17
I found that using Adobe Media Encoder is much easier when just cropping.
Add the video to the queue and open the export settings.
On the source tab you can crop the video and there you can also enter how many pixels to remove at each side.
Remember to set the correct output size in the video tab on the right side.
Here is a screenshot showing how i did it:
10
I think I've found the easiest way!
Just crop the area you want.
Go to the Export window without worrying about the black margins showing.
Set the final resolution and export settings as you would want.
(THIS IS THE IMPORTANT ONE) On the top left of the Export Window, there are two tabs; SOURCE and OUTPUT. Go to the Source Tab.
On the left-most side, find ...
7
I would probably approach it by first measuring the size of the area that you want to crop to. This can be done by exporting a frame of the image and cropping in another program (like Photoshop).
I would then create a sequence based on the other settings of the video, but alter the resolution of the sequence to be that of the portion of the video you ...
7
To find the pixel dimensions of a layer in AE,
Hit 's' that brings up scale,
then right-click Scale to bring up the Edit-Value dialog,
then set units to pixels.
5
Any workflow that works for you is "correct". I don't see any obvious problems with your proposed workflow, though I would think you would want to do sound after VFX so that it can be properly timed to the VFX. Depending on the software you are using, you may not have to lock the shots but may actually be able to move directly in to working on the shots.
...
4
Jim Mack's answer hits on most of it, but you will also want to look at the term rotoscoping. Generally speaking, this kind of thing is a highly manual effort to get best results. If you can separate layers using green screen, then you can place distinct color elements in your black and white shot (or vice versa) but if they are all on the same shot, then ...
4
As you suggest, the scenes are shot in color. There isn't much of a special task for the director, it's almost completely a post-production challenge. In some cases a high contrast take can be made to assist in masking. This would be unusual for scenes involving actors, since the high-con pass wouldn't be well registered. It may also be possible in some ...
4
I have not seen any movie that used any onset technqiuqes for this look. Of course you want the lighting to give away a certain mood to begin with but there are no special filters needed.
For the post production workflow, there is a great plugin for several video tools like After Effects, Premiere and Final Cut from Red Giant called Mojo that makes it ...
4
it's a vignette.
Here's a tutorial on how to do it.
If you add a black solid layer to a comp, then feather the edges, and invert the mask, you'll get the basic effect. Beyond that, some people used coloured solids (e.g. just off-black in one colour or another). You can also apply a blur or defocus effect towards the edges of the image, if that's the look ...
4
FFMPEG doesn't really have the tools to do motion detection out of the box. You can certainly do the cropping using the crop filter: -vf crop=w:h:x:y where w:h is the size of your cropped area and x:y its coordinates in the original image. So your ffmpeg script might look like:
ffmpeg -i input.avi -c:v libx264 -crf 20 -vf crop=123:45:67:89 output.mp4
Then ...
4
You could do this by making subtitles from your data streams and then either playing them back on a media player that can display subtitles, or rendering them into the video.
Most subtitle formats are very simple ascii files — to demonstrate, here's an srt subtitle file:
1
00:00:01,046 --> 00:00:02,540
This is my home.
2
00:00:03,560 --> 00:00:05,...
4
The technique you are looking for is called "motion tracking". Currently, FCPX doesn't have the ability to do this on its own, but you could use Apple Motion or Adobe After Effects to accomplish what you're after. Motion tracking, in general, follows patterns of pixels as they move around the scene. Depending on the effect you're after, and the demands of ...
4
I've had my fair share of matching. C100 with 5D MK III, 5D MK III with 7D, 7D with C100, 7D with a Sony Camcorder.
It's all a matter of getting two cameras that are similar in terms of resolution and how 'soft' the image is. For example, the C100 is incredibly sharp, like 4k sharp in 1080p, whereas the DSLRS I mentioned are quite soft. Although you can add ...
4
This is a tough question because there are a ton of different factors involved here, from complexity of the video to the equipment you're working with to the NLE you use. However, the default formula we use to give time estimates to clients breaks down like this (I've run a small video production company for a few years working for a large variety and ...
4
Yes, they are used for adding visual effects in post. The mirrored ball is for creating an environment map or reflection map. These maps provide the same lighting from the real scene to the virtual scene where graphics are created to composite into the existing scene.
