David Baud
Forum Replies Created
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Hmm, you say black and blue, Photoshop saying?
Here is what I get when creating a color table of this image in Photoshop:
More than a few colors if you ask me…
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
[Mike Sjr] ” when you say results vary depending on the shot, can you explain? Are you saying one software would give you a better result on a certain shot and another would give you a better result on another shot? If so, do you know why that is?”
I believe some of the algorithms used are better for some type of motions than others. For example, if you have a handheld camera shot of a person with lateral move and moving forward or backward to your subject, and with a moving background further back to your subject: Warp Stabilizer in my experience has a harder time to resolve the motion and you get a “warp” result! Also any sudden moves inside of your shot to stabilized (as opposed to a regular pattern) might mistake the stabilizer. Ideally you would want to track and break down your shot to parts needing special attention to the stabilizing process. Obviously this can be a time consuming process. Again don’t expect the stabilizing process to work the same way, with the same result on any shots!
[Mike Sjr] “Lock & Load is interesting, … Do you happen to know if it’s compatible with CC?”
Yes I use it on a Mac (10.9.5) and AE CC 2014.Good luck,
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I have been using three different stabilizers:
. Warp Stabilizer (Adobe)
. Lock & Load (Coremelt)
. Mercalli (ProDAD)Because they seem to be using different algorithms, you will obtain different results depending on your shot motion. In general Warp Stabilizer seem to be the slowest in my test for analyzing a clip. Lock & Load is pretty fast. Again results quality varied depending on the shot.
HTH,
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
If I understand correctly you composed everything in the 4:3 aspect ratio and now you would like to deliver to 16:9? If it is the case and you don’t mind black bars left and right of your composition, then it is pretty straightforward. Otherwise if you want to fill your 16:9 frame, I am afraid you will have to rethink about your animation composition.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
What was your shutter speed setting when recording these clips? does the Nikon let you change it in video mode? if so I would try to slow it down. If not you can recreate the motion blur in post using a plugin like the Revision FX RSMB.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Ok now I see some problem: as soon as I try to change the frame rate interpretation to 29.97, it looks like the file is not read properly inside of Premiere. In Quicktime it seems fine.
At this point I would question the way Nikon creates these H.264 file? I understand H.264/AVC (MPEG4 Part 10) can be implemented a little bit differently from one constructor to another, by using a different profile inside the standard format.
Have you tried different frame rates out of your Nikon? do they all act the same way? In my case it seems like if you do not change the recording frame rate the file is read just fine.
Could you post one of your problematic file on Youtube or Vimeo to see if we see the same things?
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Henrik,
I just played your test video in PrP on my system and everything play just fine: no jitter, no skipping frame, nothing! I played a few times, in a loop mode.
At this point my guess is you have an issue with your computer configuration hardware/software.
My system:
. Mac Pro
. Blackmagic Design Decklink Studio PCI card
. external reference video monitor
. Premiere Pro CC2014
. Internal HD Raid-0 4-driveGood luck,
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I would try to convert to Apple ProRes and see if you are getting the same issue. I suspect the H.264 encoding being the culprit.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
From a visual point of view, the best way to do the conversion from 23.976 to 25 is to speed up your footage: instead of playing 23.976 frames per second, you are playing your program at 25 frames per second. Obviously they are disadvantages with this method, one of them being the sound pitch changing. Some software allows you to compensate somewhat for that. I am guessing that might be an issue for your concert recording. The other problem is that if you have a requirement for the finish length of your master, now your program is shorter!
Speeding up your program is pretty straight forward: using Cinematools or Quicktime Edit (Digital Rebellion) you just need to change the flag of your Quicktime movie to 25fps (make sure you make a copy of your 23.976 master first!)
Regarding the interlaced requirement, this is part of the broadcast standard (US and Europe) for HD 1080 show: Just use Adobe Encoder or Compressor to make an interlaced version of your show from the progressive version.
HTH,
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I thought you only had one illustrator file containing multiple layers… if you have multiple Illustrator files, you may want to put them in a distinctive folder for each character rig, but keeping always the same Illustrator file names… in AE you just have to indicate which character folder to use for each comp… there might be also a clever way to do it with AE scripts/expressions… have you looked into aescripts.com?
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com
