to spend or what the budget is.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

Try rolling shutter repair in Ae as a secondary effect, for the jello play around with settings. Sometimes subspace warp gives unwanted effects try position, scale and rotation instead.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

Ok, The reason i asked about resolution is that i approach stabilizing footage bigger than HD in a different way but i’m assuming all your footage is HD (including the go pro) I’d make sure you interpret your different frame rates correctly in the project window first off. Personally I do all my stabilization work in AE CC, So i would take your shot into Ae (if dynamic linking dupe on the timeline first) Then apply warp stabilizer, precomp then apply noise reduction. This way you aren’t noise reducing then scaling up but the other way round. I would then render to your final master codec (cineform/prores/dnx) and import back into premiere. Mute your original layer and dynamic link but keep them there as a reference. When exporting be careful not to use previews as your preview codec is mpeg i-frame (you could change that to prores, dnx or cineform).

Cheers

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

After effects Timewarp with pixel motion, if you get artefacts use a combination of frame blending with pixel motion and Timewarp in the problem areas (mask one layer above the other) . Once you are happy with these I’d bake the speed effects in so your timeline is all one frame rate then send to grade.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

What footage are you working with? (resolution and codec) also what are your sequence settings? Are you delivering HD?

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

I would use Timewarp in after effects, this gives you 5000% plus pixel motion. If you need more precomp the layer first and use the speed/duration switch to speed up then apply Timewarp.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

Post houses tend to be led by clients so if it’s offlined in premiere then it makes sense to online in premiere. This next release with direct link to speedgrade is potentially quite big, the appeal of staying within one suite of tools for the finish process is quite appealing and I think we will see more jobs completed with Premiere/Ae/Speedgrade. The jobs I’ve done have benefited from being able to work with high res media, enabling stabilisations and reframes without loss of quality in an HD timeline.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Chris Gunningham]

Make sure your sequence is I upper field and set the Kona prefs in premiere to match sequence settings.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.