[Glenn Sakatch]

You are correct, Resolve “should” be able to handle a shot with those items.

First step…turn all of them off.
Then start turning them on 1 at a time. Is something corrupt? Does one particular node cause the issue each time?

You mention 5 nodes, but only say masks are in two of them. Is the Motion blur an ofx plug in on the 3 other nodes?
3 ofx’s could be your issue…they can be a pig.

Hopefully some basic node trouble shooting will tell you where the hang up is.

Glenn

[Glenn Sakatch]

While 8 gbs of GPU should help out, you are still not really sitting on a build made for 4k…especially 4k Raw.
The type of 4k will have a huge effect on playback. (R3ds vs mxf) Hard drive speed is another huge factor. You said the media is on SSDs…great, how are they connected? What kind of through put are you getting. Is it a raid, or a single drive. All these elements contribute to how resolve works.

How much system ram do you have. Again, pretty important for Resolve.

Back to the GPU, trying to do 4k raw with a single gpu might not be feasible. My box has 3 GPUs, 1 for GUI, 2 for processing, and it still struggles with some 4k, depending on the drive it is coming from, and the type of 4k.

My usual recommendation is to switch your project to HD, do your work, then switch back to 4k if you need a 4k master. Look into using cache files for playback as well. Everyone loves saying they are working at 4k, but there isn’t really that much need to work at that resolution, unless you happen to be pulling some tough keys or something, and need every bit of the pixels that are available. The client (if there is one) will never know the path you took to get a 4k master, and you will save yourself some valuable overhead while getting there.

Glenn

[Glenn Sakatch]

Fusion should be able to do it, but be warned, it sounds like you are in for some heavy duty rotoscoping to remove the bear from the original scene and comp it into the new bg.

Depending on how much green grass is surrounding your bear, you might be able to key some of it out, but I’m guessing you will need to do some roto work.

Track the bear, draw a mask for the bear, and link the mask to the track. This will get you started in the rotoscope, but you will be doing plenty of tweaking after that stage. Usually for roto’s like this, it is better to roto the object in parts…like a marionette. (Head, left front leg, right front leg…etc, then combine all those masks together, and fill in the gaps at the end) Trying to do it all in one shape is not the way to go.

For the fence removal, it depends on how static the shot is. You will probably still want to track the plate, create a clean frame with the paint tools, and then comp it in using the track information, back onto your original plate.

Again, all can be done with the tools inside fusion.

Good luck

Glenn

[Glenn Sakatch]

when clips cant be found, but i know they are there, the first thing i check is the frame rate, and timecodes, and reel names. You didn’t say what you were cutting in. Avid is usually really good with frame rate conversion and tracking, Premiere not so much.

Manually bring the clip into resolve, and see what resolve is seeing. Does everything match what the timeline is looking for?

Glenn

[Glenn Sakatch]

you can also try clicking on the ” … ” tab, and select show all frames, or something like that,not in front of my computer right now.

Glenn

[Glenn Sakatch]

One of the first things anyone who is learning Fusion needs to learn is the color coding of the triangle inputs.

It seems very simple now (years later) but I do remember my first few runs in fusion not really “getting” the orange triangle vs the green triangle vs the blue triangle that are common to pretty much every node you work with. (some have extra triangles as well).

Orange is your background.
Green is your foreground
Blue is your mask

Take that information and think in terms of any other compositing or photo manipulation program you have ever worked with. At first, don’t think in terms of nodes, think in terms of layers. What is on the bottom, what is on the top, what cuts a hole, and at what point do I want it to cut the hole.

From there, fusion becomes much easier to understand as you start building up very complex trees.

Glenn

[Glenn Sakatch]

The other method would be to export the clip as a “single clip” instead of “individual clips” in the delivery tab. This would avoid the compound clip stage, but you still need to do them 1 by 1, and I’m pretty sure handles disappear when single clip is selected. Single clip will keep what ever speed ramps have been applied on the export.

Glenn

[Glenn Sakatch]

First guess is your 128 ssd is your OS drive? Is it pretty much jam packed? Possible Avid is having issues moving temp files around.

I love using ssds, but i always have issues with anything less than 500 gigs for an os drive. Too many temp files taking up space at one time or another, and no room for any of the programs to perform.

Glenn

[Glenn Sakatch]

A lot of people assume consolidating media will simply copy everything over to the drive of their choosing (putting it into an Avid MediaFiles folder structure. Depending on the source media, Avid will either do this, or simply skip the clip and move on to the next one. If the media is not “consoidatable?” – a native avid codec- it will skip the clip.

Quite often when working on the road, if wanted to move stuff to drives to take home, or move to another box to color correct, i would transcode the media to the second drive. This should create a new version of the media. It seemed everytime i consolidated, i was missing media…then i realized what was going on, some of my media was linked and the wrong format…go pro, or some other secondary camera format.

Consolidate is handy if you have native avid media on an external drive (mxf camera originals) and you want to copy the media used in a sequence over to another drive for clean up purposes, but, if your sequence also has a clip that was brought in from perhaps a graphics render- animation codec or maybe mp4, and linked, that won’t get consolidated. Those clips need to be transcoded first…or imported at the start of the process.

Or if the camera originals are on a temporary transport drive, you could consolidate them – again native media type- and the process should be quicker- as it is now just copying the media, and perhaps take up less space- depending on the codec , than transcoding them. In this scenario, you would be cutting with the camera originals – say xdcam, rather than dnx 175 transcodes, but the clips would all be living in a proper Avid MediaFiles structure, rather than linking to your external drive from the camera department.

Glenn

[Glenn Sakatch]

Ya, try moving your 36 media out of the Avid MediaFiles structure, leaving only the 175. Avid will usually try and use what it can find. If some is online, and some is offline, then its time to isolate 1 offline clip and try to figure out what avid is missing to make the link. (name, timecode, frame rate etc)

Glenn