[Pierre Jasmin]

In what application are you running
See the sample projects on Twixtor Support Page on the website

The tracking points serve the same purpose as the Splines, basically help Twixtor in certain circumstances (when it does not work well). Imagine something crosses the screen in 5 frames, it’s way out of reach of the internal tracking, so if you animate points that follow the image content for these 5 frames, then Twixtor should work much better…

In AE for example you can’t attach a tracker to a roto mask control point, so if you track some points, it will guide Twixtor to start somewhere internally. In Combustion since you can attach a tracker to a roto mask shape then the points are not necessarily useful. In other applications, there is no way for us to support roto masks (like there is no such things in FCP), so you can always use individual points.

Pierre

[Pierre Jasmin]

Try the demo
https://revisionfx.com/products/fieldskit/downloads/
It doesn’t make your footage darker

Pierre

[Pierre Jasmin]

Try the demo
https://revisionfx.com/products/fieldskit/downloads/
It doesn’t make your footage darker

Pierre

[Pierre Jasmin]

You might need to reinstall (and select the appropriate target in the installer menu)
AE CS3 went Universal Binary (previous version ran under Rosetta)

Pierre

[Pierre Jasmin]

You might need to reinstall (and select the appropriate target in the installer menu)
AE CS3 went Universal Binary (previous version ran under Rosetta)

Pierre

[Pierre Jasmin]

FYI, you can try our plugin DE:Noise to help

Pierre
http://www.revisionfx.com

[Pierre Jasmin]

You might want to try the demo of RE:Flex, probably in your case using the tool called Morph (not Motion Morph). You set in a precomp the pix at the right location (where they will be the actual result). RE:Flex has controls for Warping and Blending between the two images (point A and B on timeline)… If your point of view are not too different, you set Auto-Align on, and if too different, you can always make a matte of the foreground, cut a hole in the BG with that, fill that hole with something and render in two passes that you composite together. Actually you can also use Twixtor PRO which has that sort of layer management built-in. Then timing is a bit more tricky, you have to set each still so it lasts one frame (in the order you will use them) in a precomp then keyframe the “frame” slider in Twixtor to control the speed of each transition.

Pierre
http://www.revisionfx.com

[Pierre Jasmin]

Some ideas for today:

Can you render in rosetta mode for now?

I know Illuminate Labs and AIR (The renderman clone) have it built-in
Someone told me V-Ray too but I never tried
I think AIR runs only on Win/Lin though (the point is it’s possible to write a 3 lines renderman shader for that if there is one available on the Mac).

In case, we never know what one has around. You can also save an FBX out of Maya and load it in Cinema4D and render just that (their built-in motion vectors pass).

The MV shader source code is available for recompile and hosting that version.

Pierre

[Pierre Jasmin]

Some ideas for today:

Can you render in rosetta mode for now?

I know Illuminate Labs and AIR (The renderman clone) have it built-in
Someone told me V-Ray too but I never tried
I think AIR runs only on Win/Lin though (the point is it’s possible to write a 3 lines renderman shader for that if there is one available on the Mac).

In case, we never know what one has around. You can also save an FBX out of Maya and load it in Cinema4D and render just that (their built-in motion vectors pass).

The MV shader source code is available for recompile and hosting that version.

Pierre

[Pierre Jasmin]

yes and yes
Some hand work probably involved (in RE:Flex Motion Morph)

Some thoughts to get you started:

The cameras should be synchronized (you could use a stereo gear for that as well).

In RE:Flex Motion Morph, one view you use as From and the other as To and you animate the Global Warping to go from a clip to the other (checking the Auto-Align button on).

You often for that sort of things need to make a matte to isolate the foreground action if there is too much disparity between the views — too large areas not visible from the other view (so turn that into a 2 step process, where in the first case you fill somehow the background hole left by removing the foreground action, then do it just on the foreground).

Be aware that the motion estimation component will only make sense where the frames overlap so you need to pad yourself (crop the final).

I have done some interest fast things using still stereo cam and using RE:Flex to move between views (as in you move to the other “eye” then at 0% or 100% of Warp and Blend you swap pictures so you go to the next position of that “eye”), so you preedit accordingly the stills on the timeline.

In the case of the special photo gear used on Chris Orange project at Glassworks.co.uk, you could probably do it in Twixtor if you treat the individual still frames. If you have any action in the shot all the cameras must be perfectly in synch. It helps a lot if there is not more then 5-10 degrees of difference between the views (so avoid objects real near the camera).

You would simplify your life a lot to work with green screen and a two pass capture process.

Pierre
RE:Vision Effects