[Chris Wright]

https://conradolson.com/frame-by-frame-painting

[Chris Wright]

if you’re working with sky gradients, most all 444 video codecs are only 8bit. You’d need a psd or tiff trillions sequence to fully protect trips through software.

[Chris Wright]

Color bars wouldn’t work even if you recorded right off a monitor. Why? Luts only exist on the canons, example, cinestyle. You only have the flat neutral look on yours. The most the color bars would help with would be matching other similar cameras. There’s no standard or color management going into your computer. You are probably looking for a standard model that can be created with this software for profiles.

https://spyder.datacolor.com/portfolio-view/spydercheckr/
https://spyder.datacolor.com/portfolio-view/spydercube/

[Chris Wright]

it depends….
is the flicker the whole frame or does it have scrolling bars of darkness?

[Chris Wright]

optical flow plugins such as ae’s timewarp, RE:Vision Effects’ twixtor, fcp’s cinema tools can all warp in extra frames to increase/decrease the framerate smoothly, but they are not perfect and often require masks and splines to get good results.

[Chris Wright]

don’t forget the panny gh2/3, good video quality, unlimited recording time compared to 29 min. or less for most other dslrs.

[Chris Wright]

here’s all the random stuff you could buy off the top of my head, based upon things you might do which requires needing more stuff…

make sure the 70-200 2.8 is macro too, so you can get minimum distance if necessary. parfocal(not change focus), constant aperture, a good countryman lav,DPA 4071, a rode mic(they sound good for the price), maybe a long shotgun mic like MKH 70, MKH 50s for interiors, maybe a portable mixer, a cat for the mic on a windy day, or more expensive Audio Ltd. 2040 radio mics with RK6 (six-channel radio rack),

there’s some really cool lcd lights out now that vary intesity and color temp, plus you don’t have to buy bulbs, enough batteries that you could switch them out off an inverter in your car,

an external sound recorder, maybe even consider an external hdmi recorder. I’d also get a wide angle lens, bout 25 or 28 maybe even a 14 so you can open up the door to landscape, buildings, etc. some sort of rail system, crane, mini stand, a rig of some sort. etc. ad nauseum

[Chris Wright]

Jumpy Wiggle 1 makes wiggle skip and hold rather than move fluidly.

// Jumpy Wiggle 1 (moves at a random FPS)
v=wiggle(5,50);
if(v < 50)v=0;
if(v > 50)v=100;
v

Jumpy Wiggle 2 is similar to 1, but works at a defined FPS so your “jump” will happen at a regular pace.

// Jumpy Wiggle 2 (moves at a defined FPS)
fps=5; //frequency
amount=50; //amplitude
wiggle(fps,amount,octaves = 1, amp_mult = 0.5,(Math.round(time*fps))/fps);

Inertial Bounce is like making your moves “rubbery.” Layers will overextend, then settle into place on position and rotation keyframes.

// Inertial Bounce (moves settle into place after bouncing around a little)
n = 0;
if (numKeys > 0){
n = nearestKey(time).index;
if (key(n).time > time){
n–;
}
}
if (n == 0){
t = 0;
}else{
t = time – key(n).time;
}

if (n > 0){
v = velocityAtTime(key(n).time – thisComp.frameDuration/10);
amp = .05;
freq = 4.0;
decay = 2.0;
value + v*amp*Math.sin(freq*t*2*Math.PI)/Math.exp(decay*t);
}else{
value;
}

Sometimes you just want something to move constantly without keyframing it. Use throw.

// Throw (move at a constant speed without keyframes)
veloc = -10; //horizontal velocity (pixels per second)
x = position[0] + (time – inPoint) *veloc;
y = position[1];
[x,y]

Same as throw, but for rotation.

// Spin (rotate at a constant speed without keyframes)
veloc = 360; //rotational velocity (degrees per second)
r = rotation + (time – inPoint) *veloc;
[r]

A shoutout to the brilliant folks at aenhancers.com who provided in whole or in part the basis for all of these expressions.

[Chris Wright]

there’s more to it than that…

Nikon D4 and D800, GH2, GH3, and soon 5D Mark III are all 4:2:2 hdmi uncompressed with Blackmagic Shuttle, Atomos Ninja, or Aja Ki Pro Mini.

why?
ProRes is a lossy intermediate codec that gives you a much higher bit rate and less compression artifacts than your DSLRs’ H.264 or AVCHD file.

With the Ninja, you not only have the ability to capture clean HDMI in 1080p at 24fps from your camera’s sensor, you’re also working with harddrive storage. This means that you no longer have recording limitations of 10 to 15 minutes per clip, and you get focus peaking, zebra etc.

Ninja Tested with popular DSLR cameras with videos
https://atomos.activehosted.com/kb/article/ninja/ninja-tests-with-popular-dslr-cameras

[Chris Wright]

I’ve never used optical flow with keying before but I doubt it would work. It’s used to restore a background, not a foreground. There’s feathers and blurs all over the place. just a note, mocha has a new replace function too.

or my favorite:
3 separate linear color keys all layered normal with the key color set to pure white.
one using chroma
one using hue
one using rgb
this can remove and key pretty much anything including banding with smart blurs. Works better than plugins.