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Still one of the most resourceful threads on 3drpilots. Thanks again Erik.
Wow, nice job laying this out. As a trainer that produces in video. I have never come across a more thorough resource. You deserve credit for the effort of just putting it all together.
Hope you got paid for this.
Thank you. I don't visit these forums very often anymore, but I do occasionally drop in to see what folks are up to. Looking back across all the drones I've owned, the Solo is still my favorite. I had a lot of fun with it.
Thanks Rich. Nice to see your still active here. I pop back in every few months just to check on my favorite drone and the best drone community I've ever come across.
I had downloaded the trial of Premier and got me thinking of all your advice. Sure would be nice to pick your brain on occasions. I know others would appreciate you sharing some knowledge. But I do understand.
Still working on the same things and had a couple of break throughs. You still have a Solo? One of the members here produced a silicone data cable for the gimbal and it has resolved much of the micro vibes. Honestly some amazing results can be had when installed.
Hope the family and you are well, they grow up in a blink of an eye. Happy trails.
I do still have a Solo. Actually I've got a couple of them. They've been gathering dust, but I just might have to dig them back out and see how they are running.
The silicon cable sounds awesome, but as you know I just used stabilization in post.
Speaking of which, now that you're giving Premiere a try, I bet you'll be really happy with the warp stabilizer. With the already smooth footage you have achieved, a touch of stabilization in post will be awesome. Just be ready for it to take some tweaking until you get a feel for it. Google and YouTube will be your friend. I run EVERYTHING through stabilization in post. Yes, it's nice to have a smooth drone, but even the pros on pro equipment stabalize every shot - even with ground based cameras. That's how you get the buttery smooth pro looking footage.
Anyway, as you start with Premiere, I'd reccomend really focusing on asset management right from the start. How are files imported, where do they get stored, where are transcoded proxies and live edit files stored. It's not sexy. It's not fun. But if you learn and take control of how and where your assets are stored, it will save you hours later on. (Edit: I've never liked the free-for-all asset management of premiere. It's the one thing final cut does better than most other video editing software. But Premiere is THE king, so you can't go wrong).
I had to look up the term asset management in relation to Premier Pro, got it.... Like yudders, it has a different context based on what you do or where you are from...
I wasn't able to play out the trial period as I wanted, life got in the way. I absolutely see the benefits of Pr for what I was able to edit. Basically you can take marginal video and turn it near epic with a little extra effort. Just amazing for all that can be adjusted, I did enjoy the resulting edits.
Also ran warp on a short clip, it did a great job, but man it took its sweet time processing. I guess that's where the asset management knowledge kicks in....automate and let it run.
For my needs, at least at this point, GP studio is an efficient editor. I'm glad I tried Pr and that the user base of resources is huge. For me however, I would have to immerse myself more than I have available time wise. Maybe at a later date, possibly the Premier AI version will be up and running by then....
Again, I can't recommend enough the data patch cable solution. I have an extra, if you'll PM an address I'll send it to you. @User Name was nice enough to send me an extra for exactly this reason.... It's the least I could do to pay down all the advice and knowledge you've shared with the members here.
The only thing I don't like about Warp Stabilizer is that it's single-threaded. For such a processor intensive task, there's really no reason it shouldn't take advantage of modern processors. Don't know if that has changed in the newer versions, I'm still using CS6.
Keep your cable Rich... I'll send Erik one if he wants it, for the same reason you suggest - it's the least I could do for all the tips and information he's posted for us!
Rich also have a look at Sony Vegas Pro. Vers 10 for me is very stable. I stuck with 10 in our studio as we send projects to multiple editors and we have to work on the same platform but we all will have to go 14 soon. Use it at home with a server so steaming video for editing is very fast. The editing scripts are very cool and save a lot of time. the audio abilities are amazing as you can switch to soundforge or Boris for 3D with multiple formats on the same timeline. Nesting projects is a breeze. Issues exist between camera levels and video levels they do not follow the same standard so you have to manage this. managing media is the ugly heavy part of editing Sony Catalyst follows the same workflow for editors. Catalyst Production Suite
There may be some decent free editors out there that have stabilization built in. Worth taking a look. What I'm thinking is that you rough cut your footage in GoPro studio, then run just the cuts through another editor to apply stabalization. Reimport the stabilized clips into GoPro studio and fine tune your edit.
I don't know much about GoPro studio, but I'm kind of surprised they don't have a stabalization feature already. For your footage, which if memory serves you've got pretty damn smooth already, I can't imagine it would take much. You may not even notice the difference until you look at the footage side by side on a big screen TV.
Sony Vegas is a Premiere killer. So you couldn't go wrong with that either, but maybe too pro for what you are looking for. Maybe not. It's not like you have to learn every feature of the software. You just need to know enough to stabilize some clips and get out. Might be intimidating at first, but once you get the steps down, you'd be fine.
Or don't bother with any of it if you're getting good results as is.
As for speed. Yeah it's slow. There are hardware configurations that are faster of course. And video cards can be used instead of the CPU, not to mention certain codecs are faster, but that's a deep rabbit hole for the purposes of this discussion. At the end of the day it's definitely a thing where you get it all set up and then let it batch render for a few hours.
