[Chris Wright]

I use timewarp a lot and here’s some tips

1. timewarp doesn’t work on cuts, so slice up the shots into separate layers
with edit-split layer or magnum edit detector.

2. footage can get cut off so first precomp the footage, then make the precomp layer longer and apply timewarp to the precomp.

3. to reduce globbyness with pixel motion, I use:
vector detail 100
Smoothing 28
filtering -Extreme

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[Chris Wright]

maybe use particular, regular birth to death opacity and random start size dependent on
//scale fibonacci

var limit=14; // or random size start

if (limit>timeToFrames())
[b2(timeToFrames()),b2(timeToFrames())];
else
[b2(limit),b2(limit)]

function b2(n)

{
prev1=0, prev2=1;
for( i=0; ihttps://technicolorsoftware.hostzi.com/

[Chris Wright]

precomp a video, take that precomp and make it twice as long, apply timewarp to the longer precomp.

if it sound confusing, I made a ae project
https://www.mediafire.com/?75ywcxmvo1am5k7

https://technicolorsoftware.hostzi.com/

[Chris Wright]

Here’s a quick project file I made. You can turn it into an animation preset or just replace your video with it. It is two cc simple wire removals set in crosshair formation so that they only change a single pixel or two. Simply drag the Null to the center of the bad pixel and you’re done!

https://www.megaupload.com/?d=6BX5CDPN

https://technicolorsoftware.hostzi.com/

[Chris Wright]

simply edit green’s script so that it detects a change and runs itself live. scripts can call scripts. he might even do it for you if you ask.

https://technicolorsoftware.hostzi.com/

[Chris Wright]

https://forums.creativecow.net/thread/227/16780#16782

https://technicolorsoftware.hostzi.com/

[Chris Wright]

LUT’s are built so many different ways, I can’t even name them all.
For instance, calibration LUTs built for a specific system can be cloned and used in any other system to provide environment wide calibration for multiple systems. Some are hardware, some are software, some are custom, some are cloned.

You’ll have to decide what you can afford. The 3D ones are the best but cost the most. AE’s colour management is fine. It only burns in the look if you use color profile converter.

Usually, the output module writes metadata to the file so another application can interpret the color, but if you burn it in with color profile converter, you’ll get the same look even if the application doesn’t read metadata because the colors have been literally shifted. Does that make sense?

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[Chris Wright]

“‘preserve RGB” disables color management for that specific clip.

a free way is you can simply output from a color managed program the exact same color management that your monitor is set at(read your OS docs on that), for example, AE’s utility-color profile converter at HDTV .709. It’s called a dead man’s color switch, cuz it’s burned in. Also, some codecs are hard coded for 16-235 pixels instead of 0-255. People build LUT’s for Nuke, Color, and Color Finesse anyways.

You can buy the LUT builders here. google for more(there’s like 100)
https://www.cine-tal.com/products/cinespace.asp
https://www.lightillusion.com/cubebuilder.htm

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[Chris Wright]

are you positive the recordings are at 48khz and didn’t get resampled at 44.1? can you go to the original recordings and file-properties?
the khz can act as speed just like fps in video.

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[Chris Wright]

Why isn’t the original 5D synced? was it a double sound system and they screwed up on the production speed? You can find out how badly they recorded by aligning the rate stretch tool in premiere with the waveform lip sync.

Compressor has less artifacts than twixtor, but you can’t optically change the fps because your audio is out of sync to begin with! FCP needs all footage to have the same fps.

This is what I would do.
1. If I couldn’t find out the production sound speed, I’d sync up the audio to the original with premiere’s rate stretch tool to the waveform of obvious silibants. (The farther away the 2 wavecrests you choose, the more accurate the sync)

2. Once synced up, I’d open compressor, click conform to 29.97, or timestretch in AE,(will then slow down both the video and audio to 29.97.) or optical flow.

3. edit in FCP then master in pro-tools.

The reason you can’t take any shortcuts is because your framerate is messed up too, not just your unknown audio speed.

And if this sounds like a nightmare, hire a better crew next time.

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