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Messages - seamless
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1
« on: February 17, 2019, 02:59 »
I started doing stock in Premiere but went to After Effects pretty soon since I ended there anyway with my clips. Mainly I do a lot of multilayer masking to emphasize parts of the image in a subtle way, just like in a darkroom in the old days.
Cutting goes pretty fast too, since I first overnight render 4K ProRes files plus 720p proxies from my H.264 encoded 4K camera files or 6K RAW timelapse still sequences.
Editing on the 720p proxy and then color correcting with Synthetic Aperture on the 4k or 6K file.
Still working on a 2012, i7 16GB MacMini and I can easily do 20 - 30 4K clips in an evening and let them render while I sleep.
2
« on: December 13, 2018, 17:23 »
You're not crazy, it's illegal what he does.
Nasa footage and images are in the public domain indeed but you cannot resell them as stock.
Shutterstock says it themselves that you can only submit NASA footage if you use it in a creative way to make something new and add in the description that parts of the image were done with NASA images.
3
« on: April 28, 2018, 12:15 »
My April sales were 175% higher than March.
Video only though.
4
« on: April 13, 2018, 16:21 »
Glad I'm not the only one  I burned my fingers once (2013) in Adobe Premiere and since then I often just do it the hard way with important timelapse files.
5
« on: April 13, 2018, 16:18 »
Nice!
6
« on: April 13, 2018, 16:06 »
Ha, yes, JPG images sequences as in-betweens I use only after I've done all grading towards a ProRes444 archival file.
Mainly for doing many multi-layered VFX in AE, not for landscape work.
With doing 24 <--> 25 fps conversions I've had problems in the past like skipped or doubled frames so when I doubt I go from a ProRes 25fps to a ProRes24 fps file through single frame sequences.
Perhaps I'm doing something wrong? Interpret frame rate doesn't always work for me.
7
« on: April 08, 2018, 10:48 »
The TIFF workflow I use for night timelapses which need to go through Noise Ninja for stand alone denoising.
So when I have those denoised TIFFs, I just use them for the rest of the work.
ProRes444 is indeed what I use most of the time for my daytime 5K timelapses and archiving and that works fine usually.
I've started to uses uncompressed JPEGs as intermediate files a lot though, when converting from 25fps to 24fps ProRes files, and found out that they work fine also when doing things like time stretching through multiple layers.
As I said before, sometimes I work for weeks on a single shot and then it is convenient to make an intermediate TIFF sequence from the RAWs.
I didn't know TIFF16 is actually 14bit but why not, thanks!
ProRes was indeed developed for FCP and a 3840x2160 also has a 1920x1080 etcetera inside. Beautiful architecture!
With a small computer and large formats I reach my ceiling fast so a single frame codec works more efficient sometimes than a long gop codec.
Very interesting comparison speed test!
8
« on: April 08, 2018, 09:02 »
From VJ-ing with Resolume Arena I learned that decoding compressed files takes a lot of processor power while working real time.
On a MAC working with ProRes files you might notice that there are one or more other programs like "Adobe helper" eating your RAM and processing power.
These programs do the decoding of the Quicktime files, AE doesn't do the decoding itself.
That's why I often use TIFF sequences or even JPEG sequences (!) uncompressed when working with large images, pingponging between two external harddisks.
Manual purging RAM helps a lot too and I'm glad you solved the primary problem by rolling back to a previous version of After Effects.
9
« on: April 06, 2018, 12:46 »
Working on raw footage can be processor consuming indeed.
I always convert my raw NEFs to TIFF16 sequences first before doing image transformations on them.
Works a lot faster on my 2014 MacMini with AE CS6.5 and I don't need to upgrade anything.
From raw to tiff I make the image very dull so both the foreground and sky have all the greys that I need for masking etcetera.
10
« on: April 04, 2018, 09:42 »
Great tutorial and excellent footage Brightonti.
I can now see why you need a Nikon D850 and this instrument is in perfect hands with you!
Two questions:
From the tutorial I couldn't deduct whether you use Bezier keyframes (ease in/out) in AE or not and
Do you upload to P5 only or also to other stock agencies?
11
« on: April 02, 2018, 15:56 »
Same goes for me, post processing timelapse clips is rather a process of days and sometimes even weeks per shot.
Mainly nature: tidal movements, starscapes, aeolian sand movements on the beach etcetera.
12
« on: March 28, 2018, 18:25 »
This is all very interesting information "increasingdifficulty"! Thank you!
For me most of my time goes into rotoscoping out airplane trails, satellites and meteors from night timelapses, so worrying about varying black levels is the last thing I'm waiting for.
But it happens with newer models camera's, might perhaps have to do something with the extended ISO sensivity.
By the way, since my first Nikon D1H I know that I should only use multiple ISO sensitivities. Like 200 - 400 - 800 - 1600 etc.
For inbetween sensitivities 250, 320, 500, 640 etc. a second amplifier is used that introduces extra noise, meaning that 500 or 640 ISO has more noise than 800 ISO.
Don't know if this also applies to latest generations of camera's but it is a rule of thumb I still use.
13
« on: March 20, 2018, 21:29 »
My 5K night sky timelapses already take a lot of disk space.
Raw --> 16bit TIFF sequence --> denoise (Noise Ninja) --> new TIFF sequence --> After Effects --> several ProRes444 sequences.
