Smoothing out "slider" or "dolly" shots

Looking for some help smoothing out camera slider shots. They are "side to side"( as opposed to straight in) and show some vibration during the move. I have tried reducing the vibration in Motion but the analysis constricts the video on the X axis and bunches the video to one side. This leaves a blank/ black canvas showing on half of the project. Any help with preserving the "move" while reducing the vibration/ camera shake?
thanks in advance...

If you're using the Stabilize behavior, restrict the direction to the vertical only.
Andy

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Time Remapped Dolly Shot, Smooth in AE, but Jerky in Rendering

Hi,
My workflow: Canon h.264 original footage transcoded to ProRes 4444 in Compressor. Imported to HD project in AE, footage time remapped to smooth out uneveness in dolly speed, with Frame Blending turned on. AE 5.5 Mac OS 10.6
My question is that the ram preview below is relatively smooth, but when I exported a PR4444 sequence to FCP, once in the timeline it's jerky and stutters. (Forgive the sloppy mask, it's now fixed). The stutters and jerks also appear when playing the 4444 clip back in QT10, and Vimeo.
Any suggestions? Pixel Motion needed?
http://vimeo.com/39895088
Jesse

> My question is that the ram preview below is relatively smooth, but when I exported a PR4444 sequence to FCP, once in the timeline it's jerky and stutters. (Forgive the sloppy mask, it's now fixed). The stutters and jerks also appear when playing the 4444 clip back in QT10, and Vimeo.<
Depends on what your set up is in FCP. I'm going to assume you know what you're doing in FCP as far as how to set sequences properly and you know the limitations of your machine.
> Yes I'm aware of the timeline issues, and had hoped that once exported/rendered out of fcp that it would go away. The above link was a Vimeo compressed RAM preview out of AE And that plays smoothly!. Not out of fcp however. <
Well, exporting out of FCP is not really part of this equation. If you export to the codec you're using for your playback of the finished project, say, H.264 or MP4 or MPEG2, the clip will play perfectly within the capabilites of your machine and the player app you are using.
> Would it help to see what it looks like out of fcp on Vimeo? <
Nope. The vimeo clip will always play fine because, regardless of what it started out as, when you upload to vimeo it is transocded to the vimeo-friendly codec.
> Do you think this is because of the heaviness of the 4444 clip?<
Not liekly. Heavy, maybe, but ProRes is designed to be used without issues in FCP on Macs in Quicktime. One uses 4444 only if one needs the alpha. If you don't need the alpha, any of the 422s will work fine. I didn't see the mask you mentioned so I don't know why you're using 4444. It is not often that 4444 cannot be played in FCP unless the pixel dimensions are just too large or you've chosen a weird frame rate. In that case, the clip must be heavily processed before it can fit the timeline's settings.
I find the time remapping and motion smoothing capabilites of Apple Motion's optical flow functions are completely adequate for all but the most extreme screwups encountered while shooting.
Message was edited by: bogiesan

Tracking a shaky dolly shot to a shaky plate shot

Hey guys,
I have a dolly shot pushing into a character with a basketball floating below his hand. The basketball is held up by a green c-stand that we would like to key out, so we shot the exact same movement without the boy or basketball and stand to use as a plate shot.
The dolly move was made on a motion controlled rig, but we still have some shakiness to it and would like to align these two shots so it will not look.. awful.
The only thing I could come up with to this point was to track the same point in both videos, then have one of those tracking point follow the other tracking points movement. Is it possible to have a tracking point track another tracking point?

Stabilize both shots. Do the roto, lay one shot over the other so the BG plate fills the holes. Warp stabilizer won't be the best way to stabilize two dolly shots. You'll never get identical results. Instead, use Mocha. There are several tutorials available for stabilizing with Mocha.
It would really help to see the master. No need to see the clean bg plate.

Motion Tracking a Dolly Shot

I'm having a little trouble figuring this out. Thought someone on here might have done something similar.
The shot: A person walks down a sidewalk. The camera dollies parallel to them so it sees a wide of their profile. The person disappears and reappears in the shot as the camera dollies.
Is there a good way to pull off a poor man's motion tracking effect like this? Certain plug-ins to use to get it right?
A somewhat similar effect occurs a few (brief) times in this video: http://vimeo.com/24569304
Happy to clarify if that doesn't make sense. Thanks in advance!

Here's what I'd do. I'd shoot a clean take of the actor with a dolly shot with the dolly on track if possible and the camera locked off. Have an assistant keep track of the time.
Once you have a clean take, roll back and take another shot.
If you don't have a dolly and track then do the best you can to keep the shot as close as you can to the "good" take.
Now you need to track both shots in Mocha. There a re tutorials on how to track a moving shot available. You would stabilize both shots, lay the clean plate over the plate with the actor and crop it with a soft edge mask big enough to cover the actor. Did you get that? You want to lay the clean plate over just the area where the actor is. Make any adjustments necessary to the timing of the shot to keep things lined up by using time remap on the clean plate.
once you have the composited shots looking like there's no actor in the shot , then you can use transitions, fades, or other effects to bring in your actor by eliminating the top clean portion.
Once this is all set up, remove the stabilization on the actor plate making sure that the clean plate is tied to it by parenting.
Don't expect to be able to hold this hide the actor effect for more than a few seconds without dolly track. If you carefully watch the reference video you'll see that there's not a lot of exact frame matching going on. There just kitschy transitions between takes. The first one is especially awkward and there's a big jump that's hidden fairly well by the transition. In fact, I can't see anything except the distortions of the sidewalk and the overlays that probably used motion tracking.

