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[94.44.21.106]) by mx.google.com with ESMTPS id iq16sm9282201bkc.6.2012.07.01.03.58.45 (version=TLSv1/SSLv3 cipher=OTHER); Sun, 01 Jul 2012 03:58:46 -0700 (PDT) Subject: Re: [AE] Lens Distortion References: From: Szabo Gergo Content-Type: multipart/alternative; boundary=Apple-Mail-E82FDA7B-A01C-40FF-90A6-366788ABA1D5 X-Mailer: iPhone Mail (9B176) In-Reply-To: Message-Id: <37B70BBB-2C57-4225-AECC-5AA8BB48B1DD@gmail.com> Date: Sun, 1 Jul 2012 12:58:40 +0200 To: After Effects Mail List Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (1.0) --Apple-Mail-E82FDA7B-A01C-40FF-90A6-366788ABA1D5 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 I can suggest spmething for the engenieers at Adobe. It would be great to ha= ve built in presets at least for the prime lenses in the optical comprnsatio= n plugin. For example: 1. Step: i choose the body: 5d, 7d, 60d or only the size of the= sensor. 2. Step: I choose the lens type. (primes only) +1 a checkbox for the auto correctof the vignettes=20 Gary Az iPhone k=C3=A9sz=C3=BCl=C3=A9kemr=C5=91l k=C3=BCldve 2012.07.01. d=C3=A1tummal, 11:10 id=C5=91pontban J Bills =C3=ADrta: > IMHO, the only safe way to reliably deal with lens distortion is to take a= couple of mins out and shoot a grid with the same camera/lens (and even dow= n to the focus setting) on set. >=20 > most grip trucks have a 4x8 piece of plywood and most kinkos can print & l= aminate you a 4x8 grid to clamp to it. it's not as good as the laser etched= grids that can be bought but it's a reasonable facsimile. watch out for gl= are off of that lamination. >=20 > I like the WarpD module in 3d Equalizer for solving the distortion, but mo= st tracking software has some equivalent and surely the values could be adap= ted for optics compensation. Nuke's lens distortion tools are pretty good t= oo. >=20 > the good news is, a lot of the modern camera/lens combos are darn near rec= tilinear. an 18mm on a Red Epic is surprisingly straight. it's when you ge= t into the old pawn shop Nikon glass stuck on a 5D that you start to have to= worry. oh god there was this one tilt shift lens that made my life very di= fficult on a few shots... >=20 > adobe has a pdf floating around (i think buried in the photoshop or lightr= oom stuff somewhere) that introduces the idea of "lens profiling," which in t= heory could automate some of this type of stuff, and possibly be driven off o= f metadata. the way they were wanting to deal with the distortion seemed pr= etty cool - you could hold up a smaller grid and take 9 stills, with the sma= ll grid held up in the lower left, lower center, lower right and so on. pho= toshop would then stitch them together and solve the distortion for the whol= e lens. interesting! >=20 >=20 > On Fri, Jun 29, 2012 at 9:47 AM, Chris Meyer wrote= : > Exactly. And why the %&()*@! Bridge or AE's XMP Metatdata panel don't auto= matically access this=E2=80=A6 Of course, it doesn't help that other apps se= em to lose this information when I trim and extract selects. >=20 > deadline; grumpy - > Chris >=20 >=20 > On Jun 29, 2012, at 10:36 AM, Stephen van Vuuren wrote: >=20 >> >(Point of frustration: When I take stills with my 5D, the lens informati= on appears in Bridge; when I shoot video with the same camera, I am hard pre= ssed to find the same information in either Bridge or AE.) >> =20 >> With most Canon DSLRs, that=E2=80=99s found in the .THM file with the vid= eo. Seems like easy work for script or simple-plugin to read that into AE et= c. >> =20 >> stephen van vuuren >> 336.202.4777 >> =20 >> http://www.sv2dcp.com/ >> http://www.sv2studios.com/ >> http://www.outsideinthemovie.com/ >> =20 >> A film is =E2=80=93 or should be =E2=80=93 more like music than like fict= ion. 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 >=20 --Apple-Mail-E82FDA7B-A01C-40FF-90A6-366788ABA1D5 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8
I can suggest spmething fo= r the engenieers at Adobe. It would be great to have built in presets at lea= st for the prime lenses in the optical comprnsation plugin.

For example: 1. Step: i choose the body: 5d, 7d, 60d or only the si= ze of the sensor.

2. Step: I choose the lens type. (= primes only)

+1 a checkbox for the auto correctof t= he vignettes 

Gary

Az iPhone k=C3=A9sz=C3= =BCl=C3=A9kemr=C5=91l k=C3=BCldve

2012.07.01. d=C3=A1tummal, 1= 1:10 id=C5=91pontban J Bills <j= billsnews@flickfx.com> =C3=ADrta:

IMHO, the only safe way to reliably deal with lens disto= rtion is to take a couple of mins out and shoot a grid with the same camera/= lens (and even down to the focus setting) on set.

most grip trucks ha= ve a 4x8 piece of plywood and most kinkos can print & laminate you a 4x8= grid to clamp to it.  it's not as good as the laser etched grids that c= an be bought but it's a reasonable facsimile.  watch out for glare off o= f that lamination.

I like the WarpD module in 3d Equalizer for solving the distortion, but m= ost tracking software has some equivalent and surely the values could be ada= pted for optics compensation.  Nuke's lens distortion tools are pretty g= ood too.

the good news is, a lot of the modern camera/lens combos are darn near r= ectilinear.  an 18mm on a Red Epic is surprisingly straight.  it's= when you get into the old pawn shop Nikon glass stuck on a 5D that you star= t to have to worry.  oh god there was this one tilt shift lens that mad= e my life very difficult on a few shots...

adobe has a pdf floating around (i think buried in the photoshop or ligh= troom stuff somewhere) that introduces the idea of "lens profiling," which i= n theory could automate some of this type of stuff, and possibly be driven o= ff of metadata.  the way they were wanting to deal with the distortion s= eemed pretty cool - you could hold up a smaller grid and take 9 stills, with= the small grid held up in the lower left, lower center, lower right and so o= n.  photoshop would then stitch them together and solve the distortion f= or the whole lens.  interesting!


On Fri, Jun 29, 2012 at 9:47 AM, Chris Me= yer <chris@crishdesign.com> wrote:
Exactly. And why the %&()*@! Bridge o= r AE's XMP Metatdata panel don't automatically access this=E2=80=A6 Of cours= e, it doesn't help that other apps seem to lose this information when I trim= and extract selects.

deadline; grumpy -
Chris


On Jun 29, 2012, at 10:36 AM, Stephen va= n Vuuren wrote:

>= ;(Point of frustration: When I take stills with my 5D, the lens infor= mation appears in Bridge; when I shoot video with the same camera, I am hard= pressed to find the same information in either Bridge or AE.)=
&= nbsp;
With mos= t Canon DSLRs, that=E2=80=99s found in the .THM file with the video. Seems l= ike easy work for script or simple-plugin to read that into AE etc.
&= nbsp;
= stephen van vuuren
=  
=  
A film i= s =E2=80=93 or should be =E2=80=93 more like music than like fiction. It sho= uld be a progression of moods and feelings. The theme, what=E2=80=99s behind= the emotion, the meaning, all that comes later.
=E2=80=93= Stanley Kubrick



= --Apple-Mail-E82FDA7B-A01C-40FF-90A6-366788ABA1D5--