@Palacono if what you're asking is what I think it is, you can just make a new composite shot, then drag the other one, the one you want to track, into that new one. You can track from there. Also, if you want to track it all in one comp, I'm not totally sure about this and could be totally wrong, but you may be able to make a grade layer and track on that. Now that I think about it I'm pretty sure that won't work but it's worth a try.
sadly that doesn't work
1+ for tracking comps.
@Coldamic Sorry, it doesn't work. There is no 'Tracks' option on anything other than video clips. Exporting a comp as a Cineform 4:4:4 .AVI at high bitrates to preserve the quality, then loading it back in again and tracking that - or using mocha on the comp - are your only options. Well, not quite: you can either continue to use the reloaded Cineform .AVI file in Hitfilm and dump the original comp - which, would probably run faster too - or cut'n'paste the tracking data from the .AVI file onto a Point, etc. in the original comp, then dump the .AVI, if you've not totally finished messing with the comp, or tracking is just the start.But why should you have to? Just track comps, If the excuse is it would be (even more) slow in complex comps, then proxy - sorry: 'Pre-Render' - the comp, then track it.
I think you can just make a new comp, drag the original into that, and track in that
@Coldamic OK, you're evidently not near a copy of Hitfilm, so why not try that and let us know how you get on.
We’re probably talking about different things here, because i’m pretty sure that this works. I could be wrong, i’m in my car at the moment; not near a copy of hitfilm, but i’m pretty sure it will work. Correct me if i’m wrong though.
@Coldamic OK, well just in case anyone else is confused: the only thing you can track is an individual video clip inside a comp. Nothing else. Nowt, nada, zilch. You cannot track anything else because there is no Track (+) button to press; not a comp inside that comp that you've applied other effects to, like a GoPro Video that you've applied the Fisheye Correction to - which is the most frustrating ommission - not a sequence of images, or a MoGraph animation.You also can't apply any distortion effects - like Fisheye Correction - to a sequence of points in a New Point, so that the thing you tracked lines up with the video clip you just lens corrected if you track it before you correct it to get around the inability to track a comp. So that's frustrating too. However you can use all those things as a source for mocha, as it just wants you to point it at a layer, which can contain whatever you want. Or you export it as a video clip, reload it and do all you want to that clip, then use the data how you want to. Additional reminder of a previous wishlist suggestion: the ability to apply things like Lens correction to a sequence of points that have tracked a GoPro distorted (or any other type of distorted image in a non-perfect lens) that you have then applied correction to.
@zcream suggested this here: https://fxhome.com/forum/discussion/comment/117645/ "Some earlier discussions indicated that HF uses a custom lossless codec for pre-renders. I have a 100m feature film that generates huge size pre-renders.
I would like to disable audio pre-render and use Cineform as a pre-render codec. Is that possible ?"@Triem23 thought there might be demo/registered security issues. I don't see why that should be the case:"The demo version could simply not have the alternative codecs as an option, as realistically the pre-renders aren't going to be the thing that makes you choose to upgrade to Pro. Just stick with that it has now for Pro Demos, then unlock other codec options when it's paid for. Wouldn't matter with Express, it could have all the codec options, as it would be unable to render clips containing effects only found in Pro anyway, just like it does now when you load a Pro project into Express - it simply removes them.So, yes: Express by default would have more render choices than Pro would in its demo mode, which would also allow people to test it out in Express as way of deciding if that particular feature/ performance enhancement would make them want to upgrade to Pro.Win-win for everyone, no way to bypass anything."
@Palacono Whoops, I guess you’re right. My bad
@Deweak Are you sure that's really what you need? Typically you make the content in sub 4K in sections and the control system/switcher handles mapping and stitching. Even though the routing and switching for these systems can get complicated, you have to remember they are usually being driven by the same off the shelf hardware you're using. If your video card can't be forced to 15030x270, neither can theirs, Instead, the ribbon signal (probably) would be made up of 4 display signals. This could be from a single multi-output card or multiple cards. The main switcher then stitches it all together and pumps it out to the ribbon elements. Here's a quick video showing the basic concept. It doesn't show any animated elements, but they would be handled the same way as static elements.
Let's steal another Vegas feature.
In Vegas, when I save over Project X the prior revision is renamed to Project X.veg.bak. If Project X corrupts, I can strip the bak off the prior save and revert. This would be helpful to Hitfilm users who have yet to be taught or yet to adopt sane practices of saving multiple backup projects, who occasionally save over an older version and want to revert to the version of the project that no longer exists because they saved over it, as well as those who either misunderstand how auto-save/recovery works, or encounter a genuine random corruption.
Many +1s to Triem23's above request. It could potentially clear up a ton of user posts about such issues.
We can already import image sequences with varying formats including exr files but I would love to import image sequences containing hdri images please.
@spydurhank note that "HDRI" (High Dynamic Range Imaging) is a semi-generic term referring to 32-bit/channel images.
"HDRi" (High Dynamic Range + infrared) is one specific (proprietary) file format. It's a bit annoying Lasersoft named a proprietary format after a generic term.
EXR is an HDRI file type but not an HDRi file. EXR already holds 32-bits/channel.
Every program I have that can generate HDR images (Photomatix, Affinity Photo, OnOne PhotoRAW) can save the HDR images to EXR.
So, that's a long way of saying if you save/convert the HDRs to EXR files you can already do HDR image sequences in Hitfilm Pro.
@spyderhank First sentence on openexr.com
"OpenEXR is a high dynamic-range (HDR) image file format developed by Industrial Light & Magic for use in computer imaging applications."
