Description

Description

Andrii Shramko demos a useful feature in RE:Lens spherical stabilizer allowing you to handle real hard shots by masking areas of the source. You can also use this feature on fisheye stabilization where there is moving junk (light flares and leaks) outside of the image circle that affects the tracking, as well as in stitched videos where a camera is moving indepedently from the rest of the rig (which confuses any tracker).
https://www.facebook.com/shramko360/

Description

In this tutorial, you will learn the basics of how to use the "Spherical Stabilization" feature within RE:Lens Superfish, ToLatLong and FromLatLong.

Description

Description:In this tutorial, you will see a workflow example of tracking a flat graphic to footage that was shot using a Full Frame Fisheye Lens.  Lens used: Panasonic Lumix 8mm fisheye on GH4 Full Frame Fisheye and RE:Lens DEFish

Description

In this tutorial, you will see several examples where you will see different kinds of lens and which RE:Lens tool to use for what purpose.

Cameras and lenses used:

Ex. 1) - (00:15) Wide-angle lens used on GH4: Panasonic 7-14mm f/4 

       Beating the edge of frame over-stretching with Defish

Ex. 2) - (01:29) Anamorphic Lens used on GH 4: SLR Magic Anamorphic-Cine 2X 50mm T2.8 MFT

       Non-Square Pixel Aspect Ratio, Anamorphic process

Ex. 2.A) - GoPro Hero 4 Black Superview Mode

Ex. 3) - (06:05) Full Frame Fisheye project-Lens used: Panasonic Lumix 8mm fisheye on GH4

        Full Frame Fisheye and RE:Lens Defish

Ex. 4) - (07:06) Circular Fisheye - Lens: Sigma 4.5mm f 2.8 DC HSM Fisheye for Canon

        Circular Fisheye lenses and RE:Lens Superfish

Ex. 4.A) - With Kipon Adapter

Ex. 4.B) - With Metabones Adapter

Ex. 5) - (11:10) Super Fisheye Lenses - Lens: Superfish lens by Entanya Entapano 280deg. on Back-Bone Ribcage

       - Superfish Lenses

Description

This document outlines how to generate UV maps out of 3DS Max and Maya using Mental RAY (MR) and VRAY with reference renders and reference scenes and screenshots showing the settings.  The intent is then use RE:Map UV or RE:Map Inverse UV in your compositing program.

Download the PDF here

We would like to thank Chad Capeland (https://indicated.co/) for helping us to document this process and testing the best approaches.

Note if you use V-Ray in Cinema 4D for example, you might want to also check our video tutorial using Cinema 4D Renderer ( http://help.revisionfx.com/task/22/#/tutorial-150) ).

Description

In this tutorial, you learn about the Window option for more precise color matching with RE:Match color. This complements our other tutorials about specific features of the product that work the same in all applications.

Description

Quick overview of how RSMB uses motion vectors in Nuke from a C4D motion vector pass.

Thanks to Impossible Engine for creating this tutorial.

Description

A video covering the use of  Reel Smart Motion Blur to add motion blur to your images in the post process via the use of motion vectors which modo can output at render time.You can access the sample files including the Nuke and After Effects files here 9bstudios.com/modo70x/CrazyChicken.zip

Special Thanks to Yazan Malkosh 9bstudios.com  for providing us with this tutorial. The 3D renderer is Modo luxology.com

Description

This tutorial shows how how to set up a project in Cinema 4D to get the best results for use with RE:Map UV and RSMB Pro Vectors in After Effects (although you can use other host applications for compositing and some of this will apply to other plugins). A Sample project is included using After Effects.

Special Thanks to Patrick Goski at Maxon.net for creating & providing the C4D sample project and for his support 24/7.