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This method works well as long as the movements aren't that fast... For example, if you try this on a car with the wheels turning at 90kph as it drives by you filming, you'll have weirdness happen on those wheels. For that, you'll need to start with more frames per second, maybe 1000 fps.
LOL, that 4800p was pretty epic. If you put that through Resolve one more time, time would reverse and I suspect you would be dodging dinosaurs instead of cars.
I've been doing this for years but not to the same extent. The idea is basically comparing two frames, finding the differences, and using that to construct a new frame. In certain use cases it absolutely can be used to fake so motion and rather convincingly so. Basically if things are moving in predictable ways. There are other situations where it doesn't work so well, basically with erratic behavior. With erratic behavior you'll get a lot of ghosting. The higher the starting frame rate, the better this works.
Not sure if you ever plan on trying the better Lumix 100-300 or not. Especially having the GH6, you'd get the dual stabilizer you do on the other 3 lenses, and the Olympus can be sold for at least 75% the cost of the 100-300. If you do, the version 2 is much better, and pretty much a no brainer to spend the extra. I am sure you'd find your own Canadian friendly deal on one. Why I am sending this message, is there's actually a hidden semi-known tripod collar for the Lumix 100-300mm. It is from a German company and you can still get a hold of them through email and order one . They are 87.50 Euros shipped (at least that's what they told me in MN, USA). I ended up emailing back and fourth with them delaying the process, trying to see if they still made a collar for the 35-100 2.8, which they don't. I ended up ordering a used one off ebay, from Britain, as they were a bit slow getting back, half my fault for the extra emails though. Anyhow, link below of the Roesch 100-300mm tripod collar. I am sure it would take a couple weeks shipping from the company, but they don't come around often used. You can search "Roesch tripod" in ebay, and if they ever pop up used, ill send you the link. I haven't got mine yet, but it has gotten praise on the forums. www.roesch-feinmechanik.de/29701.html
Had this idea a few years ago and tried it and while it does work for certain footage, if something happens in 1/200s of a second and you're filming the original footage at 120fps, you'll still miss the event, so its good for speed ramping a bike jump or something but not good for things that happen in the blink of an eye
At first, I really thought you were going to elaborately troll us all and explain to us that shooting still pictures was the way to get unlimited (as in infinite) FPS, since the image no longer moves, you know.
Well, if you shoot 2 stills, one at your starting position and one at your end position, you could just use them as keyframes and interpolate in your editing program. This would also allow you to get resolutions above 8K-only limited by the megapixels of your camera.
The use of high fram rate is applicable to film high speed moving things. Sure it works when you are crossing the street. But never will do for actual fast things you want to slow down
That is a really good idea and it looked good. I stopped the video and switched from my phone to the tv. I have several things I want to try this with now. This is Markus Pix level thinking btw.
Does this mean you would reconsider getting back the Fuji XH2, since now you can do 1 million FPS? I can hardly keep up with what you sell or still have... NIce find!
Thanks mate I caught a UFO with my DJI drone I think the settings were 4K 60fps but it was moving so fast I didn't know how I could slow it down cleanly. Honestly I cant believe I even saw it when reviewing the footage. It travelled about 3km in 0.3 seconds! Like a flash it flew over my head. I calculated that to be about 36000km/h. This is the second time I caught UFO's by accident. The first time was with a phone taking a photo and by dumb luck there was 4 metallic spheres in it. This time its the same type of sphere. If anything is worth trying this trick on its my footage. If this works I'll send you the footage if you want to review it yourself. Thanks again from Australia.
With slow motion the challenge is not making something that is moderately fast appear glacially slow. The challenge is to make something that is lightning fast appear reasonably slow. The bottom line is that with slowing down jumping grasshooper this process will not neccessarily work.
Hey Kasey, for your viewers working with slower framerates to start with, a good trick is increasing shutter speed on the shoot to reduce the amount of motion blur… gives better results with speedwarp, and if only doing 50% slower, then going to 90 degree shutter angle is great for a 30 fps shoot to get 60 fps in post.
This is an excellent idea, and one I have also had myself. The optical flow in DaVinci Resolve combined with the process of speed warp is quite amazing. I do believe that in order to utlilize speed warp however, you need DaVinci Resolve studio. Nonetheless, definitely a great concept and one I can certainly see myself using more.
