Peter Litwinowicz
Forum Replies Created
-
We already answered this question directly to the inquirer. However, for others:
To install the registration key, you must rereun the installer.
After registering the product you must rerender that sequence, because FCP is remembering that you
-
We already answered this question directly to the inquirer. However, for others:
To install the registration key, you must rereun the installer.
After registering the product you must rerender that sequence, because FCP is remembering that you
-
Well since you applied Twixtor to each cut, then each copy of Twixtor is needing a 1920×1080 image (actually, multiple images at that resolution, since we need more than one image to compute the motion). Eek! That’s a lot of memory and I expect the problem happens when the memory gets fragmented, or where two cuts cross each other by a frame or so.
Are you using Twixtor 4? If not you should… it has a special feature to allow you to mark cuts in the source so that images don’t get blended across cuts that you mark in the source material. You can read about this feature in the manual. And in the “Advanced” projects available from the Tutorials section for Twixtor on our website, there is short example project that shows how to set up Twixtor to acknowledge cuts your footage.
However, because you are changing frame rates (and not just doing speed changes) you need to do the following: put your 30p footage into a 30fps comp instead of 25fps comp. Apply Twixtor and animate the Src: Mark Segments menu item appropriately so that it reflects all your cuts. In order to mark the cuts you’ll need to set the Display mode to “Source” in order to mark the cuts. When done marking the cuts for Twixtor make sure Twixtor’s Display setting is “Twixtored Output”. Leave the speed set to 100%. Also, make sure to set Twixtor so the that input frame rate is 30, with no fields. Then drop the 30fps comp into a 25fps comp and render out the 25 fps comp. Twixtor will figure out how to do the frame rate conversion properly. You need to set up Twixtor this way (instead of applying Twixtor to a 30p clip inside a 25fps comp) because you need to make the cuts at the source frame rate. Make sense?
Pete Litwinowicz
https://www.revisionfx.com -
Well since you applied Twixtor to each cut, then each copy of Twixtor is needing a 1920×1080 image (actually, multiple images at that resolution, since we need more than one image to compute the motion). Eek! That’s a lot of memory and I expect the problem happens when the memory gets fragmented, or where two cuts cross each other by a frame or so.
Are you using Twixtor 4? If not you should… it has a special feature to allow you to mark cuts in the source so that images don’t get blended across cuts that you mark in the source material. You can read about this feature in the manual. And in the “Advanced” projects available from the Tutorials section for Twixtor on our website, there is short example project that shows how to set up Twixtor to acknowledge cuts your footage.
However, because you are changing frame rates (and not just doing speed changes) you need to do the following: put your 30p footage into a 30fps comp instead of 25fps comp. Apply Twixtor and animate the Src: Mark Segments menu item appropriately so that it reflects all your cuts. In order to mark the cuts you’ll need to set the Display mode to “Source” in order to mark the cuts. When done marking the cuts for Twixtor make sure Twixtor’s Display setting is “Twixtored Output”. Leave the speed set to 100%. Also, make sure to set Twixtor so the that input frame rate is 30, with no fields. Then drop the 30fps comp into a 25fps comp and render out the 25 fps comp. Twixtor will figure out how to do the frame rate conversion properly. You need to set up Twixtor this way (instead of applying Twixtor to a 30p clip inside a 25fps comp) because you need to make the cuts at the source frame rate. Make sense?
Pete Litwinowicz
https://www.revisionfx.com -
[Chris Zwar] “Just as an aside, I find the quality of AE’s compound blur to be pretty poor when compared to 3rd party compound blurs. The Pinnacle one (which comes with Composite Wizard) gives a MUCH better result, and if there’s a Tinderbox, Boris or Saphire equivalent then I’m sure the difference will be just as noticable.”
Also, our Gaussian Blur in our SmoothKit ($89.95) has a true compound blur, and not the box-blur equivalent of AE’s. Note that there are many other features of SmoothKit: blur without blurring over details, per-pixel directional blur, staircase step reduction, etc.
You can see more here (including the reason why you want our compound blur over AE’s): https://www.revisionfx.com/smok.htm
Cheers,
Pete Litwinowicz
https://www.revisionfx.com -
I actually think the shooting 25p is the answer. Then you don’ t have any problems with converting the 24p to 25p for broadcast.
Also, if you con’t have access to a true 25p camera (make sure your camera doesn’t just deinterlace for you when you ask for 25p and that it actually shoots 25p), then I would suggest deinterlacing and perhaps adding some motion blur using our ReelSmart Motion Blur plugin. Yes, this is product placement, but I also believe this is the “right” answer… in that you can compensate for the lack of motion blur that often happens with a video camera. By doing this, the resulting footage can look much more film-like (of course, I’m ignoring the color differences of film and video, since the topic of motion is how this discussion started).
Take a look at our “film look” FAQ here: https://www.revisionfx.com/generalfaqsfilmlook.htm Skip the discussion about converting 60i to 24p, since that is mostly irrelevant since you are working in PAL.
Pete
https://www.revisionfx.com -
It could be that your alignment with the splines is not as good as it needs to be. The results can be a little “jumpy” if the feature registration gets a bit off course.
That said, it might also be RE:Flex. Can you send us the example project and lower res footage (like video resolution). You can send us the footage at techsupport@revisionfx.com
Pete
-
It could be that your alignment with the splines is not as good as it needs to be. The results can be a little “jumpy” if the feature registration gets a bit off course.
That said, it might also be RE:Flex. Can you send us the example project and lower res footage (like video resolution). You can send us the footage at techsupport@revisionfx.com
Pete
-
The manual for the new features is located in the C:\Program Files\discreet\combustion4\help\REVisionEffects directory along with the new tutorials.
You can also download the manual by download the RE:FLex 3 installer here: https://www.revisionfx.com/rflxdownloads.htm (you probably want to get the latest update anyhow because we’ve made a few small fixes). You’ll need the plugins from where you install them (by default in C:\REFlex3 to the C:\Program Files\discreet\combustion4\Plugins\REVisionEffects\REFlex directory, overwriting the ones that are installed with the combustion installer.
You can also download the updated projects here: https://www.revisionfx.com/rflxtutorials.html (although the manual goes into more detail about the 3 new settings than the sample projects).
Pete
-
The manual for the new features is located in the C:\Program Files\discreet\combustion4\help\REVisionEffects directory along with the new tutorials.
You can also download the manual by download the RE:FLex 3 installer here: https://www.revisionfx.com/rflxdownloads.htm (you probably want to get the latest update anyhow because we’ve made a few small fixes). You’ll need the plugins from where you install them (by default in C:\REFlex3 to the C:\Program Files\discreet\combustion4\Plugins\REVisionEffects\REFlex directory, overwriting the ones that are installed with the combustion installer.
You can also download the updated projects here: https://www.revisionfx.com/rflxtutorials.html (although the manual goes into more detail about the 3 new settings than the sample projects).
Pete