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External Matte timecode offset
I am trying to import a matte I just rotoscoped in After Effects. The original footage is about 45 seconds long but I trimmed the clip in After Effects to be the same timecode and length as my clip in the edit.
When I export out the matte and import it into Resolve I can associate the matte with the clip and see it in the browse viewer with no problem. When I add a node and add the matte all I have is a black node. No white where the rotoscope created the matte.
Is there a problem with the offset since the original clip was 45 seconds long and the matte is about 2 seconds? I tried to change timecode to the in timecode point from my EDL but the timecode window does not keep my changes on the matte clip. The footage TC is 20:41:42:19 and the matte TC is 00:00:00:00.
Could it also be a problem that I am using ProRes 422 for the footage and ProRes LT for the matte?
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7 Replies
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Your matte needs to be the exact same length as the foreground clip or source, don\’t worry about the mattes timecode. Not sure about prorez it should work but where ever possible use dpx frames, it\’s less taxing on CPU and gpu as the internal processing is file based, that\’s one less thing the system needs to process.
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[charlie ellis] “Your matte needs to be the exact same length as the foreground clip or source”
So, basically it means, that if I want to use external matte for 1 sec long clip, that was cut from 1 hour long source, my matte should be 1 hour long????
What’s the purpose of the Shift Timecode option then???Andrew Shtern
Editor/Colorist
The Coffeepost @Kiev, UA -
No, it means you should work in file and folder based projects and not use 1 long quicktimes 🙂
A slice of color…
DaVinci 7.1 OSX 10.6.6
Dual Xeon 2,4 RAM 24 GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
Exactly as Sascha says,
Work with smaller clips, for many reasons.. But the slip timecode is there for you to slip the matte under your source clip,
But if you send out a small clip for roto and get back tue same amount of frames, assign the matte to clip then your done, no timecode to worry about.But yes you can work with a 1 hr clip and add a matte however it does needs to be the same length, you can slip timing with the timecode slip control if need be.
I once subtitled an entire movie this way. -
[Sascha Haber] “No, it means you should work in file and folder based projects and not use 1 long quicktimes :)”
If that was so simple…
Real life example, RED shot documentary. Each source r3d is about 15-20 minutes long. I’ve made a cut, then go to Resolve to grade it. At some point I’ve get to the shot, that needs complicated masking (no other post or vfx added). So I’ve rendered this shot (about 3 sec long) as QT movie, and give it to roto artist. He made a matte for me (same length, as the shot, of course). And what should I do about it? Add 15000-20000 empty frames to the beginning of the matte sequence? I cannot put this short QT clip in the timeline, because then I’m gonna lose all RED controls and so.
Yes, I’m aware of possibility to trim source r3d’s with RedCineX, or render them as DPX. But if I’ll make some edit changes, I will be forced to go through this process again and again, which is not time/disk space wise.
In my humble opinion, there is something wrong about it. Or maybe I’m just getting it wrong :))Andrew Shtern
Editor/Colorist
The Coffeepost @Kiev, UA -
Storm
..and yes, you should break em down either to shot based trimmed r3ds or DPX sources with DPX 16 which retains more than enough data to grade.
Personally, I only use the r3ds to make a technical “digital telecine” and go to DPX from there.
My workflow is much more based on VFX inserts than on an infinite flexible edit though.A slice of color…
DaVinci 7.1 OSX 10.6.6
Dual Xeon 2,4 RAM 24 GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE -
When you started this job, did you “split and add folders and subfolders based on edl” ?
Or did you just add all the original red R3D media into the media pool?
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