Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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sometimes even with an alpha channel, you want a boost. You probably found that out with transfer modes. If you like the look of premultiplied effects, you get them separated again with this post.
https://forums.creativecow.net/thread/2/989045#989055
https://forums.creativecow.net/thread/2/988892#988892https://technicolorsoftware.hostzi.com/
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so far it can fix…
1. shakyness, pans, tilts, zooms, stop motion, frame rate convert, deinterlace, deartifact,
…and now, after testing some WW1 footage, apparently can automatically denoise and remove splotches and scratches. not bad for free.
if you want more denoise and splotch removal, just lower timewarp to 20 and timestretch the video 2 comp 1 to 20% also. It will keep the same speed but warp over a longer time making objects that don’t exist for very long, disappear.
https://technicolorsoftware.hostzi.com/
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If you plan on buying a codec, watch out for the size limits. eg. Cineform’s neoscene and hd are not 2k or 4k (there’re spatial resolution locked)
I’d seriously consider making sure I work in at least a 444 10bit output too and color management.
Andy is right, Cineon/DPX. Tiff and openEXR. just make sure tiff and openexr are at least 16bit trillions(they could be float if working with film prints). DPX’s run in trillions log.
https://technicolorsoftware.hostzi.com/
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what happens when you import the rendered 16 bit tiff from a 32bpc project back into AE? I’m guessing avid is the culprit.
https://technicolorsoftware.hostzi.com/
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you can try numbers smaller than 50% as long as both timewarp and timestretch get the same number to increase smoothing at the possible expense of quality. Also, once you’re done, you can timeremap the final comp with easy ease to slow the beginning and ending of the pan.
https://technicolorsoftware.hostzi.com/
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I only know the old polaroid process. It burns in red fastest, then blue, then green last. This is in terms of speed which also has brightness and contrast happening at the same time. I do have a project from the older polaroid process, not the new one.
ae cs3 aep
https://www.mediafire.com/?bb27vo17qjuwrm6https://technicolorsoftware.hostzi.com/
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I’m pretty sure Kevin’s idea will work. AE should interpolate a 16bpc tiff render out for you automatically. If you want more control over the look, try hdr compander to compress the hdr image then apply levels 32bpc clip. it should compress the data then finely clip the result.
https://technicolorsoftware.hostzi.com/
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this is the matrix technique. They used interpolation software. This technique works for jumpy pans, tilts, dollies, spins, rotations… and of course stop motion. Here’s a more detailed post.
1.Put 29.97i video in new 59.94 “start” comp so that timewarp can access both fields.
2. add effect->time->timewarp speed at 50%, extreme detail on.vector 100
3. make new “output” comp 99 fps and drop “start” comp inside it with timestretch 50%
4. output “output” comp with original fps. It will maintain the same fps but will smooth out any jerky movements.
https://technicolorsoftware.hostzi.com/
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I disagree, re-interpretting does not change the speed of the audio too, so you get a small 1% sync issue. If this were true, then a more noticable re-enterpretation of 15fps into a 15fps comp should still sync.
https://technicolorsoftware.hostzi.com/
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unfortunately, there’s still a load of problems in cs5, see adobe’s post
and yes, legal broadcast standards get rendered in 16-235, that’s why your gamma goes all over the place.https://blogs.adobe.com/toddkopriva/2010/05/prores-4444-and-prores-422-in.html
https://technicolorsoftware.hostzi.com/