Return-Path: Received: from [69.41.255.2] (HELO gateway14.websitewelcome.com) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 4635922 for AE-List@media-motion.tv; Fri, 24 Feb 2012 05:29:36 +0100 Received: by gateway14.websitewelcome.com (Postfix, from userid 5007) id 8E9595C34BD09; Thu, 23 Feb 2012 22:36:07 -0600 (CST) Received: from gator1184.hostgator.com (gator1184.hostgator.com [174.121.151.98]) by gateway14.websitewelcome.com (Postfix) with ESMTP id 802F55C34BCE5 for ; Thu, 23 Feb 2012 22:36:07 -0600 (CST) Received: from [24.167.166.243] (port=59087 helo=Neptune) by gator1184.hostgator.com with esmtpa (Exim 4.69) (envelope-from ) id 1S0mt4-0002Uc-VP for AE-List@media-motion.tv; Thu, 23 Feb 2012 22:36:07 -0600 Reply-To: From: "Stephen van Vuuren" To: "'After Effects Mail List'" Subject: Noise reduction & fixing strategy for 120,000 still in time lapse sequence Date: Thu, 23 Feb 2012 23:36:02 -0500 Organization: SV2 Studios Message-ID: <00a901ccf2ad$d08f54a0$71adfde0$@sv2studios.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_00AA_01CCF283.E7C6E130" X-Mailer: Microsoft Outlook 14.0 Thread-Index: AczyrVmi/8JUMYLARGGFTzTaBzoyrg== Content-Language: en-us X-AntiAbuse: This header was added to track abuse, please include it with any abuse report X-AntiAbuse: Primary Hostname - gator1184.hostgator.com X-AntiAbuse: Original Domain - media-motion.tv X-AntiAbuse: Originator/Caller UID/GID - [47 12] / [47 12] X-AntiAbuse: Sender Address Domain - sv2studios.com X-BWhitelist: no X-Source: X-Source-Args: X-Source-Dir: X-Source-Sender: cpe-024-167-166-243.triad.res.rr.com (Neptune) [24.167.166.243]:59087 X-Source-Auth: stephen@sv2studios.com X-Email-Count: 1 X-Source-Cap: c3RlcGhlbnY7c3RlcGhlbnY7Z2F0b3IxMTg0Lmhvc3RnYXRvci5jb20= This is a multipart message in MIME format. ------=_NextPart_000_00AA_01CCF283.E7C6E130 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable I=E2=80=99ve got 120,000 stills, Canon 5D Mark II raw CR2 files from a 5 = camera time-lapse rig to process for my IMAX film by the amazing Colin = Legg who donated this all to the film. It=E2=80=99s 12-day, 12-night = time-lapse. You can see the rig in action here: = https://vimeo.com/31068829=20 =20 =20 I=E2=80=99m trying to ponder a workflow for this that makes sense and = will not cause problems with shifts over the process. About 10% of the = footage has issues from missing frame from 1 to 5 cameras, bad exposure = due to fault. Here=E2=80=99s my rough of the steps. For noise reduction = I=E2=80=99ve determined that RevisionFX is the only one that does not = band the very subtle low contrast shading. Both Red Giant and Neat Video = do band regardless of settings or bit depth.=20 =20 The goal is to give the stitching program clean, usable images.=20 =20 1. Build raw sequences in AE in 16-bit. 2. Apply Noise reduction =E2=80=93 however, since AE is not aware = that the images will be stitched, noise reduction may create unevenness = at blend points unless REvisionFX DE:Noise can somehow be controlled. = The other option is I also have Noise Ninja will has built in camera = profiles specifically for this camera and could batch process prior to = AE but that is a really, really big batch job. 3. Apply fixes (fill gabs, fix artifacts =E2=80=93 everything from = spiders to exposure) 4. Deflicker? =E2=80=93 not sure where it=E2=80=99s best to apply = this step here as flicker may vary. I=E2=80=99ve not use Deflicker much = on long timelapses. 5. Export as 16-bit TIFFs.=20 6. Stitch in PT GUI Pro, export as 10k by 10k TIFF. 7. Bring back to AE for correct and comp work =20 You can see Colin=E2=80=99s rough test attempt that reveals some of the = issue =E2=80=93 it=E2=80=99s contrast enhanced for artifact reveal:=20 =20 > I've done another render, this time from the last day covering sunset = -> sunrise. This covers the period when the cameras were bulb ramping. = Outside of this I had to use manual exposures (no choice) and they = suffer the classic 1/3 step flicker and beyond 1/60 s, shutter flicker.=20 > =20 > http://vimeo.com/35544430 pw - lakedorasunsetsunrise=20 > =20 > Still using the same denoising first workflow so banding is still bad. = Also note the red splotch at top....this is reflection in spider webs = from red status lights on the other cameras.