HOW do I put TIME-LAPSE from DSLR in CS5 with Red-One Footage.

[George D.]

I'm attempting to put a time-lapse sequence within the timeline between regular 30fps Red-One 4K footage.

The time-lapse is being shot with a Nikon D2X DSLR because some shots can take days, weeks, or even months to accomplish, and we are not going to tie up our one and only Red for that kind of time.

My question is this:

Since the size of the frame from the D2X is 4288 x 2848, I need to resize them to the 4096 x 2304 to equal that of the Red. I have been told that this can be done "en mass" via Adobe Premiere Pro CS5 in our Windows7 PC, by altering the first image and then somehow making it do the same for all the following images. But, I cannot figure out just how to accomplish this. In fact, maybe I don't even need to do it at all, since the DSLR image is a little larger and therefore I could just allow for a little height cropping when I frame it in the first place. Any thoughts on that?

The biggest problem is, even with the playback resolution changed to 1/8th, the single images still do not run smoothly in the timeline. Why? Have I done something wrong?

BTW - I don't have Adobe After Effects CS5 because I can't afford it, so there has to be another alternative.

Any help or advise is greatly appreciated. Please understand, I am VERY new to all this technology, including CS5 and the Red-One.

Thanks.

.

 

[Zeb B]

Paging Tom Lowe

 

[Kemalettin Sert]

import as a Camera Raw Sequence then export movie on AE Cs5..
My Timelapse workflow; shoot raw>transfer to comp>open in adobe bridge>edit first photo then apply settings others>open LRTimelapse apply deflicker>import AE Cs5 sequence>export as a H264 1080p>edit and add music on Premiere...

 

[Tim Hole]

Are you planning on just scaling them down to the right size to match the footage?
You can just change the video effect on the first frame, copy that effect, rubber band over all of them in the timeline and paste.
Did you change the default import frame length for the stills in preferences?
If you resized in a timeline you will need to render the previews in order to view it in realtime.

It might be an idea to do the resizing in a new sequence and then nest that timeline within your master.

EDIT: I just noted that you are fairly new to Premiere...I don't want to paint by numbers and offend but I will explain in detail just in case I confused you.

To make sure that when you import a still that they are defaulted to a single frame each go to Edit>Preferences>General and change the 'Still Image Default Duration' to 1 frame.
Select all the still in the project panel and drag them into the timeline.
Select the first image and in the effect controls go into the motion section and change the scale. Click on the motion label to select the effect. CTRL C to copy. Then rubber band over the rest of the still in the timeline and CTRL V to paste.
To render effects in timeline it is very simple, make sure the timeline is highlighted and hit enter (This will only render what is selected on the expansion bar on the time indicator line of the timeline).


When I mention nesting what is a good way to work when using different formats is to have a sequence for each. Have a master sequence and then literally drag the other sequence into it from the project panel. This is nesting.

 

[Andrew Gentle]

Wouldn't it be far easier to import the images as an image sequence than a series of image files? Then you can just treat it as a normal clip, apply motion to zoom and crop it to whatever you like and right click in the bin and select Interpret Footage to set your frame rate.

You can find the Premiere help on this topic here.

 

[Tim Hole]

Wouldn't it be far easier to import the images as an image sequence than a series of image files? I'm sure Premiere has this functionality, doesn't it? Then you can just treat it as a normal clip, apply motion to zoom and crop it to whatever you like and right click in the bin and select Interpret Footage to set your frame rate.

Hahaha. Yeah that's a very good point. I'm being dumb, Its been a long day. Providing they are sequentially labelled you just need to tick numbered stills on import.

He just needs to render the effect in the timeline in order to get playback one its resized.

 

[Johnny Friday]

just saw this....i do the simplest indian way possible.....which is how Andrew just described....make an image sequence, drop it on my Premier timeline which is set to RED 1080p 16:9....and then output.......to prores.....assuming you are outputting to prores. Anyway, seems easiest way for me...but i know that is simple simple simple and probably way more options that take advantage of coloring and keyframing.