So yeah, if you can import OpenEXR, you already have HDR support.
@spydurhank @Aladdin4d I wish Hitfilm had local contrast and tone compression filters. Classic HDR processing for image sequences. Then I wouldn't have to lock my HDR settings before exporting a sequence from Photomatix.
A newer version of mocha Hitfilm as it's 18 months old and buggy.
Thanks for your input @Triem23 and @Aladdin4d but I've tried this several times right before posting above.
I thought there was a definite difference between a 32 bit hdri with several exposure values and a regular 32 bit exr.
I have a 16K x 4K environment map at 32 bits per channel in .hdri with 21 exposure values.
In Blender I've animated a camera and the image above is set as an environment map, so from the camera view I've rendered out a 1920 x 1080 image sequence but it is still 32 bits per channel in .hdri with 21 exposure values which I can still manipulate.
I've also rendered the same animation as an image sequence in 32bits per channel exr but it is big and some data from the original 21 exposure value hdri image is lost and or clipped so that I can't manipulate it like I could the original hdri image. You can see this in the image below. It looks okay-ish but it acts a little weird when I play with the exposure, compared to the original hdri. I can only describe it as dull. Note that my project settings are at 32 bit float linear color and viewport options are also set to 32 bit float linear color.
I need to keep the original hdri exposure values intact for use in HitFilm so I can do stuff like this without having to load a heavy 16K or 4K hdri environment map. But if not possible, that's okay because the image below doesn't look that bad and is passable even though this is a previz shot.
@Palacono don't forget to ask Mocha/Boris for that.
I keep asking them to update their website to show Hitfilm Pro as a compatible Mocha Pro host as well as update the Mocha Hitfilm page to be more recent than Hitfilm Pro 2017...
@Triem23 I could, but as they'd have to remove the features that are exclusive to Pro and make it work with the Hitfilm UI etc. as before (hopefully just a recompile with the latest version) and email it to a member of FXHome to insert in the installer...it's probably better coming from them. Shouldn't expect it to cost FXHome any more money to licence it; there are no extra features, just bug fixes. If mocha/Boris do want to charge for the refresh, maybe someone could explain to them the elementary principle that people are more likely to upgrade to Pro for the extra features if they've already experienced a more stable version running in Hitfilm.
@Aladdin4d : yes this is what I need because the technical specs for the files used in the LED system are strict : only Quicktime animation files with the size I gave.I'm used to working on pre-split files with professionnal systems like Dataton Watchout or Modulo Pi, and you're right, they have graphic cards allowing only 4K / output, for instance. This is what we send to the videoprojectors or LED managing systems. But both systems work on a canvas basis, and as this canvas have virtually no size limit, we often work with indecent width files, and sometimes (as in this case) we are asked to handle stills or animations larger than the standard 4K limit. The software is in charge of warping and edge blending each physical output, depending on the type of display we're using.
So it could be great to be able to manipulate and generate such large assets in Hitfilm
It's probably been requested already and by more seasonned editors than me, but here goes. I like to use the editor timeline as "storage space" where I first dump my footage. For instance, if I have different versions of a same shot (let's say different "takes") in the same footage, I will cut it to separate those takes and have them close together so I can make a choice later on.
For the time being, I store that "dump" on the editor timeline, way to the right, keeping the right-most part as my "real" editing timeline.
What would be nice would be another editor timeline for that purpose. And/or maybe the possibility of saving a timeline within a project (as another media maybe?) so as to be able to keep different versions of the same cut in one project.
+1 to multiple editor timelines. Again.
when are you guys going to add markers, would be useful for marking spots to remind you to do something and would be handy for planning
what the marker feature should be like:
-different colours you can choose from
-customizable text labels on markers
-put a marker anywhere you want on the timeline and on any layer
In the layout and other numerical values panels, it could be nice to be able to enter basic formulas in the value fields. For instance, you could type 128+312 if you want to move your element from its position X=128 to an offset of 312 pixels, and Hitfilm would detect the + symbol and calculate the result. So you could save a lot of time calculating values when you want precise positionning or sizing.
I would like the playhead to auto stop at the end of the last clip, and auto remove extra space at end of time line
The ability for Effects (Set Matte etc.) to have the ability to refer to single Layers that need a Grade Layer to flatten them, without the actual need of a Grade Layer above them and needing to point to that instead. This was added in AE a year or more ago and would stop a lot of questions on why things don't work as expected. Best as an extra option, as it is in AE, for backwards compatibility; or for when the Grade Layer needs to flatten more than a single Layer, when you'd either Comp them all, or use the Grade Layer above several other layers, as now.
Thank once more, Triem. I finally came around to make a transition work. Still working on building our Studio ... finally we are getting a fast enoug computer for everything. yay!
But another question occurred to me, and I havn't figured out how to do it, if possible:
I have a set matte transition. Is it possible to make the wandering borders (the once that are animated through the grayscale picture) of the transition glimmer (as in a light effect) or have a distortion, or noise or a look like thick glass (like Spicemaster had it) or a combination of these?
Had anyone posted: "Timeline nesting" yet? A way to put one timeline (with the edited movie + their effects/compositions in many clips) into another timeline, on which I would like to lay down some final general effects like for example: old film, movie grain, overall grading and so on. Sometimes I need even deeper TL layering like: a Title in a cutting timeline, that has been finished in another timeline already. Both Timelines in a final grading timeline. PremierePro, DavinciResolve do have that.
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