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For something simple like that I would just use the tracker that's built in to Premiere. Apply gaussian blur to the clip, draw a mask on the thing you want to blur, and then track the mask path. I like the tracker in resolve better, but it's worth a shot before moving on to something more complex.
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# ? Apr 11, 2021 04:50 |
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Mister Speaker posted:Ahh true. I've not really used After Effects much, but I'll give it a shot, there are some tutorials on this very thing. Thanks! In my experience, the bridge between AE and premiere always breaks. I wish it didn't, so generally I pre render my AE file and use that in premiere instead. The way it breaks is generally when you come back to the project the next day after shutting your computer down or whatever. It's been this way for years for me, on different machines so I'm assuming everyone has the same experience. ![]()
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I use AE and Premiere every single day and I can't ever use the dynamic link. It always breaks. Always. Also while this is easy to do manually (personally I'd use Mocha AEs tracker... It comes with it free and is fantastic), there is a plugin to do it faster if you will be doing this alot and have some cash. https://aescripts.com/blace/
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Big up everyone, thanks for the tips. I'm going to try what powderific mentioned about Premiere's built-in tracker, since what I'm after is fairly rudimentary and doesn't need to do much more than obscure a speedometer that's barely even in frame. I might not even need to do that - since this is pretty shaky helmet camera footage, the other option is to stabilize and crop down... Although Warp Stabilizer says it's going to take its sweet time (~180 minutes for the full unedited seven-minute clip). I'm hoping that's to be expected for a Mac Pro 5,1 with an RX580 GPU.
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I'll soon be working regularly with the Blackmagic 6K Pro, does anyone have experience with it or similar Blackmagic models and have any tips on how to make the the most of it?
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I’ve had the ursa mini pro G1 and g2, which have the same menus and a lot of other similarities, since both launched and rent the pockets on occasion. What kind of info are you looking for? What’s your previous experience? Thanks to the great menus they’re pretty nice to work with in general.
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I worked with a bunch of stuff, but mostly with the fs700, and recently did a bunch of work with a a7s iii, shooting log for the first time, which went really well. I'm well versed in camera tech in general, so I guess stuff that's particular to the camera or BmRaw or whatever, like "careful about shooting with this compression mode because x", "highest usable ISO is X " "if you rig like this you won't have access to the card slot"
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As sweet, it should be pretty smooth then I'd expect. Here's some things that come to mind:
I'll try to think about any other tips too, but I know there are some folks in here who own the pocket so they might have more specifics especially related to the sensor.
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Thanks for the tips! Gonna check out those LUTs - finding good ones can be hard with all the random stuff out there. Any experience with shooting internally vs to an external SSD? Feels like so much can go wrong with an external drive, otoh you get so much storage and makes for easy transfers it seems
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The port location on the Ursa mini pro (other than the 12k) makes it not that useable, so I have enough CFast at this point I don't bother. The connection seems solid enough though, and a couple folks I work with locally who use BMPC6Ks mainly used SSDs. They sure are a lot cheaper.
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# ? Apr 11, 2021 04:50 |
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I use the Comet Color stuff (particularly Version 2 of Low Con) as my base starting point/monitoring LUT. I find the Gen 4 Extended Video LUT to be too warm, but a welcome improvement over the original Rec709/video LUT, which was way too crunchy and clipped your shadows and highlights badly. I'm hoping BMD extends Gen 5 to the UMP G1 because I would love to burn in the CC Low Con LUT instead of the Extended Video LUT if I'm going to burn in a LUT into Pro Res footage.
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