 

[Tom Lowe]

As of right now, I am bringing my RAW timelapse sequences into AE CS5.5 then exporting them as 4K DPX sequences, which open up in Premiere Pro. You could also use ProRes 4:4:4.

If you cannot afford AE, you could batch process your timelapse sequence in Photoshop, exporting the batches at 4K res. You could do tiff sequences, for example.

Another possibility is CineForm RAW. That is something I am looking into at the moment.

 

[Zeb B]

The Tom has spoken

 

[Drew Fulton]

Hey Tom,

Is there a reason you wouldn't just use Dynamic Link between the AE5.5 Composition and the Premiere Sequence? That way only one rendering is involved and it comes from the original RAW files. That is what I have been doing but would love to know if there is a better way.

Drew

 

[Paul Russell]

I'm doing this at the moment, too.

First I run the RAW still files through DXO Optics Pro, which allows you to batch adjust things like lens aberrations and exposure, noise etc, outputting 100% quality jpeg or 8bit tiff.
Then import to Premiere as an image sequence full size.
Export out to AE using Dynamic link and stabilise if necessary - as some of the time lapses are pans or slides, then this is often needed. As a hint, if your files are larger than 4K (mine where 21MP as they're shot on an EOS 1 DS MKIII), then you only need to set Warp to Stabilise without cropping or adjusting, and this will dramatically speed up your stabilisation times.
Crop, resize or otherwise adjust in Premiere and export out to 4K using the Cineform codec.
After that I might still use Virtual Dub to apply msdeflicker, which makes the footage look a bit smoother.
Export out to Cineform codec again as a 4K AVI.

Be prepared for long render times

 

[George D.]

just saw this....i do the simplest indian way possible.....which is how Andrew just described....make an image sequence, drop it on my Premier timeline which is set to RED 1080p 16:9....and then output.......to prores.....assuming you are outputting to prores. Anyway, seems easiest way for me...but i know that is simple simple simple and probably way more options that take advantage of coloring and keyframing.

Good gobs of cow poop, do you guys make me feel stupid. You are all so damn smart and privy to all this technology, I feel like a cave man.

I have no idea how to do what you just described Johnny. I did try importing them as an image sequence as stated by Andrew, but it just does not work. Don't ask me why, 'cause I don't know. I followed the directions explicitly via the Premiere site he gave me, but to no avail.

I was also told once, that I could put them in QuickTime first, and it worked great, but only with much lower quality images, which does me no good of course.



.

 

[Paul Russell]

If it won't import into Premiere it might be your filename. The numbering should be the last set of integers in the filename. In windows that would be the last integers before the dot extension. For example

filename001.jpg
filename002.jpg
filename003.jpg

and so on.

 

[Tom Lowe]

Hey Tom,

Is there a reason you wouldn't just use Dynamic Link between the AE5.5 Composition and the Premiere Sequence? That way only one rendering is involved and it comes from the original RAW files. That is what I have been doing but would love to know if there is a better way.

Drew

Because it's too slow with 5.6K RAW source material. I think it's trying to do the de-Bayer on the fly. I tried it once and it nearly crashed my machine. Are you having any luck with this? Are you rendering the comps in the AE-links comps in your PP timeline?

 

[George D.]

Because it's too slow with 5.6K RAW source material. I think it's trying to do the de-Bayer on the fly. I tried it once and it nearly crashed my machine. Are you having any luck with this? Are you rendering the comps in the AE-links comps in your PP timeline?

I don't have AE, or at least not a new enough one to do any good I think. The one I have is version 6.5, which is pretty old, and I doubt will help me in any way with R3D files or any of these stills from the D2X I'm trying to put in the timeline of CS5 as a time-lapse sequence.

.

 

[Alexander Ibrahim]

Why didn't you ask yesterday?

Yesterday Adobe Production Premium, which includes Premiere Pro CS5.5 and AE CS 5.5 was $849

Today I think its $1700 or so.

I always prefer to go through AE for RAW to video conversion. (I use a 7D for that ... but its the same deal.)