How to remove 100s of hot pixels at once from DSLR or any other footage!
This method works best if the hot pixels are only 1pixel wide and 1 pixel tall. Should work with any software that supports an Alpha or Luma Matte. Remove the bigger ones with the "CC Simple Wire Removal" from After Effects.
It's a pretty simple method you just use the adjacent pixels from the same clip but shifted by 1 pixel. The same procedure is done when a sensor is pixel mapped but here we do it in software.
- Open a still frame in Photoshop that contains the hot pixels.
- On a new layer paint with the pencil tool (Hardness 100% / Size 1 Pixel) over the hot pixels. Zoom in to catch 'em all. Paint only over the brightest part.
- Delete the still frame layer. Save the Pixelmap as a new file. The mapped pixels should be white and the background black.
- In After Effects put the Pixelmap on Layer 1 and the footage containing the hot pixels on Layer 2. Duplicate the hot pixel footage to create Layer 3. Create a Luma Matte for Layer 2 and select the Pixelmap. Move Layer 2 by 1 Pixel to the right. Thats it!
You can use the Pixelmap on all your clips if they're stuck always on the same position. This method should work with DaVinci Resolve too because it supports alpha channels and external mattes. Though I didn't tested it myself yet.
I just replaced my old Eizo display with a new and cheap 32" Samsung LED TV (Model UE32H6470). I use it for video editing and color grading my stock footage clips. It is connected to my Blackmagic Design UltraStudio Mini Monitor that works with Adobe Premiere, After Effects & DaVinci Resolve. Of course it can't be compared to a Flanders Scientific but man this cheap TV is really amazing and they have a myriad of image controls nowadays! Out of the box it has really good colors and contrast once set to movie mode. I used the AVS HD 709 mp4 clips on the Adobe Premiere timeline to fine tune Brightness, Contrast, Color, Tint & Sharpness. Further fine tuning and RGB balance was done with CalMAN Studio, DaVinci Resolve as pattern generator and a X-Rite i1 Display PRO probe.
I’ve got the Adobe CS6 Master Collection a couple of weeks ago and I thought to re-check my workflow for color grading and transcoding clips. Back when I was using Adobe CS4 I’ve always transcoded my Canon EOS clips via ReMaster to 10bit Cineform 422 and got excellent quality clips with a higher latitude for color grading. Since CS6, things have changed in a better way (I don’t know if CS5.5 works the same).
I’ve natively imported a Canon EOS clip (waving a red pen through the image) into Premiere & After Effects CS6 timeline. Below this clip I’ve imported the same clip but transcoded to CF422 that gave me always best results in the past with Adobe CS4. I’ve increased the saturation to maximum to see the results better. I was somewhat surprised to see how Adobe CS6 handles the red color artifacts much much better than CF422. On the natively imported MOV file I get much smoother edges in CS6 whereas the CF422 clip has huge blocks / color artifacts in the red color.
I’ve tried different quality settings in ReMaster (also FilmScan2) but the native import into CS6 is still much better. The natively imported clips in CS6 looked much cleaner to my eye. On the CF422 clips I’ve also noticed a slight increase in noise when zoomed to 400%.
This means, for best results I can now import the Canon EOS clips natively into After Effects or Premiere CS6 without the need of transcoding them to CineForm 422 anymore.
(The transcoding to CineForm 422 was done using the latest version of ReMaster 18.104.22.168 that came with GoPro Studio Premium. The footage was captured with a Canon EOS 1D Mark IV)
I’ve finally upgraded to CS5.5 Master Collection. About time too! These floppy discs are getting old :-)
Be sure to benefit from the Adobe Grace Period! If you upgrade to or purchase CS5.5 today, you’ll be paying the current price, plus you’ll get CS6 at no additional cost.