![]() ![]() Known issue: There is ambiguity in how to represent motion vectors in 360, so RSMB Vectors does not current support true 360 blurring.This option was provided in some versions of Twixtor and RSMB, but is now available for all hosts. An option for linear footage that provides better tracking.This feature is available in the Pro versions of RSMB and Twixtor for After Effects, Premiere Pro and Final Cut Pro, as well as all other versions for other host programs supported. This is especially useful for CG, masked and/or keyed material. ![]() An option is provided that uses the alpha channel to help tracking of dark images with mattes.Premiere Pro: RSMB and Twixtor works in floating point color.After Effects: added a feature that Twixtor will work at the composition frame rate unless otherwise specified.Both RSMB and Twixtor add true 360 tracking and take into account the connectedness at the edges of the 360 video representation.What this means is that when retiming or blurring 360 video, you won't see artifacts along the edges of the video that you might see with previous versions of our products, and with other optical flow-based techniques.Ĭheck out Twixtor v7 and RSMB v6 on 360 video: We introduce, for the first time, optical flow tracking on 360 footage taking into account the connectedness of the left and right sides of the 360 video, as well as the geometry of the top and bottom edge pixels. The new versions now support 360 video (in equirectangular format). RSMB applies natural-looking motion blur by automatically tracking every pixel, and also blurs using motion vectors supplied by your 3D system. Twixtor Intelligently slows down or speeds up your image sequences with visually stunning results. You can find out more about it over on Wenbo Bao’s website, grab the code for yourself at GitHub, or download a pre-compiled Windows app (it’s in Alpha) here.RE:Vision Effects proudly introduces Twixtor® v7 and ReelSmart Motion Blur® (RSMB) v6. AdvertisementsĪnd the best bit? It’s free. This means that whether you’re conforming old 16fps footage to 24 or 60fps for use in modern productions, or slowing down footage shot at 24fps down to 480fps slow motion, it should do a much better job than other methods you might have at your disposal. So it knows when something is in the foreground vs the background and doesn’t try to smear your subject against what’s behind them as other systems that only see flat footage often do. And when you see it processed through DAIN, you really get to understand how accurate (or how way off the mark) some of the movie and TV show recreations set in those periods really are.ĭAIN largely seems to differ from other existing methods of interpolation by its use of depth estimation. And it really does give those old videos a whole new look and feel. The initial goal was to be able to modernise old footage, to give it a more pleasing sense of motion and bring it more towards the types of video we’re used to seeing today. ![]() Therefore, the demand to improve the low-frame-rate videos, particularly the 12fps old films, 5~12fps animations, pixel-arts and stop motions, 25~30 fps movies, 30fps video games, becomes more and more urgent. Higher-frame-rate videos bring about more immersive visual experience to users so that the reality of the captured content is perceived. However, due to the limit of video technologies including sensor density, storage and compression, quite a lot of video contents in the past centuries remain at low quality.Īmong those important metrics for video quality, the most important one is the temporal resolution measured in frame-per-second or fps for short. And it’s shown in varying forms including movies, animations, and vlogs. Starting from the birth of photographing in the 18-th centuries, videos became important media to keep vivid memories of their age being captured. DAIN analyses each of your frames and then uses a specially designed AI to intelligently examine the footage to generate the in-between frames for silky-smooth playback.Īccording to the project website… Advertisements This new technique, however, seems to cope with them extremely well, slowing down 30fps footage all the way to 480fps with virtually no signs that it’s been slowed. You can usually tell when footage has been slowed down in this way by the obvious telltale artifacts (ok, they’re not always quite as obvious as that one, but they’re often there). Twixtor and Optical Flow techniques to generate missing frames has sort of become the standard, but it’s not perfect by any stretch of the imagination. ![]()
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