Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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these are for osx
https://triq.net/articles/mouse-acceleration-preference-pane-mac-os-x
https://smoothcursor.com/I actually write my own for pc though with ahk to get a 20 button mouse.
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if you interpret 30fps as interlaced upper or lower field, drop it into a 60 fps comp. If you page through, it should create distinct moving images on each frame. Render out 60 fps no fields. You will lose 50% resolution.
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obscuration matte in Element 3D. oh aha, I read it backwards, but still useful if you do the opposite.
oh since your using a camera, try world position matte in element 3d, its like a 3d matte! -
don’t forget to customize the pointer acceleration curve with custom software. ie. the faster you move, the farther it goes.
if you move slow, it’s still pixel accurate. You can go across the screen with a fast motion and its very predictable. unlike the horrible microsoft smart pointer stuff. this newer technology is smart precision that will save your elbow. -
1. always precomp the footage before retiming or it cuts off part of the footage. twixtor the precomp instead.
2. install latest twixtor update
3. try image sequence to avoid possible codec issues
4. send bug to adobe with mad smiley >:( jk.
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform&loc=en -
if you’re going for image quality, you want a very low iso like 640 or less or you’ll have a lot of grain. Also, you probably need more light. You can reflect more light in there with bounce boards if you don’t have a lighting kit.
even if you remove the grain with neatvideo or ae’s remove grain, the low light will probably leave a pretty flat image. A good effect would be Ae’s exposure effect to counter this and individual levels to push the whites and blacks into a usual image. You’ll also need moving masks to lighten skin. It needs more light than white walls or looks very dull. Don’t use auto contrast!
Anytime you use auto w/b, the camera has to hunt for the right color, or if auto iso, the grain changes size. Full manual is the only safe bet. Make the iso as low as possible, then add more natural light.
If you have low light problems, the last thing you want is a super flat picture style. It will suck in even more flatness into your image because it requires more color/luma information. Still though, keep pre-sharpness down.
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ok, this might make your head explode, but some lut’s will NOT work with linearize workspace.
for example, with an alexa camera:
“To view Log C footage correctly inside Adobe After Effects, generate a Log C to Video photometric LUT using ARRI’s online LUT Generator and use an “Apply Color LUT” effect inside AfterEffects. This only works, when your project is not set to “Linearize Working Space”.”…and then some need it turned on as below:
if you want log to lin luts, you can get this free plugin
“Apply log-to-lin LUTs to your log-encoded footage in After Effects, just like in Nuke!”
https://aescripts.com/qp-nuclear-lut/
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actually, the really funny part is all film vfx’s done with linear rec.709 lose
information from the limited range of the color management spectrum. it is not as good as a non-destructive display LUT. aka you “sacrifice the maximum performance of DCP projection and as a result too much video look in our image.”
https://www.reduser.net/forum/showthread.php?62733-Comparison-of-CC-workflow%92s-Film-Log-vs-Linear-REC709the proper way to edit footage is work in a icc profile that is the same of your original camera, film(Universal Camera Printing Density or dcdm) digital(P3) then
simulate rec709 for your monitor. if you render rec709 and you imported film, well, you’re screwed. bye bye film master.“What difference does linearize actually make? It means that Add and Multiply modes are not broken outside of 32 bpc linear HDR. You can comp fire into a shot with Add mode and not have to compensate for it looking horrible even in 8 bpc.”
don’t forget that all cgi renders have to be linear too, if AE is linear or visa versa, I should say.
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you could try timewarp 100% but manual shutter blade blur like 4000 to even out the dots. It’s similar to reelsmart motion blur. or cc forcemotion blur.
cc vector blur is designed to blur dots.
Also, depending on flicker, if the above doesn’t work, you can timewarp 50%, then precomp that and then right click timestretch 50%. The speed will be the same but it will create intermediate frames to average out the flicker.
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it only supports in ae and premiere. it should have an install. set it to the plugins/effects folder.
it will be under red giant if i remember correctly. add it to a composition.
support https://www.redgiant.com/support/ -
it all depends on many variables.
did you have an existing lut table ready?
do you need to make a lut? there’s many ways/softwares/lut buddy. even color finesse can do it. you can download luts online too.you should have a color calibrated monitor, a lut should be viewed with Apply Color LUT effect, color finesse, or lut buddy.
are you converting to rec. 709 before exporting? are you conforming a picture? are you trying to preserve overbrights? 32bpc?