[Pierre Jasmin]

Not sure which app you use:

If you are in AE another option is to simply use the split layer in AE, (CTRL-SHFT-D). Reduces in half the labor.

So you split all your layers at cut point, set AE comp settings to 24 FPS and then on the first layer you apply twixtor and you set Twixtor to 29.97 for input FPS. You copy Twixtor (select CTRL-C)

You select a layer and select all layers (CTRL-A), deselect the first one and do paste (CTRL-V). You now have a twixtor in every layer.

You then render that with 3:2 pulldown option in Render Settings (you need to set Lower or Upper Fields first otherwise 3:2 pulldown remains grey out)

Pierre
http://www.revisionfx.com

[Pierre Jasmin]

Not sure which app you use:

If you are in AE another option is to simply use the split layer in AE, (CTRL-SHFT-D). Reduces in half the labor.

So you split all your layers at cut point, set AE comp settings to 24 FPS and then on the first layer you apply twixtor and you set Twixtor to 29.97 for input FPS. You copy Twixtor (select CTRL-C)

You select a layer and select all layers (CTRL-A), deselect the first one and do paste (CTRL-V). You now have a twixtor in every layer.

You then render that with 3:2 pulldown option in Render Settings (you need to set Lower or Upper Fields first otherwise 3:2 pulldown remains grey out)

Pierre
http://www.revisionfx.com

[Pierre Jasmin]

One simple thing that can help you is that RSMB PRO supports an FG/BG separation matte allowing you loke that to apply different Motion Blur amounts to the two regions. (remember that matte is 0 or 1, is just a coverage that split the effect to FG or BG)

Another idea if you roto the guy anyway is to precomp the MB and use some way to average multiple frames – SmoothKit Frame Accumulate for example on that layer. If the presenter becomes too soft (so you decide you need a matte anyway), if you do a mix of frame blend and MB, you could for the precomp’d MB pass just render the BG in RSMB (these are modes in the Display Menu) using that same matte. Then so the character matte gets MB you render him FG1 only as a separate layer OVER the layer you Frame Average (which will then have full pixels everywhere – note when you render BG only it should put pixels that come from elsewhere then the presenter so if he is in different color then the rest it won’t look weird).

Pierre

[Pierre Jasmin]

One simple thing that can help you is that RSMB PRO supports an FG/BG separation matte allowing you loke that to apply different Motion Blur amounts to the two regions. (remember that matte is 0 or 1, is just a coverage that split the effect to FG or BG)

Another idea if you roto the guy anyway is to precomp the MB and use some way to average multiple frames – SmoothKit Frame Accumulate for example on that layer. If the presenter becomes too soft (so you decide you need a matte anyway), if you do a mix of frame blend and MB, you could for the precomp’d MB pass just render the BG in RSMB (these are modes in the Display Menu) using that same matte. Then so the character matte gets MB you render him FG1 only as a separate layer OVER the layer you Frame Average (which will then have full pixels everywhere – note when you render BG only it should put pixels that come from elsewhere then the presenter so if he is in different color then the rest it won’t look weird).

Pierre

[Pierre Jasmin]

Hi Airloo,

You can try our demo by downloading from website and compare. I don’t really like product comparisons, but Realviz has not updated their retiming technology for a while now and they are probably not as complete, fast and precise as ours. You be the judge though.

Pierre
RE:Vision Effects

[Pierre Jasmin]

Hi Airloo,

You can try our demo by downloading from website and compare. I don’t really like product comparisons, but Realviz has not updated their retiming technology for a while now and they are probably not as complete, fast and precise as ours. You be the judge though.

Pierre
RE:Vision Effects

[Pierre Jasmin]

I mean 60P is better then 60i but if your camera does 60i and 30P, in this case for fast action you might have more luck with 60I with Twixtor, if your camera is locked-off you might want to preprocess the clip first with FieldsKit (in double duration/double FPS mode).

I think what you want to do to start is download and read the TwixtorBasics tutorials in the AE,FCP,etc blue tab at https://revisionfx.com/products/twixtor/support/
The other tutorials might make less sense without reading the doc and playing with Twixtor.

Pierre

[Pierre Jasmin]

I mean 60P is better then 60i but if your camera does 60i and 30P, in this case for fast action you might have more luck with 60I with Twixtor, if your camera is locked-off you might want to preprocess the clip first with FieldsKit (in double duration/double FPS mode).

I think what you want to do to start is download and read the TwixtorBasics tutorials in the AE,FCP,etc blue tab at https://revisionfx.com/products/twixtor/support/
The other tutorials might make less sense without reading the doc and playing with Twixtor.

Pierre

[Pierre Jasmin]

For extreme action/sports with any motion estimation based tool your best bet if it’s an option is I would say is to shoot at 60P (or maybe 59.94i is better then 30P as a rule of thumb in that case) – the more time samples = the better, over a green screen if it’s an option will also help (the more the FG and front action are separated the further the tracker can go by it’s own automatic means). It particularly gets nasty when you combine this with an “active” hand held camera (which might not be the case as much for martial arts as it is for “camera guy on skateboard tracking a guy doing bicycle flips on a ramp” and what not I see sometimes here). It is so because from a frame to the other the regions of the picture not visible in the other one can grow to be pretty large, this is what cause problems and typically why more samples per second helps (reduces the area of these “occlusions”).

Pierre

[Pierre Jasmin]

For extreme action/sports with any motion estimation based tool your best bet if it’s an option is I would say is to shoot at 60P (or maybe 59.94i is better then 30P as a rule of thumb in that case) – the more time samples = the better, over a green screen if it’s an option will also help (the more the FG and front action are separated the further the tracker can go by it’s own automatic means). It particularly gets nasty when you combine this with an “active” hand held camera (which might not be the case as much for martial arts as it is for “camera guy on skateboard tracking a guy doing bicycle flips on a ramp” and what not I see sometimes here). It is so because from a frame to the other the regions of the picture not visible in the other one can grow to be pretty large, this is what cause problems and typically why more samples per second helps (reduces the area of these “occlusions”).

Pierre