Sam Moulton
Forum Replies Created
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OK, I read a little about CC environment at creative mac.
https://creativemac.digitalmedianet.com/articles/viewarticle.jsp?id=28976
It looks like it’s a time filter just the same as cc force motion blur but more powerful and tied to the camera movement instead of the pixel movement.
That said, the only possible solution I can visualize is to double the frame rate if you’re working with field separated interlaced footage, then use only one camera with hold keyframes between the angles. This may remove the inter frame blurring that this plug-in is designed to create when there’s a huge difference in the camera position.
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Your movement is at the wrong speed and there’s not enough motion blur. You’ve getting strobing effects from the thin lines because of the speed the camera is moving. Either make if faster or slower.
You might want to read the following tech note. It explains critical panning speeds talks a lot about eliminating strobing or judder.
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sounds to me like you’re trying to make your final cut as a rendered file from After Effects.
If it were my project I’d make handles (extra frames) on each camera move, render out separate clips, and then edit in a NLE. You’ll find it goes faster and gives you a bunch more options if you work this way. Please don’t take offense but the way your working screams inexperienced film maker.
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I buy my ram at Frys. Usually get Crutial. Never had a problem and the one time I used apple care they didn’t even mention that there was a 100% increase in the ram over the computer they sold me.
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if you look at another view so you can see the camera you can see a line across the triangle that describes the angle of view is the focus distance. Drag the slider in the TLW to make adjustments visually.
To calculate the distance where the items start to go out of focus you can use just about any depth of field calculator on the web. You’ll have to do some calculations to convert pixels to feet.
An easier way would be to set up a layer with a grid, place it at an angle to the camera and count the divisions that are sharp enough for you.
DOF calculator:
https://www.dofmaster.com/dofjs.html
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2 23 will give you more screen area and 23’s are very nice.
personally I think working on 2 30’s is a but much. The displays are so huge and the type is so small that it’s hard for my tired eyes to work efficiently. Working on 1 30 is also nice.
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The pixels shouldn’t be any different. Just re-interpret them in AE or fit them into the comp.
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there’s a complex procedure detailed at generalspecialist.com where you have to copy and paste keyframe data, open the data in a text editor, change things, then paste in the previous version. This means every keyframe for every layer for every effect.
If you’re really in a bind, and you’ve got both versions on the same machine you might want to check it out.
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I never thought much of that technique. ae separates fields internally by blending both fields into a full frame. Andrew’s technique throws away completely one set of fields and replaces it with a blurred version of the footage. I think that AE’s build in feature gives better results, especially with HD footage, but that’s just my opinion.
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you’re going to need to separate the subject from the background then apply echo, pre-compose that and apply time remapping.