[Mike Smith]

Jim, I think you have the solution but I really don’t understand it from what you’ve written.

“Take your layer — make a duplicate above it.” – DONE

“Using the mask tool make a box choosing the area just above the guy pushing the dolly up to where the ridge meets the sky.” – What do you mean? a box around the guy with the dolly or above him?

“Then unlock the scale for that duplicate layer and make the scale: 100, 444%” – Unlock the scale? The scale is always unlocked no? and should I make it 100 or 444?

“now move the position of that duplicate layer: 640 761” – DONE

“Now have the layer fade in starting at frame 29 and ending at 82…” – Fade in? you mean with feather?

I’m really confused here. Will it be too much to ask for a project where you did it already?

-MS

[Mike Smith]

Thanks, but that tutorial tells you how to make your own reflections from scratch, not remove details inside an existing reflection.

I really don’t know what to do here…

-MS

[Mike Smith]

Thanks for the replies. Where’s that “camera through car window” tutorial? Can you post a link?

-MS

[Mike Smith]

Well I tried it all, but nothing looks real. It’s too complex I’m afraid. Here check it out yourself:

https://www.filefactory.com/file/da831f/n/Damn_Reflaction_wmv

-MS

[Mike Smith]

Will try it. Thank you.

[Mike Smith]

Thanks. I’ll try and post the results.

-MS

[Mike Smith]

First I’d like to thank all of you. Amazing feedbacks. I’ve never seen such a great community.

Now from what I gathered the best way to convert 25i to 24p (without spending money or buying special plug-ins) I better conform the footage to 24 and de-interlace while the upper field is first (PAL). Then I create a new comp from the make comp button and make sure it’s set to 24 fps. Finally, enable frame blending.

Did I get it right?

-MS

[Mike Smith]

A single image can describe what you’re looking for better.

-MS

[Mike Smith]

But I ask you: Why change something that works? 24p is great. I love it and so do others so why revert to 18fps or go up to 60?! If it’s not broken don’t fix it.

-MS

[Mike Smith]

Everything you preached about in your little sermon up there means nothing. People, subconsciously, know when the difference between 24p and 25/30. Although you are correct by saying it has nothing to do with aesthetics (and I’m a film student saying this), that doesn’t change the hard-cold fact that the jerky motion of 24p = film look, while other frame rates represent reality/doco films.

The bottom line – 24p is more expensive, and more intricate to work with for a good reason: it looks much much better and more convincing. If you can’t get 24p people will always feel that there’s something amateurish in your film. They can never spot what’s bothering them but once you how them 24p they all go: “Ahhhh! That’s what I meant!”.

End of anti-sermon 😉

-MS