Return-Path: Received: from omr14.networksolutionsemail.com ([205.178.146.64] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4577888 for AE-List@media-motion.tv; Sun, 01 Jan 2012 01:17:29 +0100 Received: from cm-omr5 (mail.networksolutionsemail.com [205.178.146.50]) by omr14.networksolutionsemail.com (8.13.8/8.13.8) with ESMTP id q010O1IU008926 for ; Sat, 31 Dec 2011 19:24:01 -0500 Authentication-Results: cm-omr5 smtp.user=chris@chriszwar.com; auth=pass (LOGIN) X-Authenticated-UID: chris@chriszwar.com Received: from [58.104.7.52] ([58.104.7.52:50652] helo=[10.1.1.4]) by cm-omr5 (envelope-from ) (ecelerity 2.2.2.41 r(31179/31189)) with ESMTPA id 4A/06-08454-0A7AFFE4; Sat, 31 Dec 2011 19:24:01 -0500 Content-Type: text/plain; charset=us-ascii Mime-Version: 1.0 (Apple Message framework v1084) Subject: Re: [AE] HDR-esque technique for high-speed footage From: Chris Zwar In-Reply-To: Date: Sun, 1 Jan 2012 11:23:57 +1100 Content-Transfer-Encoding: quoted-printable Message-Id: <0A5075A3-DBFE-460C-B91C-7C4F64F50342@chriszwar.com> References: To: "After Effects Mail List" X-Mailer: Apple Mail (2.1084) I've experimented with HDR photography a bit and you can't do a perfect = HDR merge in After Effects using only plugins or transfer modes. =20 But if your source footage has a very wide latitude, then you can use = simple layer stacks to recover shadows and highlights. In 32bit mode, = stack your 3 layers on top of each other with the add transfer mode, and = then use an adjustment layer on top of them all to control exposure and = recover highlights. =20 I've played around with combinations of 'exposure', ' HDR highlight = compression', 'HDR compander' and 'levels'. Depending on your footage = you might get a better result than a straight 8-bit pass, but render = times are very slow. -Chris On 01/01/2012, at 6:13 AM, Dave Bittner wrote: > I've got some footage from a Photron high speed camera that's = presented an interesting challenge to me. The camera records a sequence = of images that have a 48 bit depth, which is a large dynamic range. On = export to QuickTime, however, you are forced choose a bracketed range of = 8 bits. After multiple exports, I'm left with a movie that's = underexposed, one that's properly exposed, and one that's overexposed. I = want to combine then, HDR-style, to show the details in the highlights. = (The footage is a series of explosions, so there's a lot going in the = highlights.) >=20 > Any tips for stacking the footage in AE? >=20 > Thanks! >=20 > Dave Bittner - Pixel Workshop Inc. > www.pixelworkshop.com > 410.381.8555 > Twitter @bittner >=20 >=20 >=20 >=20 > +---End of message---+ > To unsubscribe send any message to >=20