Description

This is an example of another method besides using Render Effects, to have smooth editing with high resolution files.  We use proxy mode with Twixtor so you can dynamically change the video speed with our tools without pre-rendering previews every time, while editing.

**Note: One reason we use proxies here is that the footage is 4K and Twixtor is not a real-time effect in Premiere, so at 4K, you might have non-responsive playback even with GPU on.

Description

Description

In this tutorial, you will see part 2 which picks up where part 1 leaves off, covering new features in Twixtor 7, running on Premiere Pro and AE 2020.  You will want to watch part 1 first for the rest of the new features. You will want to download the latest version of Twixtor to follow along with this tutorial. Features covered in this tutorial:  

00:27 - InFPS = OutFPS. 

01:25 - Converting 25FPS to 23.976 FPS and keeping the audio in sync.

03:13 - 360 Video checkbox

03:22 - Twixtor Pro - RGB+A

Description

In this tutorial, you will see part 1 which covers some of the new features in Twixtor 7, running on Premiere Pro and AE 2020.  You will want to watch part 2 for the rest of the new features. You will want to download the latest version of Twixtor to follow along with this tutorial.

Description

In this tutorial, we will see three examples showing the workflow from Premiere Pro to After Effects using Dynamic link.  Examples include use of Twixtor, RE:Match and RE:Lens plugins.

Description

In this Overview, we discuss using a 360 camera rig as second video camera to cut to. In this project we met different challenges and see how we solved them  provided using RE:Vision Effects plug-ins.

Camera used:GoPro Omni 360, GoPro Karma drone

Software used: Stitching done in GoPro Kolor (Autopano), RE:Lens From LatLong (for 360 source), RE:Lens DeFish to flatten the drone movie, Twixtor to time synch the drone movie.

Camera tech: Andrew Ganzon

Description

This video is a showcase of a short PSA created using RE:Match, DEFlicker, ReelSmart  Motion Blur and Twixtor that show real world example of problems solved such as: multiple shots that are automatically color matched, flicker removal, footage extended to match a needed duration, and motion blur added to remove stutter.
A Special Thanks to:
Mathias Omotola from http://www.maxon.net for helping me with the C4D title.
Oton Bacar http://vimeo.com/user4329703 for the Twixtor Slomo bike footage
Patrick Boivin https://www.youtube.com/user/PatrickBoivin  for the Transformer, stop motion footage
Grayson Hild http://www.graysonhild.com  for the time-lapse pier and lifeguard tower time-lapse footage. 

Description

In this tutorial, you will see several examples demonstrating frame rate conversion and mixed format issues and their solutions.

Credits:
We would like to thank the following for providing footage:

Gordon Laing - 120fps footage
http://cameralabs.com
cameralabs.com/reviews/Sony_Cyber-shot_RX100_III/

Also, thanks to Tim Easton for modeling for footage with numbers.

Description

This tutorial shows how how to do a Frame rate conversion if the Input and the Output are  both Progressive.
Special Thanks to Banditos Brothers for providing footage. www.banditobrothers.com

Special Thanks to Rickard Bengtsson for allowing us to use his water balloon footage. www.vimeo.com/rbengtsson. 

Description

This Tutorial shows how to get better results using Tracking Points for more complex shots and to help get rid of warping or ghosting. Tracking Points are available in Twixtor Pro for AE, FCP (pre-FCPX), Premiere Pro, Nuke & OFX hosts such as Scratch & Composite.