I thank you for the offer of the cable, but I'm afraid it would go to waste. At least let me see if these Solos I have are still air worthy. I'm mostly concerned that the batteries will be degraded by now. I will definitely circle back to you guys if I get these guys going again.
As I said to Rich, let me first see if I can get my Solo's up and running again. Wouldn't want to take a cable that I never end up using.
What I really need to do is go back through some of my videos shot with Solo and start uploading them. I've got some cool stuff from Iceland and Alps that I never shared. I also have a ton of stuff on my Vimeo account that is hidden/private that I could probably make public now.
Here is the clip I ran through Pr, just attempted to grade it..no stab applied. I did run a copy through YT stab and auto grade last night, it did a decent job.
That's pretty damn smooth. And that's the clip that hasn't been stabilized? Impressive.
No stab, nothing but air. I made several breakthroughs on my PlanB solution to reduce vibes. And from those, a better understand of vibes in general. It appears I may have found a key, time will tell. The last four months have been interesting to say the least. The breakthrough that started all this understanding was the improved data cable...
Both yaw and pan are greatly improved, as is the forward and back movement. Lateral is still a problem as the gimbal exposure to prop wash is the cause. Likely Solo will never be a tripod like stable platform, but I'm holding out hope on an electronic solution to tame the motors.
I appreciate you seeing the results for what they are. You are among a handful of people that would understand and appreciate what is shown. I'm actually at a crossroad for what to do next, the concept could be applied across several platforms for improving their results. Anything to reduce post stab efforts....
Very smooth Rich. And without any stabilising is exceptional. Another big reason why it looks good is simple = the vertical is fixed. There is an issue with film perspective and reality perspective. They swap over between the human eye and film. Between reel and real. For example place yourself where the solo is and move your head the reality is the vertical is always vertical and the same for the horizontal obviously so it is always fixed never changes no matter your angle now in film the roll is reversed you become fixed and the horizontal and vertical shift around you, this is reel. So you need to swing it back to real and you do this by keeping you vertical true on all camera angles. This is what a jib does in filming and why those shots always look good. even on a dutch angle shot = verticle s verticle. Now a solo for me is the same as a jib just much bigger and better. Follow the perspective rules in post-production and you can’t go wrong and is half the battle won .
This is a clip I did for a discussion on a video forum discussing camera angles showing the issue.
I do understand the perspective aspect, orbiting shots tend to show less motion blur to the primary object that is somewhat fixed in the perspective. Looking past the reel to the real of the moving background is the other aspect the eye is overlooking in this example. My effort is strictly a mechanical perspective, as it seems I am short a gene or two on the creative and corrective eye perspective for post editing. I have little interesting in pursuing gene therapy to fix those short comings at present....
Really I've taken this off topic by posting the clip here, was just excited Erik was within ear shot and wanted to show him my current results. He's been a friendly critic to my (crazy) endeavor to reduce vibes over the last year or so...
On topic however, this clip was shot around 11AM in full Texas sun using only a ND4 with a max ISO of 400 setting, EV0.0. The effort of the orbit, from my perspective, is to show a full influence of the various light and shadows on the sensor as I change the reference angle. It is intended to demonstrate the impact of my mech-vibe reduction endeavor and reducing the need to over filter to subdue the images.
I truly appreciate your input and perspective. I learn from every conversation.
It’s the same with with me Rich on the soslo tech side i have a lot to learn that’s why i am here. everyone has their strong leanings. Color grading and settings and stabilising are all related to getting the best out of your image. color grading gopro footage is bit like choosing a nice color paint for your walls but you only have one heavy spotlight in the room. No ambient light makes the scene look harsh so this is the real issue with gopro images = the shadows are very dark even on best settings. This I think is the limitations of the sensor because if you do comparisons with other sport cams like ele elite with the sony sensor you still have same issue. you won’t have this issue with bigger sensor sony cams. there are ways to improve this in post but it requires compositing and not just colour correcting and grading. The go pro lens distortion well that’s just crazy, fun and cool yes, real NO.
Performing an orbit type shot is asking a lot from any camera and post editing efforts. The GP transitions very well through the changing light. Color shift in the same can be tamed by selecting a specific WB and/or choosing FLAT color profile. It's mainly in the post editing where the epic is found. I marvel at those that have editing skills.
For the size and price, the Solo/GP package captures very good imagery to those that don't have a 20X budget. Weekend warriors, like myself, get what's to be expected for the level of commitment to the endeavor. Aerial imagery is complex, it's truly a hit or miss effort.
The GoPro H4B with a 3.83 lens does pretty good work despite being yesterday's technology. I recently went the way of the 3.83 lens and I will never go back to fish eye ever again! I'm done with that distortion. At the same time, I taught myself how to use Lightroom and started taking photos in flat. native. I may never go back to GoPro color mode ever again either!
This is pano of 7 photos stitched together and developed in Lightroom from a storm passing by yesterday around sunset. GP 4 black, 3.83 lens, flat color, native white balance, ev comp 0, and an ND16 polarizer filter from 375ft at about 10 minutes prior to sunset. This would never happen if shot in gopro color with a stock lens. I feel like my camera has been reborn. I must thank one of my neighbors for talking me into the cost of lightroom.