S. Marcotte
Forum Replies Created
-
The manual says 2/3″. Useless.
Thanks anyway.
-
Good thinking. It had not occured to me. Not at this hour. I’m going to play around with this.
-
There’s actually quite a bit of this kind of footage. I gotta deal with it. It’s all in the same greenscreen studio. The red channel seems to be yielding a few secrets. Problem is, whenever I raise a level or two, the noise goes up along with it. So I’m playing with a few combinations, less blue here, more “denoise” there, trying not to get too lost. Thanks for pointing out the channels. That is a great way to find things.
The shots vary, pans, dolly, wide, close-ups, etc. All kinds of wonderful issues. And no markers. Except for one I found. Candy. I’m saving it for last.
-
I’m taking all this down.
I’m also looking into a Sapphire plug-in that blurs edges. I might be able to get something subtle but effective out of it. The difficulty I’m having with it is that it blurs darker, not lighter. The black line is smearing. I wish I could get the guy’s yellow shirt to smear instead.
-
Any ideas? How should I tackle this?
-
[Vincent Becquiot] “Right click on the source window and choose make subclip.”
Off the top, I can’t see how this works. I’ll have try it, step by step, and see what happens (I’ll start by looking up “subclip” in PP Help).
Incidentally, that new footage won’t be ready until the weekend. So everything is simply about the information at this point.
More about my time code: The footage was captured as 1 tape = 1 file. The same will be true of the new, forthcoming 29.97 captures. These are big files and have to be split via AVI splitter prior to PP’s import. (I never did figure out how to import bigger than 4Gb).
In any case, the splitter creates it’s own time code. Each new “chunk” starts at zero. Again, this applies to both old and new versions of my capture. This is why everything has to be done manually, I’m afraid.
But tell me if you think this might work: I interpret my new 29.97 source footage at 23.98 and I drop it into a 23.98 sequence. I mark my ins and out. Then, I reinterpret both source and sequence up to 29.97.
What will happens to my ins and outs if I do this?
-
Good, good, good. Understood. I have another quick question: I’m animating “fill method” to deinterlace only specific frames. But I’m also masking with “detect motion”. Should I animate “detect motion” as well, or is the function simply ignored when “fill method” is set to none?
I ask because I happened to notice that “smooth” and “sharpen” DO need to be animated. The two features don’t shut down automatically under “fill method none”.
Fun plugin by the way.
-
Good, good, good. Understood. I have another quick question: I’m animating “fill method” to deinterlace only specific frames. But I’m also masking with “detect motion”. Should I animate “detect motion” as well, or is the function simply ignored when “fill method” is set to none?
I ask because I happened to notice that “smooth” and “sharpen” DO need to be animated. The two features don’t shut down automatically under “fill method none”.
Fun plugin by the way.
-
You’re kidding me. It’s better to key out the green first? I’ve never had the pleasure of keying an interlaced frame with wild movement in it before, but it’s a pleasure I could do without, frankly. Please tell me I have options here.
-
You’re kidding me. It’s better to key out the green first? I’ve never had the pleasure of keying an interlaced frame with wild movement in it before, but it’s a pleasure I could do without, frankly. Please tell me I have options here.