Really hard to make it worthwhile from a budget point of view. 8K camera's and 4K TV's are way too cheap these days ...
14
« on: March 20, 2018, 16:20 »
Yeah, my Nikon D7000 gives me flickering (underexposed) timelapses sometimes too while I have everything on manual.
I suspect it might happen at the point where the analogue sensor signal is translated to a digital signal. Looks like the separate RGB signals get clipped unequally to black each time the camera records a RAW frame.
D850 must be heaven to shoot with though and 8K is a good investment for future timelapse sales!
15
« on: March 18, 2018, 10:40 »
I agree with Increasingdifficulty: minor tweaks while importing Raw files and all the other image work in After Effects.
Flicker issues should be resolved before you start shooting, not in post production.
ND filters are a must in day time timelapsing for getting rid of birds in the sky, moving foliage by wind, flickering of water in ponds and rivers.
Normal focal length lenses get ND filter (400x) in front of the lens, (super) wide angle lenses behind the lens as a cut out Wratten ND filter (some lenses are designed for this).
I have done some one week long timelapses though with automatic exposure on Nikon D300 camera's and there wasn't any flickering in the JPEGs footage, going from night to day twice a day. But there was a lot of activity in this footage: downtown city with human activity. Static nature twilight footage is more difficult.
16
« on: March 02, 2018, 09:07 »
I upload vertical footage regularly through BlackBox and it usually gets accepted within 24 hours by SS, P5 and the others.
Working with verticals is indeed difficult as Tyson remarked and that might be the reason why clients are reluctant to produce vertical content.
There are many reports and newsletters on vertical being the new thing for 2018 but I haven't seen that in sales yet.
But I love doing vertical exhibitions so I keep on producing and uploading it.
I add "VERTICAL" to the description and keywords, and upload it as a horizontal clip with the image rotated 90 degrees counterclockwise.
17
« on: February 28, 2018, 06:59 »
Quicktime with photoJPEGs at 100% is great for cross-platform VJ-ing.
You decode on a per frame basis and since it is at 100% settings there is only entropic decoding to be done.
The makers of Resolume Arena advise to use QT with photoJPEG at 100% instead of their own dedicated codec when there is a chance you're going to use a clip with other software than just Resolume.
For submitting to agencies and editing I use ProRes solely though.
18
« on: February 26, 2018, 11:59 »
Ah, we had a huge discussion about this in the BlackBox Facebook group a few weeks ago. The origin the problem usually is that Premiere and AME store their LUT's in different folders and pick a LUT only by the list number. So if LUT#4(PP) and LUT#4(AME) are different LUT's then you get different renders. - Then there is also the matter of : "full swing vs studio swing" but I don't know if that problem applies here: https://wolfcrow.com/blog/what-is-full-swing-studio-swing-and-how-to-work-with-video-levels-in-adobe-premiere-pro-part-one/So check first if the LUT problem applies to AE with AME renders too. Also: AME renders an AE project with the project version that you saved last. So if you last saved an AE project as 8bpc then AME will render it in 8bpc only instead of 16bpc or 32bpc.
19
« on: February 26, 2018, 11:52 »
When the camera moves during long exposure, you get a natural motion blur effect that actually might be nice.
Subjects in the distance will be sharp (almost no motion blur) and subjects close to the camera will get (a lot of) motion blur.
20
« on: February 12, 2018, 00:47 »
Excellent footage!
Especially the natural face expressions and settings of the persons.
Thanks for sharing your insigths!
21
« on: January 25, 2018, 16:46 »
I agree with Brightonti! Usually you can make a more interesting movement in After Effects. Also I think sliders rather spoil a timelapse than add something to it. But if you want to play with sliders, why not? In those cases i love doing it completely manual by pushing a skateboard inch by inch, or attaching a battery powered handdrill to a makeshift dolly on a ladder. Since many timelapsers get bored with sliders pretty fast, you might be able to find a complete package hardly used at a good price if you search for it
22
« on: January 22, 2018, 15:28 »
Tagging (keywording) is indeed more time consuming than shooting and that's why at BlackBoxGuild we have the possibility to let other members do the tagging for cinematographers. Usually for a 15 -20 % share in the sales revenue to the tagger (curator). This works especially well for archival projects with thousands of shots on dusty hard drives and the footage gets uploaded to six agencies simultanously. Have a look at blackbox.global or read our conversations at www.facebook.com/groups/blackboxglobal . Or register as a member with https://portal.blackbox.global/register?code=JATRXDIZ
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« on: December 05, 2017, 11:03 »
Demich, I use blackbox.global to submit my footage to six agencies simultaneously: Shutterstock, Pond5, Videoblocks, Fotolia, Adobe stock, Dissolve. There is a lively FB-discussion group at https://www.facebook.com/groups/blackboxglobal where you can check out the experiences of other videographers using this workflow. My experience is that clips get accepted between 6 - 48 hours after submitting to BB. BlackBox takes a 15% share for this and the platform was also developed to enable artists to work together on projects, like key wording, or even editing and grading raw footage. You can use my referral code JATRXDIZ to register through https://portal.blackbox.global/register?code=JATRXDIZ or visit http://www.blackbox.global/ and do this yourself. Most active BB contributors are from the film industry treating microstock as passive income on the side but there are also a few full time stock shooters using BB now. The platform is in its first working version right now, with v2.0 planned in 2018.
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