I'm not sure what camera and lens you are using for this video, but your skin looks as soft as a babies bottom. lol. Your shirt looks pink, I think its supposed to be red.
I wonder if this would work as good with more difficult movement and textures like grass and faster moving objects. Still a very cool trick but I think the example showed mightve been a best case scenario. Would be nice to see different scenarios with moving water and stuff
Yeah I've done this. So you ain't first to think of it! I use Vegas cause I just can't wrap my head around anything else (Premier, Resolve). But in Vegas you can do this right on the timeline, just hold Ctrl and drag the end of a clip longer or shorter to speed it up or slow it down. Easy peesy! That's why I use Vegas, it just makes sense. But it can only speed or slow a clip to a certain point. To go further, simply render out the clip in prores HQ then import to the timeline and repeat the initial steps again. Or use a 3rd party plugin like Boris Effects. Oh and regarding Topaz, didn't anyone ever tell you that good things take time? Topaz Video AI is a very good thing. But yeah, it is a bit painfully slow sometimes. Cheers 🍻
I still use Vegas since about 2013 when my friend taught me how to edit with it. It's the only software that doesn't mind the 10 bit files from my S5 since I gotta pay if I want to use them in Resolve. I technically did pay for Vegas and I'm still using only Vegas 17. Vegas in general is the first editing software I paid for when I got a big tax return in 2013.
@@briandipierro8865: It's all painful to learn, but Vegas has always made the most sense to me. I stick with them because they continue to advance and remain logical while doing so. Cheers 🍻
I think this will work well aslong as the thing you are filming is moving slow enough that it does not make big movements between the frames of the framerate you are filming at. In other words the faster the object the higher your framerate needs to be for this to work.
Yeah, I agree! I’ve tested before on very fast erratic movement and doesn’t do too well. Way to overcome this is shoot as high an FPS you can from the start. Even then, really fast action like exploding particles doesn’t do as well for motion interpolation.
@@ghostapi874 If you don’t care about blurring or artifacts, shoot with an intervalometer and use each frame as a keyframe. This is completely illegitimate and I haven’t tested it. I’ll leave that for photographers, but you should be able to get infinite FPS at infinite resolution.
totally agree! I got some 120 fps very fast moving bird footage and it was basically impossible to make a nice movement over 240 fps effectively. With Topaz i got usable 240 fps out of the 120 (IPB!), but 300%+ (so 360fps+) was just not bearable to watch. Tried the same now with DaVinci... pretty much same result, "usable" 2x, unsable 4x and more. I think you can do it with nearly any footage and framerate to increase fps by factor 2, but anything really fast moving in the frame just demands high fps, so beyond 240 fps from the beginning. I really like the DaVinci Resolve process, much better than the Topaz software when it comes to slowmo processing! Topaz Video Enhance AI does a very good job at bad material, at higher bitrate but lower res stuff, at anything which is just "unwatchable" in 2022. It does also a great job at upscaling BluRay source material to 4K, but for more compressed 1080p material the 4K upscale looks too often wrong especially at eyes, hair and other stuff. So for lesser quality 1080p i stick to 2K/2560x1440 upscale which give just a very good looking "better 1080p".
The rerender slowly degrades the dynamic range and gives a green tint everytime, but it's still barely noticeable by 4800p since the GH6 looks good. Surprised by Panasonic, they really came in clutch this time. If the dynamic range doesn't suck worse than Canon, they might have something here - PDAF or not.
@@DaveKatague It's an artistic choice to make more immersive wildlife videos. Kasey obviously wants to represent the intensity of being hunted by a bird of prey by having the autofocus hunt also. 😂
Rumor has it that if you keep slowing down your footage, export, rinse and repeat, you'll end up having a single picture. Then in reality, you could've claimed to yourself you shot something 10,000 fps and it was merely a photo.
Hey Casey, I have been sort of a dick in the comments in the past. I do love your stuff. I am curious what you think about the OM-5... As a micro four loser that uses the Lumix G9, I found it laughable that OM basically made an inferior camera to a 2019 Panasonic camera in nearly 2023. Thoughts?
I just had to come here and post LOL, On the title……Topaz may suck for what you’re using it for. I own the paid version and it’s very good for what I use it for…upscaling SD footage. I also have DaVinci R. Studio. I use both on the same videos, they work great together.
There are no artefacts because the background is neutral and uncluttered. If the background was foliage or busy, it wouldn't be that smooth and artefact free.
