Karel Bata
Forum Replies Created
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Once I got used to using a precomp and/or solid I liked it. The solid I saw on the timeline showed what I finally got, and if I were slowing things down a lot (and with variations) it was easier to manipulate than working on the original footage would be.
If only the original footage were available to view on the timeline then I don’t know how I would have put in what would be sub-frame speed changes.
The solid with the original footage directly below also gave me an immediate visual reference on how much I’d slowed it down. Anyone thinking this clutters the timeline can always precomp the two.
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It was certainly the case a few years ago. I’ve just had a look at a couple of tutorials and they say that you have to create a precomp first. But you’re dropping directly on to the footage?
It’s a matter of taste then.
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Damn. There’s a typo there and no way to edit. Substitute this for the last paragraph in the previous post:
Imagine then that you’ve slowed down a one minute sequence by 50% to two minutes, but you want to keyframe a speed variation at 90 seconds. Where would you put the keyframes for that? In your timeline you’d get to the end of the source footage at one minute with nowehere to put the later keyframe.
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I don’t get what you did.
I can see why maybe you’d object to using a solid layer, but think about it. If you didn’t have a layer that was the effect output where would you put any keyframes for changes of speed beyond the end of your source layer? Or markers? You put them in the original video layer?
Imagine then that you’ve slowed down a one minute sequence by 50% to two minutes, but you want to keyframe a speed variation at 50 seconds. Where would you put the keyframes for that? In your timeline you’d get to the end of the source footage at one minute with nowehere to put the later keyframe.
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Ah. Maybe it’s changed. That used to be the only way it worked.
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That’s how Twixtor works. Don’t ask me why…
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Nice reply, but the actual figures yield a less simple fraction.
This is for a stereo 3D timelapse where the cameras didn’t run in sync. I’ve figured out a solution, which is below.
You add a solid layer and apply twixtor. Source to source footage. Original frame rate. Select Output control / frame num.
Go to first frame and click keyframes, which should add one.
Go to where you want the final frame. Type in the frame number of the source material you want to end up there.
That’s it!There sees to be an option to enter frames that are ‘between’ frames, like frame 12.5. If so, this should help address my issues with sub-frame sync.
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Roland, Many thanks!
I’ll give this a go once I’m back at the coal face on Monday.
Cheers!
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Thanks for replying.
Actually no, it’s not that bad, but there are a few places where it’s a bit distracting. Filmfix has just been recommended to me, and it has a 14 day trial. https://www.redgiantsoftware.com/products/categories/enhancement/film-fix/
I think what I’ll do is edit what footage I have to look like an old trailer. Should be fun. A B&W film would be good for the DoP showreel.
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Oh, I forgot. Here’s a wee preview: https://www.johnnysliver.com
