[Chris Wright]

prores has many versions. PNG sequences are usually 8/16 bit 4:4:4, so any encoding would have to match that. If you need the exact same file size, prores is visually lossless but not mathamatically lossless, including its 444 XQ which is confusingly called 444 but only the alpha channel is preserved! the RGB values are log encoded compressed so there’s data loss.

Quicktime’s PNG video is a very small size, even smaller than quicktime animation, but again, its 8 bit, but at least its RGB is true 444. If you want no generation loss, you’ll need 10bit HD or 12bit (dolby vision) 444 encoding.

OpenEXR is pretty good but mostly overkill for file size, but has a small math difference error. The same with PNG seq.

Tiff and PSD sequences can handle 16bit with 0.00% loss if LZW compression is turned off.

FFV1 is a free 10bit 444 video codec but not standard.

[Chris Wright]

you can view resources by percentages with 3rd party tools such as openhardwaremonitor.
they will tell you if you’re taxing your video card or just need fast disk or cpu speed. a huge money saver, and best of all, they’re free!

[Chris Wright]

AE’s timewarp can set vectors numbers higher, it supports roto masks if you precomp, so the bg won’t get interpolated.
Also, you can precomp a video, precompose it, right click timestretch 50%, then apply timewarp 50% to the precomp.
That will create,decimate and average movement out..as long as both numbers match. The higher the number, the more interpolation at a cost of softness.

filter-extreme will reduce softening of the image, but at a huge cpu cost.

If you need perfect quality, terrenex came out with a mini-hardware box. Or as walter said, twixtor pro has spline support to manually guide the warping.

[Chris Wright]

its an artificial light problem, so a bit tricky, does it pulsate? If it doesn’t pulsate, Color finesse has a grey point eye dropper that will find the white balance, plus it looks like there’s a ffx preset from michael’s link. I haven’t tried it yet, looks pretty cool though. I wonder how it compares to color finesse and this one. https://aescripts.com/ft-auto-white-balance/
we need a w/b roundup!

if the white balance does pulsate, i wrote a timelapse repair template for AE that you could try.
if you enable the text layer and scroll Gamma Clamp at gamma*10 so that the text box reads 25, it will fix
white balance, shadows, saturation, contrast, automatically. also works on old film flicker.

https://f1.creativecow.net/6154/auto-white-balance-cs3-and-up

[Chris Wright]

a dynamic mic is designed for loud sounds. Good ones are expensive because they can handle loud db range(check the specs page on them, they’ll say like up to 120db). All you have to do is either hook up an external dynamic mic to your camera or get a mixer guy to give you a perfect output(like Ty said). probably a xlr or 1/4 adaptor would be needed.

but it seems to me that any recording that is far away from the band, will have echo, room distortion, and reverb problems anyway. That’s why they have recording studios.

[Chris Wright]

smart blur or cc vector blur might help, but it wouldn’t be perfect like antialiasing/anistropic filtering in a 3d program.

[Chris Wright]

I was thinking a reverse timeremap after you apply newton’s explosion collision detection program.

https://www.motionboutique.com/newton/

[Chris Wright]

a noise gate should work. it will automatically cutoff lower db sounds. If the db is just as loud in all mics, you’ll have to manually select what you want to hear.

you may want to invest in a hardware automixer, which does this on the fly during production.

[Chris Wright]

you have to precomp your footage, then apply twixtor to the precomp or you’ll get glitches.

[Chris Wright]

it depends on if there’s any information in the shadows. if there is, you can use effect-extract-key darker, use it as an alpha matte for effect-shadows and highlights. It also has a built in saturation adjustment because darker stuff loses chroma. You can also blur the alpha matte so it blends in better.

if there’s no material information, you might have to settle for a blurred shadow, unless you’re skilled at matte painting and rotoscoping.