Help me smooth out my lighting.

What Setting do I need to change to smooth out the edges of my lighting in this shot, and get rid of those hard edges?

I presume you're talking about the banding in the transition from dark gray to black. There's only so much you can do, because there are so few values of gray being spread across a much higher number of pixels.
The first thing to do: work in 32 bits. It'll help even if you eventually render out to an 8 or 10-bit codec.

How to smooth out discontinuous spacial distribution gradients

Hi all.
I'm controlling a linear motion device, and need to generate displacement paths for it to obey. What I'd like is to smooth out the 'sharp edges' in my profile data (for example, at points where it may go from a slow forward motion to a faster forward motion). Technically, this is removing the discontinuities in the spacial distribution differential, but in other words all I need to do is "smooth my data".
I've mimicked what I want to achieve by putting some hand-created numbers into this graph -->
The yellow line is my original profile data. You can see that I'll be moving the device from position 45 at time 0 to position 52 at time 5 and finally position 53 at time 9. This is fine, but I'd like to smooth out the motion a bit and avoid that nasty elbow at time=5 a bit.
The blue line is what I'd like. A smooth run from position 46 at time 0 to position 53 at 9 seconds, that preserves the velocities (gradients of the profile line) at the beginning and end. The reason for this is that the motor will arrive at position 46 (time 0) at the velocity inferred by the first gradient, and will continue beyond position 53 after time=9 at the speed inferred by the end gradient. Therefore I must not change the gradients of the line at the beginning and end.
I've tried using the many Signal Filtering techniques LabVIEW has available, but I've found that they create problems:
1. They don't preserve the beginning and end gradients, and
2. They tend not to like the very few sample points I have here. (If I interpolote the yellow line to create intermediate points, the filtering works better, but still suffers from point 1)
I've tried using the B-Spline curve fit, but that seems also not to respect the gradients.
I've tried the cubic spline fit, but that doesn't return the extra points I need to create the blue curve the way I've shown here.
Does anyone have any advice? I thought this would be simple, but I'm a bit stuck now but I suspect that there'll be someone out there that's had to do this too.Naively I expected there to be a simple function called "Smooth Data", but clealy not.
Many thanks in advance for any responses received.
Thoric (CLA, CLED, CTD and LabVIEW Champion)

In my copy of Haliday Resnick and Walker there was a note that talked about Einstein and "working in divine issolation" where he was not distracted by others telling what was leagl and what wasn't. I recall that note when I propose idea like the following that some math type will tell me has not physical meaning and dismiss it off-hand. But since I don't limit myself to what is allowed or legal...
See this thread starting a post #5.
Summary:
CC's best attempt at smoothing the curve was shown in this plot.
Using my non-legal technique, I got these results.
I a nutshell:
When yo ufilter you loose data at the front and back-end with the number of points of data loss being determined by the order of the filer. By first pre-pending and appending the same data set reflected about the first and last point, we trick math into telling us what it woudl refuse to tell us otherwise.
maybe this will help you,
Ben
Ben Rayner
I am currently active on.. MainStream Preppers
Rayner's Ridge is under construction

How do you smooth out lines in Photoshop CS5

I have some black and white line art drawings. The lines are not smooth and sharp, and instead have tiny jagged edges. I tried using the smudge tool, and that does smooth out the lines but it also makes the lines a little sloppy. That's probably how the Smudge Tool got its name. Is there a way to use this incredible software to create smooth lines? I've learned how to create paths, but I can't figure out how to use the paths to change the line art. Maybe this is what I'm looking for?

Noel Carboni wrote:
...to use a Path then add a Stroke style, so that it remains editable? .....
-Noel
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How to smooth out zooming/scrolling image that jerks (CS4)?

Hi guys/girls,
Is there any way that i can smooth out images that zoom in/out with normal classic tween. they are so jittery it looks terrible. I even have a little bit of easing and frames per second set to 30.
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Hi flashfever,
thanks for responding. can you elaborate on how i can use that? is it AS for the 1st frame or on the movie clip itself? etc
in this case, i have the image fading in and enlarging from 70% to 100% in the same tween. its very jerky.
thanks for your help so far!
Jeff

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How do you smooth out a coat?

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One technique I like, which fits in with the frequency separation thing JJ talks about is this:
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I have a really low res raster image of a signature and I've been trying live trace but it keeps making it look unrealistic. Is there anyway to simply smooth out the jaggedness produced by the low resolution while keeping the shape?

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Thanks for your time

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Smoothing out "slider" or "dolly" shots

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