=20 =20 Due to artifact and variations over 120,000 stills it=E2=80=99s hard to = spot check and be sure all issues are known. I need some reliable = workflow that won=E2=80=99t be thrown off my problem with single or = batches of images. I do have time markers for what sequence don=E2=80=99t have gaps or = misfires. Thoughts? =20 stephen van vuuren 336.202.4777 =20 http://www.sv2studios.com/ http://www.outsideinthemovie.com/ http://www.stephenv2.me/ =20 A film is =E2=80=93 or should be =E2=80=93 more like music than like = fiction. It should be a progression of moods and feelings. The theme, = what=E2=80=99s behind the emotion, the meaning, all that comes later. =E2=80=93Stanley Kubrick =20 From: After Effects Mail List [mailto:AE-List@media-motion.tv] On Behalf = Of Jack Tunnicliffe Sent: Thursday, February 23, 2012 10:20 PM To: After Effects Mail List Subject: Re: [AE] Motion tracking woes =20 You might need to widen your tracking search region, the outside box, = for fast moves. This is a common mistake where people thing a small = region will work. =20 Also Mocha Pro's remove tool shines at doing this compensating for = lighting changes as the head turns, etc. Jack Tunnicliffe www.javapost.ca www.caffeineproductions.ca =20 Sent from my Apple iPhone On 2012-02-23, at 10:00 AM, John Morgan wrote: Admittedly I=E2=80=99ve not done a lot of motion tracking. =20 I=E2=80=99ve got a shot=E2=80=94head and shoulders interview on green = screen (720p 23.98)=E2=80=94where I failed to notice the little white = speck at the edge of a nostril. =20 Steps done so far: 1- Exported the first frame of this clip to = Photoshop>rubber-stamped/fixed the white speck area, then made a small = selection of the immediate area (with 2 pixel blur)>created and saved to = new layer>deleted background layer and saved as .PNG file. So my = =E2=80=9Crepair=E2=80=9D area is a small patch, also 1280x720, = surrounded by lots of transparent area. =20 2- Imported the bad clip.mxf (P2 video file) and the patch.png file = to Ae. Turned on tracking so I=E2=80=99m tracking Position and Rotation. = Set the two tracking points to 1) exactly on the white spec and 2) a = point on an ear> defined the target to be the patch.png file and ran the = Analyze function to set the related keyframes. =20 During his interview, as you might assume, there=E2=80=99s quite of bit = of head shaking. The nose goes all over the place. There=E2=80=99s = motion blurring that occurs on the clip because of the motion, and that = seems to shake the white spec tracker loose. It drifts around slightly. =20 But here=E2=80=99s the deal. After applying all the motion and rotation = keys to the patch.png file, the patch locates itself (according to the = keyframes) several inches away on his cheek. My nostril repair patch now = appears to be a mole that pretty closely tracks to his cheek rather than = tracking to the nostril area where it was located at frame 1 when the = tracking began. =20 My question is: what is the trick to take a set of motion/rotation keys = attached to the patch.png file, and slide=E2=80=A6 =20 =E2=80=A6uhhh=E2=80=A6I got it! Change the Anchor Point! Doh! =20 OK. So now that=E2=80=99s solved, have I hit Ae=E2=80=99s wall, in that = its motion tracker is only so good in high motion areas? Any other = options to pin that tracker down tighter? =20 Thanks, =20 John =20 =20 =20 This message, and any attachments, is intended only for the use of the = addressee and may contain information that is privileged and = confidential or otherwise exempt from disclosure under applicable law. = If the reader of this e-mail is not the intended recipient, you are = hereby notified that any unauthorized use, dissemination, distribution = or reproduction of this message is prohibited. If you have received this = communication in error, please notify the sender by return e-mail and = delete this e-mail and any attachments from your system. =C2=AD=C2=AD =20 ------=_NextPart_000_00AA_01CCF283.E7C6E130 Content-Type: text/html; charset="utf-8" Content-Transfer-Encoding: quoted-printable