I believe the grey ball is used for recording more diffuse lighting from all angles, ...
4
Do the math
If you want to align your text using percentage offsets or any other 'round' number in pixels, you just need to perform some simple calculations. For example, 10% from the bottom of a 3840 x 2160 canvas:
2160 - (2160/10) = 1944
Since you want your text to be vertically centered on the line at 10%, you will have to modify this by half your font-...
4
To project a video instead of a photo:
convert your video to an image sequence (with Nuke, AfterFX, Premiere, whatever...)
load it into your file node, then click on 'Use Image Sequence'
scroll in the timeline, and Maya will load the according frame
3
Here's one idea for the effect, which you can even do in Premiere:
Get a live-action camera shot where the camera is slowly trucking forward.
In post-production, create a title that has at least one letter with a hole in it (A, B, D, O, P, Q, etc.).
Lay the title over the top of the trucking-in shot.
Animate the scale and position of the title over several ...
3
Depending on the fidelity of the video you can try to do a high pass filter on the video, in essence it will sharpen edges of the scene and help bring it out.
The two steps I would do:
1) De-noise it (I use the neat video plugin for after effects)
2) Run a high pass filter (photoshop has this, but not after effects).
To emulate this:
a) Create a ...
3
You get the scale of the layer in the Transform property menu as seen below. The scale is in relation to the comp width and height if its solid or adjustment layer, for imported footage its in relation to the source width and height.
To get pixel values you just do a little math:
(Comp or Footage width|height/100)*Scale = pixel dimension of layer
When it ...
3
To find the pixel dimensions of a layer you can use this expression:
layer.sourceRectAtTime(t = time, includeExtents = false)
t: the time index, in seconds. A floating-point value.
includeExtents: true to include the extents, false otherwise. Extents apply to shape layers only, increasing the size of the layer
bounds as necessary.
This is only ...
3
There is actually a specific option for this in Resolve.
In your primaries pane (bottom left of the color tab) navigate to the "rgb mixer" tab.
In the top right of the tab, click the options menu (3 dots)
Check the 'make monochrome' command.
Now you'll see 6 from the 9 rgb mixer bars turn gray and you'll be able to use the other 3 to mix you black and ...
3
You ask what it does: Speedgrade is a color grading / correcting tool. Davinci Resolve is another, and there are others still. They allow you to adjust the characteristics of a video on a shot-by-shot basis.
It's never necessary to use any color grading tool, but you'd do so when you want to match scenes from different sources or shot under different ...
3
Here's the "Premiere" way to do it. Create N sequences, one for each of the N speakers you want to create an output clip for. Copy (by reference) the clip into each of the N sequences. If you do this correctly, you will have N sequences and 1 clip in your project folder.
For each sequence, set the in and out points of the clip to bound the speaker of ...
3
As Duvrai mentioned, the docs for Final Cut's InertiaCam setting do say it will handle what you're talking about, but I've never tried it myself.
If you are familiar with the 3D aspects of AE as well as simple AE motion tracking, you could try the following technique. It's a little involved so it's usefulness depends on how important the shots are to you.
...
3
I am not sure about Filmora 9, but Google Motion Tracking. You just need to roughly track the sign and make a blur bigger than the sign, so it's allways covered. If you want to exactly censor the sign, you need to track the corners. But I'd think filmora can't do that
3
That would be a task of compositing using something like Nuke or After-Effects. Here's how I'd tackle something like this:
Grab a frame of the person looking directly in the camera
Track the positions of the eyes ("track_left" and "track_right" as seperates)
Mask out the eyes from the still-frame and separate them into eye_left and ...
2
Oliver, have you tried changed your sequence settings to the new dimensions?
You can also restrict/define dimensions in the export settings under 'Basic Video Settings'.
Hope this helps!
2
You can achieve an effect like this with a couple of distortion filters from most video editing or motion graphics packages. For example in FCPX/Motion, you could apply a couple of Bulge distortion filters to the upper right and lower left and adjust the scale and radius as appropriate.
In terms of implementing it yourself, I agree that it's a question for ...
2
I'm currently following this tutorial
and at 12:44 i think i got the same problem as you did in this situation. When I turned on "Accept lights" my text turned white to my frustration.
To fix it I tried experimenting with "Light transmission". I think this was set to 100% without me knowing, so when i adjusted it, my ...
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