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 4578012 for AE-List@media-motion.tv; Sun, 01 Jan 2012 09:24:19 +0100 Received: from cm-omr14 (mail.networksolutionsemail.com [205.178.146.50]) by omr14.networksolutionsemail.com (8.13.8/8.13.8) with ESMTP id q018Up39023184 for ; Sun, 1 Jan 2012 03:30:52 -0500 Authentication-Results: cm-omr14 smtp.user=chris@chriszwar.com; auth=pass (LOGIN) X-Authenticated-UID: chris@chriszwar.com Received: from [58.104.7.52] ([58.104.7.52:57484] helo=[10.1.1.4]) by cm-omr14 (envelope-from ) (ecelerity 2.2.2.41 r(31179/31189)) with ESMTPA id 28/61-28108-AB9100F4; Sun, 01 Jan 2012 03:30:51 -0500 From: Chris Zwar Mime-Version: 1.0 (Apple Message framework v1084) Content-Type: multipart/alternative; boundary=Apple-Mail-1--792903013 Subject: Re: [AE] HDR-esque technique for high-speed footage Date: Sun, 1 Jan 2012 19:30:47 +1100 In-Reply-To: To: "After Effects Mail List" References: Message-Id: <06F600F2-A866-4628-8F02-38244C2D5E8D@chriszwar.com> X-Mailer: Apple Mail (2.1084) --Apple-Mail-1--792903013 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=us-ascii Thanks for your interest, but I wouldn't want to suggest that this is = something particularly useful. For video work you'd need several takes = of the same shot with bracketed exposures, which isn't something you can = do without the shot being locked off, or without using a motion control = rig. If the shot is locked off then the subject matter also needs to be = static, and so you end up in a situation where you may as well use a = still photo. And if you're using HDR photos then you'll get much better = results using Photoshop or a different HDR package. So figuring out how = to do HDR video merges inside After Effects isn't going to have many = practical applications -Dave's situation with the Photron footage is = unusual and interesting. A lot of roto/ touch up work I do for car TVCs is essentially = replicating what would be theoretically possible with HDR footage - sky = replacements and reflection replacements etc etc, but it's all very art = directed and there would be no attraction to working in HDR to recover a = sky that was filmed on the day if it's all going to be replaced with a = different (perfectly photoshopped) sky anyway... -Chris On 01/01/2012, at 1:05 PM, Rich Young wrote: > That would be a popular video tutorial, even as a short quick tip demo = that explained the why. >=20 > Rich >=20 > --- On Sat, 12/31/11, Chris Zwar wrote: > 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. --Apple-Mail-1--792903013 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=us-ascii

That would be a popular video tutorial, even = as a short quick tip demo that explained the why.
Rich

--- On Sat, 12/31/11, Chris Zwar <chris@chriszwar.com> = wrote:
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.
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. =
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.

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