I=E2=80=99ve got 120,000 = stills, Canon 5D Mark II raw CR2 files from a 5 camera time-lapse rig to = process for my IMAX film by the amazing Colin Legg who donated this all = to the film. It=E2=80=99s 12-day, 12-night time-lapse. You can see the = rig in action here: https://vimeo.com/31068829 =

 

 

I=E2=80=99m trying to = ponder a workflow for this that makes sense and will not cause problems = with shifts over the process. About 10% of the footage has issues from = missing frame from 1 to 5 cameras, bad exposure due to fault. = Here=E2=80=99s my rough of the steps. For noise reduction I=E2=80=99ve = determined that RevisionFX is the only one that does not band the very = subtle low contrast shading. Both Red Giant and Neat Video do band = regardless of settings or bit depth.

 

The goal is to give the = stitching program clean, usable images.

 

1.       = Build raw = sequences in AE in 16-bit.

2.       = Apply Noise = reduction =E2=80=93 however, since AE is not aware that the images will = be stitched, noise reduction may create unevenness at blend points = unless REvisionFX DE:Noise can somehow be controlled. The other option = is I also have Noise Ninja will has built in camera profiles = specifically for this camera and could batch process prior to AE but = that is a really, really big batch job.

3.       = Apply fixes = (fill gabs, fix artifacts =E2=80=93 everything from spiders to = exposure)

4.       = Deflicker? = =E2=80=93 not sure where it=E2=80=99s best to apply this step here as = flicker may vary. I=E2=80=99ve not use Deflicker much on long = timelapses.

5.       = Export as = 16-bit TIFFs.

6.       = Stitch in = PT GUI Pro, export as 10k by 10k TIFF.

7.       = Bring back = to AE for correct and comp work

 

You can see = Colin=E2=80=99s rough test attempt that reveals some of the issue = =E2=80=93 it=E2=80=99s contrast enhanced for artifact reveal: =

 

> I've done another render, this time from the last = day covering sunset -> sunrise. This covers the period when the = cameras were bulb ramping. Outside of this I had to use manual exposures = (no choice) and they suffer the classic 1/3 step flicker and beyond 1/60 = s, shutter flicker.
>  
> http://vimeo.com/35544430  = pw - lakedorasunsetsunrise
>  
> Still using the same = denoising first workflow so banding is still bad. Also note the red = splotch at top....this is reflection in spider webs from red status = lights on the other cameras.

 

Due to artifact and = variations over 120,000 stills it=E2=80=99s hard to spot check and be = sure all issues are known. I need some reliable workflow that = won=E2=80=99t be thrown off my problem with single or batches of = images.


I do have time markers for what sequence = don=E2=80=99t have gaps or misfires.


Thoughts?

 

stephen van = vuuren

336.202.4777

 

http://www.sv2studios.com/<= /span>

http://www.outsideinthemovie.com/=

http://www.stephenv2.me/

 

A = film is =E2=80=93 or should be =E2=80=93 more like music than like = fiction. It should be a progression of moods and feelings. The theme, = what=E2=80=99s behind the emotion, the meaning, all that comes = later.

=E2=80=93Stanley = Kubrick

 

From:= = After Effects Mail List [mailto:AE-List@media-motion.tv] On Behalf Of = Jack Tunnicliffe
Sent: Thursday, February 23, 2012 10:20 = PM
To: After Effects Mail List
Subject: Re: [AE] = Motion tracking woes

 

You = might need to widen your tracking search region, the outside box, for = fast moves. This is a common mistake where people thing a small region = will work.

 

Also Mocha Pro's remove tool shines at = doing this compensating for lighting changes as the head turns, = etc.

Jack = Tunnicliffe

<= div>

www.caffeineproductions.ca=

 

Sent = from my Apple iPhone


On 2012-02-23, at 10:00 AM, John = Morgan <John.Morgan@slcc.edu> = wrote:

Admittedly I=E2=80=99ve not done a lot of motion = tracking.

 

I=E2=80=99ve got a shot=E2=80=94head and shoulders = interview on green screen (720p 23.98)=E2=80=94where I failed to notice = the little white speck at the edge of a nostril.

 

Steps done = so far:

1-      = Exported the first frame of this clip to = Photoshop>rubber-stamped/fixed the white speck area, then made a = small selection of the immediate area (with 2 pixel blur)>created and = saved to new layer>deleted background layer and saved as .PNG = file.  So my =E2=80=9Crepair=E2=80=9D area is a small patch, also = 1280x720, surrounded by lots of transparent area.

 

2-      = Imported the bad clip.mxf (P2 video file) and = the patch.png file to Ae. Turned on tracking so I=E2=80=99m tracking = Position and Rotation. Set the two tracking points to 1) exactly on the = white spec and 2) a point on an ear> defined the target to be the = patch.png file and ran the Analyze function to set the related = keyframes.

 

During his interview, as you might assume, = there=E2=80=99s quite of bit of head shaking. The nose goes all over the = place. There=E2=80=99s motion blurring that occurs on the clip because = of the motion, and that seems to shake the white spec tracker loose. It = drifts around slightly.

 

But = here=E2=80=99s the deal. After applying all the motion and rotation keys = to the patch.png file, the patch locates itself (according to the = keyframes) several inches away on his cheek. My nostril repair patch now = appears to be a mole that pretty closely tracks to his cheek rather than = tracking to the nostril area where it was located at frame 1 when the = tracking began.

 

My question = is:  what is the trick to take a set of motion/rotation keys = attached to the patch.png file, and slide=E2=80=A6

 

=E2=80=A6uhhh=E2=80=A6I got it! Change the Anchor = Point! Doh!

 

OK. So now that=E2=80=99s solved, have I hit = Ae=E2=80=99s wall, in that its motion tracker is only so good in high = motion areas?  Any other options to pin that tracker down = tighter?

 

Thanks,

 

John

 

 

 


This message, and any attachments, is intended only = for the use of the addressee and may contain information that is = privileged and confidential or otherwise exempt from disclosure under = applicable law. If the reader of this e-mail is not the intended = recipient, you are hereby notified that any unauthorized use, = dissemination, distribution or reproduction of this message is = prohibited. If you have received this communication in error, please = notify the sender by return e-mail and delete this e-mail and any = attachments from your = system.  =C2=AD=C2=AD  

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