Indeed, sped up by 400%, the clip would be useful in an appropriate context, by which I mean of course not cut in with clips of exacting production value.Ĭomplaints? Yeah. The result? Not great but surprisingly good. What I’ve found is that combining Mercalli with Final Cut Pro’s stabilisation really does the trick, with Mercalli doing a good job of fixing the worst of it and Final Cut Pro’s stabilisation really locking it down.įor fun and to push Mercalli SAL’s capability to an illogical extreme, I tried a handheld hyperlapse capture passing through and under architectural details in a manner that would send After Effects apoplectic. In the video sample, you can see the building under construction is pretty solid after stabilisation. For the results I need to accomplish, the default settings get the job done. Settings include Pan Shot Smoothing, Roll-Balance, Avoid Border and Dynamic Scaling as sliders two stabilisation profiles, one a universal and the other for action cams and three options for stabilisation method being Best Stabilisation, Best Resolution and Fix Border. Import a clip, run the analysis, pick your stabilisation settings, apply and export. The interface is dead simple with a video preview window flanked by a Media Clips bin on the left and the Settings options to the right. It does just one thing and, based on my first set of results it does it very well and, importantly, very simply. If there’s a simpler way of doing it, I’m all for it. However, I’d be happy to dump the Adobe apps from my Creative Cloud subscription and save on the subscription fee, especially as about the only time I fire them up is to stabilise video. Now, it’s worth noting that both Final Cut Pro and Premiere and After Effects are in my kit bag. Sometimes, the only spot for a camera can’t support much in the way of sturdy rigging and you just know the only way to deal with the wobbles will be in post. That’s not, however, a luxury you can always enjoy. One of my cameras, for instance, is on an eight-metre high scaffold so rigid I’ve not needed to stabilise the video rendered from its thousands of still frames.
A key element of this work is a stable platform for the camera. My bread and butter work is long-term construction time lapse.
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