Time Warp and Ghosting


#1

Hi,

ok i have a Sequence of rendered JPGs and i import them into After Effects CS5. I interpret the footage and set it to 24 fps. With that footage i create a Composition with 24fps.

Now i want to decrease the speed of the video to be 50%, but still to play with 24fps. So that means, i need Frame-Blending for the intermediate frames.

So i use Timewarp and set i to PixelMotion but i get Ghosting like in the attached picture. Isn’t it possible to achieve a fluid slow down with After Effects without that ghosting?


#2

Sure it is, but naturally it will require more than just throwing on the plug-in with default settings. guess what all those fancy controls are for?! Adjust your motion sensitivity threshold and analysis spans.

Mylenium


#3

Thank you, of course i played around with most of the settings before posting.

I have the german version of the software but i guess with the sensivity threshold you mean the error threshold? When i set it way up, the results are as if i would use the simple frame-mixing. Setting it lower is even worse…


#4

Yeah, sorry, I keep mixing these things up between languages and also the Twixtor plug-in. If ramping up the settings doesn’t help, you might consider doubling the framerate, assuming you use interlaced footage. Turn off fields in the footage interpretation, drop the clip into a 48fps comp, then use that comp for the warp. this will give the tool more pixel an motion information to work with. If that doesn’t help, consider Twixtor or Kronos, the commercial successor to the Timewarp effect. The latter is affordable and even GPU-accelerated, which may considerably help your rendering times…

Mylenium


#5

Thanks again!

i tried Kronos (love the speed of GPU-rendering!) but get the same problems - i guess i’d need a lot of matte/masking to separate the background from the foreground to tell Kronos a little more about the scene…I have only my kamera moving in that scene but the results are not usable no matter what fine-tuning i used until now.


#6

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