Chris Wright
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that’s not so much talking underwater as it is using really low quality mics. you can try walk talkie presets, add distortion, downsample to 8 bit, add bubble/breathing sounds etc with EQ only letting in 400-1200 hz through.
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you can remove color casts with channel mixer set to color transfer only, lens blur the highlight artifacts together, but there is no information left to recover. all you can do is make it less ugly.
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great news, it looks like the Panasonic S1 10 bit works up to 30p without an external recorder.(needed for 60p 10 bit) So, you get all the dynamic range benefits of A7iii sensor with 10 bit VLOG without having to pay for an external recorder! The nikon Z6 just got hit pretty hard.
If the nikon does eventually get prores raw, you’d be up to a debate if you needed that type of codec grading. The SIGMA fp is coming out soon, but too early to tell how it performs. (I personally think its the same 24mp sensor used by pan 1, a7iii, nikon z6)But, the future of full frame 10 bit looks pretty good.
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from what I can gather, the turbo only works on one core, so you’re essentially using 4 cores at 1.6 or 1 core at 3.4. Premiere like 6 cores or more. Plus Premiere’s grading tools now rely heavily on GPU. I just don’t think extra ram is going to help with such a limited processor and no modern GPU.
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you may find this interesting. this is an autograder prototype proof of concept
It sets black point, white point, 3 points of white balance, 18% gamma, RGB 204 saturation per frame. I tested it on a few clips. It will even work on log footage. Some things aren’t perfect with log/linear, but it demonstrates that it is possible to grade everything automatically. I haven’t coded perceptual gamma so if a very large dark object takes up the whole frame, it will try to get 18% grey still.
I also tested it on some Arri log footage and it came out good. Might be useful for quick ‘n dirty output for web based articles. You will still need color graders for perceptual grading as pure math will never give you exactly what you want all the time.
The only two sliders left are in final output comp, master sliders black point and white point that you can offset.
AE CS6 autograder 1.0a
13531_aeautograder1.0acs6.zip -
oops, I zipped up the wrong one. try this.
ae CS6 autowhitebalance
13528_gobackaecs6autowhitebalanceplushueplus3dw1080arithmeticcs6.zip -
i fixed the pixel aspect ratio, fields, layers, comps. etc.
I split apart the code for the hue precomp and added an arithmetic effect in it
so you can lower, for example, the blue channel and it won’t use that to calculate white balance. you can keyframe it for difficult shots. Worked really well for the cell phone shot.I moved the hue, color, gamma, layers into the final output comp so you can color grade separately from the algorithm.
AE CS6 whitebalance deflicker template
13526_aecs66autowhitebalance3dwb1080arithmetic.zip -
i’d check two things. premiere uses gamma 2.4 in its native viewer and resolve will default to video levels in import.
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you can keyframe issue areas as well. it’s only as good as the algorithm as it averages every thing it sees. highly saturated objects will skew results, so you can mask them or use arithmetic effect to clip certain values out.(I haven’t added arithmetic effect feature yet)