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Chroma Moire Removal Techniques and Solutions

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  • #76
    Why don't you upload the DNGs to your folder.
    Jon7athan Studios

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    • #77
      Originally posted by Kholi View Post
      Can you isolate only color noise in Resolve 9 or is it an all in one?

      After reading that thread where the guy saw moire in R9 but not LR4, I tried LR4 on a shot with moire in it and it the color noise reduction killed the minor amounts in hair that usually bug the crap out of me.
      Yes, you can isolate only color noise in Resolve 9. It takes a few extra steps but it can be done and since I got my camera, I've been doing it on shots with great success without losing sharpness in the luminance. Do you have a clip with moire or something I can use? I guess I could go shoot something too, but I can't seem to get my camera to moire with anything at my office.
      Paul Del Vecchio - Director/Producer
      http://www.PaulDV.net
      https://vimeo.com/channels/directorpauldv
      http://www.youtube.com/user/pdelvecchio814
      http://www.twitter.com/pauldv

      https://www.facebook.com/pages/Paul-...io/58731646898

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      • #78
        Originally posted by PaulDelVecchio View Post
        Yes, you can isolate only color noise in Resolve 9. It takes a few extra steps but it can be done and since I got my camera, I've been doing it on shots with great success without losing sharpness in the luminance. Do you have a clip with moire or something I can use? I guess I could go shoot something too, but I can't seem to get my camera to moire with anything at my office.

        Do you have any chairs with a mesh backing? Usually anything mesh is good for producing moire.

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        • #79
          I made a video and blog post about removing chroma noise only from BMCC footage without losing much (if any) detail. It's a simple node tree. The technique was originally for sharpening footage using sharpening only on the luminance channel. Sharpening is more noticeable in the luminance and we typically blur the chroma anyway to get nice skin tones. I modified the concept and use it for both luma charpening and chroma noise reduction. Hopefully this helps out with the chroma pattern that you see in moire. I have not tested it but you guys can check it out and see if it works on chroma moire patterns. The moire will still be there (the pattern), but this might help remove the eye-sore that is rainbow moire.

          If anyone tries this in footage with that rainbow moire pattern, let me know if it works!

          Anyway, here's the link: http://pauldv.net/chroma-noise-reduction-bmcc/
          Paul Del Vecchio - Director/Producer
          http://www.PaulDV.net
          https://vimeo.com/channels/directorpauldv
          http://www.youtube.com/user/pdelvecchio814
          http://www.twitter.com/pauldv

          https://www.facebook.com/pages/Paul-...io/58731646898

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          • #80
            Thanks for this, i will check it out!
            Blackmagic Design
            My BMD LUTs.

            **Any post by me prior to Aug 2014 was before i started working for Blackmagic**

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            • #81
              Kholi,

              I have tried using Resolve NR using the method described by Paul above in splitting the chroma/luminance. Seems to have worked pretty well but i did have to turn up the NR in Resolve quite high (30), but i also added a small amount of sharpening to the luma.

              Here it is:



              Large: http://f.cl.ly/items/353x0f022O3z3R3...NR_Resolve.jpg


              And a reminder of the same from Neat Video:



              Large: http://f.cl.ly/items/0a232s3N3Q300l1..._NeatVideo.jpg


              I think this Resolve method stacks up well but need to see both in motion!
              Thanks Paul!
              Blackmagic Design
              My BMD LUTs.

              **Any post by me prior to Aug 2014 was before i started working for Blackmagic**

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              • #82
                That looks REALLY promising. It's not completely gone but it's MUCh better, and that's a worse case scenario so this is good. This could probably be a great temporary solution until we hear something back about an OLPF.

                =[ Not having MFT and full Resolve... frowny face. I could've tested this days ago but I'm glad someone tried it, thanks Paul and Cap!!! More reason to look forward to finally gettin me'a camera.

                I'd upload DNGs but can't right now, doing long days. Next week I might be able to dig back into this or at least post the DNGs from the example.

                SKYPE (best way to talk to me): Camera_Kholi | twitter
                Avery and Pete: Superseeds Feature Film Trailer

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                • #83
                  Awesome. I know it sounds silly, but I tried to shoot stuff to get my camera to moire (I didn't want to shoot a mesh or a window screen as that's not really an effective test when you can see through it) but I couldn't get it to moire badly like the clip in the office posted earlier.

