This tutorial is a continuation of tutorial 07 in this series where we flatten a multi-cam time line and then use Resolve's 'groups' feature to sync the primary grading of each camera angle.
I recently had an inquiry on YouTube regarding my 05 DaVinci Resolve Offline/Proxy Workflow - It is apparently broken in Resolve 14. I gave it a try and sure enough, it is broken. Here is a modified workflow that introduces a few new concepts to the whole multicam proxy thing...
Here it is:
I finally got my act together and started working on a Resolve / Fusion tutorial demonstrating a couple of workflow techniques to deal with the problem of grading the clip sent to Fusion for compositing.... Will be uploading it soon. Stay tuned...
Here we are into July and I've still not come back to do a new tutorial video. I've been playing with Resolve 14 beta and have some ideas for a couple of tutorials but nothing solid yet. If I could get out from under my day job, I'd love to make a few more tutes... Fingers crossed.
Well.... my 'day-job' seems to have gotten in the way of creating my next tutorial. I hope to have something shortly - maybe a bit on color matching in Resolve... not sure at this point. Suggestions welcome!
Hi folks - hope everyone has a Happy New Year for 2017. I hope to have a new tutorial up in the next week or so that demonstrates color matching between cameras in a four-camera shoot both in Resolve and in Media Composer (using Baselight Edition for AVX). I may actually divide these into two separate tutorials. We'll see.
All the best in 2017!
Resolve can be a bit slow on the edit page - particularly with multicam or 4K media, depending on the codec. In this tutorial we demonstrate a technique where the original camera source media for a multicam shoot is transcoded to proxy media using Resolve's Media Management capabilities. The multicam timeline is then reconformed to these low bandwidth proxies. This improves the responsiveness for cutting between camera angles. Once the cutting is 'complete', the timeline is reconformed to the oringal source media in preparation for final grading.
I know I mentioned creating this tutorial a couple of weeks ago. While refining the workflow in Resolve I found that I could not smoothly cut 4 camera angles on my machine, no matter what I tried. I have a support ticket with Black Magic Design to investigate this further as it appears that there is a defect in Resolve that exacerbates this issue. At any rate, I decided to go ahead with a quick version of this tutorial to demonstrate the mechanics of this technique. Enjoy...
After I published the 03_Tutorial I started playing around with the matte I created using a combination of the Avid Paint Effect and BCC 10's ChromaKey Studio. I wasn't happy with the edges of the mask. I also felt that there must be an easier way to create the mask with a single effect in the BCC repertoire. I was right and found it in the BCC 10 Make Alpha effect. Make Alpha solved two problems for me - first - it allowed my to isolate the sky more effectively and second - it has a built-in Mocha tracker that allowed me to further refine the isolation of the sky while providing me with the tracking data needed to drive the Match Move of the NightSky / Luna layer on V1.
Check out our new tutorial illustrating night sky replacement in Avid Media Composer...
Well... with the Resolve multicam tutorial on hold until I hear back from BMD support I thought I would investigate sky replacement using the Night Sky and Luna effects in Sapphire 10 for Avid Media Composer. This one will also make use of Mocha 5 AVX in conjuction with BCC 10 Match Mover and ChromaKey Studio as well as Avid's own Paint Effect (an often overlooked but very useful tool). I have this one scripted. Should have it recorded and posted later today. Stay tuned...
Well... as luck would have it, I ran into a bit of a snag laying down the multicam workflow in DaVinci Resolve. My intent was to demonstrate the use of low-bandwidth proxies to assist in real-time playback and cutting between camera angles as demonstrated for Media Composer in an earlier tutorial. Unfortunately, there seems to be an issue in Resolve 12.5.3 (current as of this writing) where real-time playback of multicam stutters even though the system resources are barely taxed. I have a support call into BMD and will report back here if we make any progress. Stay tuned...
I see the question of performance and offline workflow raised quite often on the BlackMagicDesign forum and the answer is often a) get faster hardware, or b) use optimized media.
The funny thing is, if you are willing to transcode your source clips to a low-bandwidth proxy media using the media management tools built into Resolve, you can switch your timeline back and forth between source and proxy media quite easily. This is particularly useful if you need low-bandwidth media for judging the timing of edits (on the edit page) and then high-bandwidth media when judging color (on the color page).
I have an idea for a tutorial to illustrate this basic workflow. Hopefully have something to share next week.
In this tutorial we learn how to transcode a multicam shoot into a proxy media format suitable for real-time camera angle switching. We then see how to link back to the original source media for finishing. Next, we flattened the multicam edit, mix it down to a high-quality DNxHD codec and output it as a QuickTime Reference. Finally we transcoded the QT Ref file to a YouTube-friendly format using Video Mastering Works.Read More
This latest tutorial from Goats Eye View describes a few tips to help avoid those 'offline media' messages. While this tutorial focuses on DaVinci Resolve, many of the suggestions apply to most post production software packages.
I'm working on a tutorial to demonstrate an online > offline > multicam > online workflow in Media Composer... The challenge for me has always been trying to keep the multicam view fluid enough during multicam editing that I can judge the timing as I make the cuts. If my source media is in a format such XAVC-L or even if it's transcoded to DNxHD but the total number of streams exceed the bandwidth of my media drive - well - then I'm out of luck. What I need is a reasonable means to transcode to a low-bandwidth media purely for timing of the cuts and then back to a high bandwidth for fine tuning and any effects work or to source media for transfer to a finishing system such as Resolve.
OK - I put this together much faster than I had anticipated. It plays pretty quickly and I glaze over a few operations that should probably have a bit more detail. Let me know in the comments for the video if you would like me to break this down further.
Sapphire 10 has some very nice additions to the Effects Builder including dedicated matte and background inputs based on tracks in the Media Composer timeline. We want to demonstrate how Mocha can be used to track a moving surface to create a very accurate matte track which can then be used as an input into Sapphire - all within the Media Composer timeline. Stay tuned...
I recently came across a blog from a fellow named Joe Caneen (a.k.a. The Video Whisperer). Joe is one of those gems you may be lucky enough to encounter in an otherwise lacklustre sea of video tutorials and articles found on the Internet. Don’t get me wrong – I have learned a lot about the mechanics of videography, lighting and postproduction through watching tutorials on YouTube, but I always felt something was lacking – I got the How’s but not the Why’s of all these skills.
Enter Joe, stage left… Joe has decades of experience in both production and post production from large scale Hollywood endeavours to one-man operations (or ‘Lone Shooter’ as he often calls it). Joe recently published a book called ‘Run ‘N Gun Videography: The Lone Shooter’s Survival Guide’ (avaiable from Amazon for Kindle). It’s a great read and I highly recommend it to both experienced videographers and for those looking for meaning behind all the production technology available to us today (the How’s).
The introduction deals with the definition of Run ‘N Gun (so as to clarify that this is not a book about firearms) and then quickly moves to the second chapter – ‘Think Before You Shoot’ – The Message. This is where Joe distinguishes himself and where for the balance of the book he returns to tie the mechanics back to this idea – The Message – “It’s why you are there in the first place”.
This simple idea that no matter what you do with the technology in your hands, if it doesn’t further the message being conveyed and doesn’t increase the audience’s engagement then it doesn’t add value (and therefore doesn’t belong – although Joe is never dictatorial and tends to steer clear of absolutes, provided what you do does not detract from The Message).
This was (is) a breath of fresh air. If you’re like me and you want to learn more about the Why’s of film and video storytelling, I highly recommend you check out Joe’ blog over at Run ‘N Gun.
The Message is clear.