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powderific
May 13, 2004



Grimey Drawer

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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the_lion
Jun 8, 2010

On the hunt for prey...

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!

Now comes a workflow question. Like I said, I've not used AE much, and I'm curious about how Adobe's 'bridging' workflow works with video. I've only ever once used Photoshop as an extension of Lightroom to create a fake 'double exposure' before returning to LR to edit the image further, how does this work with video? I imagine there's a similar function for clips or the entire timeline to 'open in After Effects'. I'm guessing the most efficient way to go about this (heavily hinted at by the After part of 'After Effects') would be to edit the video together, fades and dissolves and cuts and playback speed adjustments and all, THEN send it to AE for the automatic masking process. Is this correct? How much processing time am I looking at between the two applications; is exporting from Pr to AE any faster than rendering a finished movie file out of Pr? Can I, will I have to return to Pr to render the final movie file? How much of this process is destructive, i.e: committing to edits?

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.

BonoMan
Feb 20, 2002


Jade Ear Joe

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/

Mister Speaker
May 8, 2007




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.

Greenplastic
Oct 24, 2005

Miao, miao!

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?

powderific
May 13, 2004



Grimey Drawer

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.

Greenplastic
Oct 24, 2005

Miao, miao!

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"

powderific
May 13, 2004



Grimey Drawer

As sweet, it should be pretty smooth then I'd expect. Here's some things that come to mind:
  • I'd personally stick with constant bitrate rather than constant quality as it seems to work a little better IME, and generally I'm doing 8:1 when I plan on doing higher frame rates, 5:1 if not.
  • B-Raw worked great with the plugin for me in Premiere for like a year, and then all of a sudden I had massive timecode issues on a year long project it was a huge pain recovering sequences. I'm testing out a workflow where I only use Autokroma instead, but haven't been doing it long enough to have anything particular to report. As amazing as the B-Raw looks I'm considering switching back to just using prores for most stuff just to avoid the broken projects. I've lost multiple days of post time to trying to fix the issues and it's a huge pain.
  • I don't like the Blackmagic 1st party LUTs for BMD Film log at all. With V4 color science I liked Comet color LUT package and Tom Antos's rec709 LUT, not sure if there's something that works as well for V5.
  • The pocket is so wide it barely fit into my Movi Pro with a cage installed — if I owned instead of rented I think I'd go with a half cage for the Movi (might not be an issue at all for other stabilizers though)

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.

Greenplastic
Oct 24, 2005

Miao, miao!

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

powderific
May 13, 2004



Grimey Drawer

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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VoodooXT
Feb 24, 2006
I want Tong Po! Give me Tong Po!

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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