                  Anyways, I'm glad it works! 30 is a bit high, but it doesn't look like it didn't have any adverse effects so I guess it's ok. Good stuff!
                  Paul Del Vecchio - Director/Producer
                  http://www.PaulDV.net
                  https://vimeo.com/channels/directorpauldv
                  http://www.youtube.com/user/pdelvecchio814
                  http://www.twitter.com/pauldv

                  https://www.facebook.com/pages/Paul-...io/58731646898

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                  • #84
                    Yeah, 30 seemed high to me too but i kept turning it up until most of the moire disappeared. It's a much better method for NR in resolve as even just 2-3 doing a full NR in the 'normal' way looked unusable!
                    Blackmagic Design
                    My BMD LUTs.

                    **Any post by me prior to Aug 2014 was before i started working for Blackmagic**

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                    • #85
                      Before CC:
                      MVI_0336.jpg

                      After CC in resolve (worked on separated chroma and luma channels ) :
                      new1.jpg

                      After adding a bit of sharpness:
                      new2.jpg
                      Last edited by grinleon; 02-18-2013, 04:28 AM.

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                      • #86
                        That's a great real world example. Thanks for sharing! How is it in motion?

                        SKYPE (best way to talk to me): Camera_Kholi | twitter
                        Avery and Pete: Superseeds Feature Film Trailer

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                        • #87
                          Thanks. That was really cool. I have tons of looks I've created in lightroom so that may come into play. I just read that you can make a custom LUT from a look that you made in lightroom and use that as your grade in resolve. Does anyone know how to do that?

                          Originally posted by Jon7athan View Post
                          This may be way off topic. Has anyone seen this video where the author is using reverse proxies to bring his CinemaDNG files into Premiere Pro & After Effects? He even pulls up the RAW converter in After Effects. You could theoretically use the Noise Reduction processing of Adobe Camera Raw on your CinemaDNG files this way without converting to TIFF or PSDs.

                          CinemaDNG Round Tripping

                          Copying metadata to a CinemaDNG sequence for import to After Effects. No TIFF or PSD conversion.

                          Cinema DNG: Using Lightroom and After Effects
                          Push for greatness. Live to inspire.

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                          • #88
                            Guys. I just got bit by the moire bug on some clothing. I was shooting an actress wearing a chroma green polo shirt (company supplied shirt for the video) and the clips turned out great. However, the BMCC is so sharp that the fine weave pattern on the polo shirt is causing some moire issues in areas. I have tried the resolve methods posted where I separated the luma and chroma channels but it doesn't seem to help as the actual pattern on the shirt (not an actual pattern but the stitching) seems to be creating it in the BW channel. Even when I completely remove saturation I can still see the moire which seems to appear as 2 shades of green dancing in waves (just like rainbow moire only 2 tones). Any ideas how to get rid of this?

                            I have used the Resolve qualifiers to select only the green color of the shirt and tried slightly blurring but it doesn't seem to help. Additionally there is a logo on the shirt that I would need to retain the sharpness on two....meaning I'd have to setup another node and mask that too. Seems like a lot to do to remove moire....especially since this is a solid color shirt!

                            THanks for any advice.

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                            • #89
                              First of all thank you to Paul for sharing your techniques in Resolve, it looked like the Chroma noise reduction also took down some of the CA on the porcelain figure a bit?

                              I have the exact same problem as icicle22 in the clothing moire, a person being interviewed shifting slightly makes it look like a massive psychedelic disco shirt. Too bad it's a corporate vid and not a music vid or the effect would have been kinda cool! :P

                              Before watching Paul's video I was also trying to chroma key without luma separation and applying NR, which did nothing. So going to try another way now using the chroma-luma separation and roto-tracking to catch the rainbow-buggers.

                              Most of the dancing is happening where the fabric is facing directly to the lens in my shot, so big patches in the middle of the shirt that can be isolated, soft windowed, without bordering on other objects. Going to give it a try now.

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                              • #90
                                Well I've tried, and like Icicle22 i can't get the moire out of the shirt. I even tried with several extra nodes duplicating the luma chroma split layer nodes, as well as just adding more chroma only layer nodes, neither of those methods works. The dancing rainbows remain.

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