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  • s 4:46 PM on 130315 Permalink | Reply
    Tags: , inspiration, process,   

    3D Map Video 

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    Wide Web World from Paul Wex on Vimeo.

    On the process:

    Hi, first I tested the screen recorders – there was a huge difference between them. The iShowU HD had really the best CPU efficiency, so I began to test the highest screen resolution for the recording without too much loss of the fps. That was 1280×720. I tested my browsers too, but there was no significant difference for me, so I stayed at Chrome. After switching in fullscreen mode I selected the recording range on the screen, so there were no panels or symbols on the screen anymore. Unfortunately the crop had to be quite hard.Start-Move&Record-Stop with short keys, meanwhile 100x computer reboot/log off (the browser became slower and slower after minutes!). I recorded as ProRes422HQ at 720p/30fps and converted to 25p via CinemaTools afterwards. Postproduction, edit and colorgrading in FCP7 with standard plugs and Knoll Light EZ Lensflare.

    Then the music production followed…

    Cheers :)

  • s 9:45 PM on 130215 Permalink | Reply
    Tags: , , process, ,   

    Timelapse RAW 

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    Why shoot timelapse using raw instead of jpgs?  The Red Owl, Tom Baurain explains it’s for two reasons:  quality and control.  Raw files have much more information that can result in greater quality to your timelapse.
    The larger files not only hold more color information, but the size of these images allows you the ability crop out what you don’t want or pan and scan without compromising quality.

    The very nature of the raw file allows you to tweak the image in such a way that allows you to achieve the look you want without baking that look into the file itself.
    Taking advantage of the Raw format isn’t without peril, but the Red Owl breaks it all down with this Raw workflow.
    Here’s just some of what you’ll learn in this video:

    What gear you need for timelapseAdjusting your cameras settings to prevent “flicker”Setting up a file system to ensure compatibility with After EffectsHow to tweak your image in the Camera Raw interfaceThe switches in the Camera Raw interface and what they doMonitor your results in Adobe BridgeImporting into AfterEffects and rendering your compositionOn top of all this, Baurain also reveals some other great resources. For further learning, please visit the links below.
    General LearningTimeScapes “I’m New To Timelapse“Tyler Ginter’s Timelapse ChecklistLenses“Behind The Glass” with Vincent Laforet and Blake Whitman

    Part 1 “Intro to Lenses“Part 2 “Focal Length“Part 3 “Depth of Field“Lens Cleaning with Jared Abrams

    Filtersfxguidetv #74OliviaTech – Polarizing FiltersOliviaTech – ND Filters for beginnersCheesyCam – ND filter color cast testingColor CorrectionIntro To Color GradingTao of ColorAaronWilliams.tvColor Correction Handbook by Alexis Van HurkmanSoftwareLRTimelapse and click “tutorial” for several great tutorials on LRTimelapseOther Useful ResourcesVimeo Video SchoolTimelapse with a DSLR starring Andrea Allen and Philip BloomVimeo Music StoreMastering ISODSLR MechanicsTilt ShiftIf you’re thinking about doing timelapse or if you’ve done one but want to improve, then it’s imperative you watch this video.  You can find out more about The Red Owl, on his website athttp://theredowl.com


    Before deflickering make all your transitions. Deflickering will only change the exposure values.

    Read this thread to learn how to edit your images to get the best of the deflickering algorithm.

    Now make sure your exposure curve hasn’t any former deflickering applied yet (straight yelow curve without bumps), if not right click on exposure in the table header and select “reset current column values without keyframes” (in this case reapply the auto transition).

    You already see two curves important for deflicker:
    The yellow curve is the original exposure curve (if you don’t see it make sure to select “exposure” on the curves selector below the preview)The blue curve is the average brightness of your image or reference area. To set a reference ares draw a rectangle with the mouse into your preview panel. Set the referece so that only local, unwanted flicker is captured not global effects like passing clouds etc. Find for example a place in the sky where no clouds pass or a part of the image that lies in the shadow all the time. The Goal is to separate flicker from wanted changes in lightning conditions. You can even set different reference areas on different images, LRTimelapse calculates an animation between them (like key frames). Single click in the preview erases the current reference-key-frame, double click resets all.

    Now you can turn on the deflicker checkbox. New curves appear:

    The Green curve is a smoothed out version of the blue one. I serves to indicate how the brightness of the selected area should behave. It should preserve any global (wanted) changes in lightning conditions and smooth out the unwanted flicker. With the “Avg. smooth” slider you can control how tight the curve matches the original blue brightness curve.
    My tip: avoid changing the Strength slider, in 99% its okay at the default value.The red curve shows a compensated yellow (exposure) curve. So when you hit save the red curve turns into the new yellow (deflickered) exposure curve. Basically the red curve is the blue curve mirrored on the green curve. You will see the changing effects when you play with the sliders.

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