#Twixtor Sony Vegas How To Solve It

Twixtor Sony Vegas How To Solve It

I have used twixtor myself for a few projects but I have never had terrific success with it. I found that adding the effect twice fixed the colour but essentially made it worse by freezing the clip, its. Id really like to keep using vegas pro 17 instead of the older version. Dude the same thing is happening to me and I dont know how to solve it. This is with Vegas 17 and Twixtor 5.11 I believe.

I wanted to try shooting super slomo using the Canon 7D and Twixtor in interiors.Here are a few key things to consider when working with Twixtor:1. When Twixtor becomes a part of my workflow I need to become increasingly more aware of the way I am shooting so that I have workable footage in post.I wanted to shoot something different to all the other Twixtor stuff IвЂ™ve been seeing вЂ“ which have all been shot outside. But for those whose budget means renting a Phantom Flex or something similar is out of the question Salomon guides you through the best ways to make the most out this powerful, but tricky plug-in.Gravity вЂ“ DirectorвЂ™s Cut from Salomon on Vimeo.Let me quickly explain how Twixtor works: It takes your footage [generally your transcoded 50fps, or 60fps footage and вЂњguesses/interpolatesвЂќ your missing/in-between framesI guess with every project the approach is somewhat different. You need to light a lot to make them work but as you will read below you need to do the same with twixtor to get the high shutter speeds needed.

When you shoot really close/tight, slow the action down manually ie вЂ“ move slower and fake slow motion. Its the movement at the top of an arc/trajectory that works best for Twixtor because thatвЂ™s when things generally move the slowest, more frames of the relevant action for Twixtor to work with.4. The law of nature is that what must goes up, must come down. Shoot at the highest point of action. Shoot against a plain/solid colored background вЂ“ sky/wall etc etc.3.

Probably because After EffectsвЂ™ ability to manipulate time is so effective.So hereвЂ™s what I do in a typical scenario.вЂ“ Edit the entire piece in an NLE and then IвЂ™dLeave sections in the timeline open, or maybe reference clips that I want toWork with eventually in After Effects using Twixtor вЂ“ you canвЂ™t do too much inFCP at this stage because weвЂ™re going to be playing with time-changes вЂ“ whichCan screw up things if you donвЂ™t work carefully]вЂ“ Move the whole piece over to After Effects via an XML script called PopcornIsland FCPtoAE. Use Twixtor in After Effects вЂ“ for some reason Twixtor works best in After Effects вЂ“ for me at least. Shoot as much as you can вЂ“ try to get the action from different angles вЂ“ reshoot stuff if wasnвЂ™t working, or if your settings werenвЂ™t correct. When you shoot high-speed you give Twixtor more info to work with вЂ“ it is a shame that you have to forgo resolution6. However if you move away from the camera and shoot say 10-15 meters away from the lens, you would catch the ENTIRE action across say 7-10 frames вЂ“ giving Twixtor more information to work with5.

I donвЂ™t know why that is, but I reckon it has something to do with the factThat with many more frames created it uses those created frames to referenceFrom in order to create more вЂinterpolated/guessedвЂ™ frames.3. If its not correct then Twixtor will stutter across your footageвЂ“ I typically shoot and edit in 23.976fps because I like the film aesthetic.вЂ“ I generally find that manipulating the image to a slower speed вЂ“ say anythingBetween 2-5% yields better results than trying to get something workable at30%. Check that your Twixtor settings match your footage ie вЂ“ Make sure your frame rate is correct when you set up TwixtorвЂ™s settings. This allows you to extend a clip our forLonger вЂ“ because when you start slowing stuff down, the clip needs to becomeLonger, which you can now easily do by enabling time remapping вЂ“ just pull outThe edges using the drag function on the clip2.

It was because of that shot not working at 16:9 that I decided to make the whole piece 2.4:1 4. The warping on his hand was REALLY bad вЂ“ especially because the shot was rather tight and he was coming down at such a pace. One instance of this was a shot in the short of mine called , where my good friend Franzwa is taking off from a ledge. I often use an aspect ratio of 2.4:1 in my work as a lot of my warping happens at the edges of my shots, thus a matte will hide the really bad sections.

End of lens, shallow depth of field wanted i.e BG out of focus, salon behind with variable blurred shapes etc вЂ“ best to keep hair contained in frame?3. Editing on FCP with AE as you adviseI read your worklow suggestions and it really clarifies things вЂ“ especially about the distance etc being key to maximise succes in terms of Twixtor interpreting frames, and was wanting to know if anyone can advise me on:2. We found the roundtripping in FCP and Motion to be easier ( less tech) so thats where we have ended up.We have our workflow here if you want to see the Apple centric step by step workflow.Great article,thanks! I am shooting a hair commercial, and with low budget I cannot afford the phantom or any other camera to shoot proper slomo.Shooting beauty hair shots (ala Pantene, twists,turns,drops of cascading hair вЂ“ yeah right!) on Varicam at 60fps for 25 fps PAL, and then wanting to use Twixtor to try and get 120fps. If its a good hi con, close shot вЂ“ let the math do the work вЂ“ take it to 1% as above вЂ“ it will hold.4. DonвЂ™t ask me why but there just seems to be less info there.