Description

Description

In this tutorial, you will see the workflow used to get rid of Flicker in a Sunset, Time-lapse video shot at a low frame rate with DEFlicker Time-lapse. Download footage here: https://vimeo.com/436250814/34a2feb04e

Description

In this tutorial, you will learn the basic steps for using DEFlicker Rolling Bands in After Effects.  You will see a few examples demonstrating different scenarios.

06:56

See these links to learn more about wagon wheel effect: 
https://www.youtube.com/watchv=VNftf5qLpiA

https://www.youtube.com/watch?v=QOwzkND_ooU

https://www.youtube.com/watch?v=6XwgbHjRo30

https://www.youtube.com/watch?v=9MN5MF72PHs

Thank you to Anita Rizzano for the Rolling Bands footage.

Description

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) ).