[Keiichi Matsuda]

Hmm, on further investigation, it seems that the latest version of PS has had its camera controls stripped down..

https://helpx.adobe.com/photoshop/using/essential-3d-concepts-tools-photoshop.html

Cant find the 3D camera tools shown in the link above.

For now, I’m using the orbit tool on the spherical panorama object, to move it around the camera. It’s not the smoothest way, as I have to keep adjusting the camera roll, but does the job.

Tips welcome if anyone has tried to do something similar!

[Keiichi Matsuda]

Thanks for the tips!

I’m dropping the low light scenes for now (I’m shooting a series anyway), so will come back to get them next year, probably with some different kit. Very happy with the gopros so far though! Very happy that there is a company that happens to make a product nearly perfect for my very specific requirements!

[Keiichi Matsuda]

Hi Bill,

Thanks for the reply and your recommendation.
I ended up going for the GoPro setup, as its so easy to headmount in 3D, and the price is good. I’ve done some tests in low light though and its awful. Highlights continuously blowing out too. I will either have to fork out a load more money on new gear, or lose my evening shots 🙁

Thanks again for the tip!

[Keiichi Matsuda]

Darby,

Thanks for acknowledging the problem, lenscare looks perfect. I’ve delivered the project already, with some disappointing depth of field effects, but will definitely invest in lenscare if this comes up again.

K

[Keiichi Matsuda]

I was in a bit of a rush, so I had a go at the initial method I mentioned:

-interpret original 30fps footage as 29.97fps in AE
-put it in a comp (29.97fps)
-add the audio, and time stretch it by 100.1001%

You mentioned that AE doesnt do a good job of stretching audio, but it sounds fine on my fairly decent studio headphones. This may not be the super-pro route, but I was quite happy with the result, and Im not dropping frames as far as I know.

Thanks for the tips though, Ill bear this in mind. Strange theres not more info out there, as it seems to be a fairly common process.

K

[Keiichi Matsuda]

Never used (or even heard of) a template before in AE, but if im interpreting correctly, it is quite noob.

Open any comps that you want to lengthen, and in each one, go composition>composition settings, and type how long you want. You can always do it too long, then trim back.
When you go back into the main comp, you will be able to extend the length of any precomps, (plus solids, cameras, lights, nulls etc.), by dragging the end of the bar in the timeline.

Hope that makes sense and answers your question.

[Keiichi Matsuda]

Great!

I didnt realise that ‘conforming’ just changes the length of a frame, so that is exactly what I was talking about before but in grown-up language right? Also, how can I find the ‘original sample rate’ of my audio?

I’ll give it a go as you suggested. unless a hand-slapper emerges soon.

Incidentally, can one conform, or export video with a different frame rate to the source in QTpro? Export options looks like you can, but no joy as yet.

Thanks for your kind help

[Keiichi Matsuda]

Im on a fast mac, but using Premiere over FCP as I like the Dynamic Link feature. Sound was supplied to me as an .aiff by the artist.

I dont have much experience with mastering DVDs, but I guess I’ll jump into Encore after I’ve FTP’d the broadcast file.

My normal workflow is to render out of AE as a full HD monster (animation codec), then use Quicktime Pro to compress it into h264 and lower the resolution if necessary. My flatmate has Squeeze, but I’ve never used it before.

I was hoping there would be a simple way to gently pull on the ends of the 30p clip, letting the frames fall neatly into their new homes. The whole thing would be very slightly slower, but they’ve been nice clients so far.
I’d really like to avoid all that pull up/down malarky and frame blending if at all possible, as what I’m trying to do seems like it must have been done before.

[Keiichi Matsuda]

Yeah me too.. lens blur seems to be good for ramp-based custom mattes, or something with planes angled away from the camera, but not so good for isolated foreground blurs. Thanks for your help, will use that workaround for now!

K

[Keiichi Matsuda]

Its possible to get some kind of result by blurring the depth matte, upping the white levels, then using it as a reference for a lens blur, but it seems a bit of a hacked solution.. I thought there may be a more elegant way to do this.

I thought I might be able to use the depth map as a luma matte for an adjustment layer with a fast blur applied to it, but again the blur stops at the confines of the white bits of the matte (as you would expect, i guess).

Would you say its generally better to render DOF in the 3D app rather than AE?