![]() ![]() When CAF has completed it's work you can drop that comp in your original footage and position it over the original shot. That is probably going to be a lot faster than trying to use Content-Aware Fill.Īnother option may be to put your footage comp that is only about 1/4 the size of the footage, pre-compose the footage again, then run CAF on the much smaller pre-comp so there are a lot fewer pixels to analyze. You can animate the time offset, You can animate all of the brush properties. When the first frame has been repaired expand up the paint tool in the timeline and you will see that you can animate all kinds of properties, If the sample point needs to move you can animate that. I would probably just apply a clone brush to the first frame of the image sequence using the Clone tool in After Effects. Another advantage, it is a lot faster for AE to decode a PNG sequence than it is to decode a DNG sequence so all of the processing is going to be a little faster. In many cases, you only have fix 1 and then apply the fix to all in the batch. Another advantage of resizing and exporting a new image sequence in Lightroom is that it's easy to fix a lot of images with sensor dust in Lightroom. If your cloud timelapse is HD then instead of CAF working with a 6000-pixel wide image, it will be working with one that is only 1920 wide. I will make one color correction and apply that to all images so there is no flicker, set the height or width to match the comp size, then run the export and import the images as an image sequence. My standard timelapse workflow is to resize the images in a batch export from Lightroom. What is the final frame size of your final comp? Unless your image sequence is somewhere close to 100% scale in the comp, your images are too big. Even if you wanted to make the entire background look like this blue background drape you would be far better off saving a frame as a PSD file and using Photoshop's clone tools to repair the background than hoping CAF would do the job. If at all possible trim the shots to include just the frames you need to fill. The cropped screenshot you provided gives us no information about the format of the footage, the length of the comp or the shot, or your workflow.įor future reference, any shot over a few seconds is a very poor candidate for content-aware fill. Please embed your screenshots in the future and include the entire UI. ![]() The only thing I know about your project is that CAF is the wrong approach. I downloaded your screenshot, created a comp, drew a single rectangular mask, and applied Keylight with the following adjustments: ![]() It will take about 2 minutes if the camera is locked down and maybe 10 if it is a handheld camera with a lot of movement. If it works at all you are going to have to create a PSD reference frame that is all filled with blue.Īll it takes is a garbage matte and Keylight. If you have a Creative Cloud subscription, you should be able to download the new features now.Content-Aware Fill is just about the worst possible solution for fixing this shot. It also introduced dual GPU optimization, speeding work if you have a PC with multiple graphics cards.įinally on Premiere Pro, Adobe introduced the Freeform Project panel to let you organize and storyboard your video, along with Auto Ducking that automatically lowers music and other ambient sound during dialogue scenes. That should make editing in those native formats less sluggish, while also speeding exports to YouTube and other platforms. You can also paint in reference frames to manually guide the process.Īdobe also fixed a sore point with Premiere Pro CC by improving hardware acceleration for motion-based HEVC and H.265 p-frame codecs. You simply cut out the objects you don't want, hit "generate fill layer," and it will analyze the content and motion in the scene to best figure out how to fill in the blanks. In the video example below, it shows how you can remove flagpoles, tourists and other unwanted objects from a castle scene in order to use it in a period movie. ![]() Adobe's AI Sensei algorithms can analyze background content and automatically remove shadows, logos, wires, boom mics or moving objects from video. Called "Content-Aware Fill" (the same name on the similar Photoshop function), it's now available on After Effects, Adobe's compositing program that's widely used in film and TV production. With the latest release of its Creative Cloud video suite, Adobe has unveiled a content-aware eraser for video that it teased a couple of years ago. ![]()
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