Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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Fairly typical cosmetic fix…
There are a ton of *area isolation* tutorials available. You will probably use a roto-mask. In your case you will probably have to do an X-Y translation track, possibly incorporating a bit of rotation. In any case, if you are using a Full (paid, not free) license of Resolve, a blur, mist, or skin FX plugin (which is a more selective , face-tracking blur which doesn’t need its own mask) applied inside the roto will get you where you want to go.
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I did something like this a number of years ago, without all the glitzy Assistive Bots.
I used SHAKE to generate a motion path (that’s how long ago) and a radiant filter that I masked with a spline matte that was semi-automated. Much easier as a green screen.
It was incredibly tedious.
Make it easier on yourself, unless you wish to portray your subject as some sort of religious icon and just use a tracked power window / edge matte. The Wide World of Sports has the budget you don’t.
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AS per KKK’s of $$$;…yes it might. I turned the acquisition into an investment by offering calibration services, and of course save on fees by doing it myself, sometimes forever if the monitor is stubborn. The net has to be calculated against the alternatives. Either choose a Very Expensive grade monitor, and there are some terrific 4K HDR options, or close-enough consumer that has the option to set up your own custom performance. The issue is that consumer-grade doesn’t guarantee corner-to-corner linearity among other things. It will be tricky and will require more-often attention. I chose to treat that as an operating expense, and then as a profit centre as most individuals don’t have either the skill or confidence to do it.
JPO
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Tempted to just send you mine for the shipping cost, as I fired it up once since the last Calibration check (Atlanta). Retirement has this effect – that you wind up with a bunch of equipment that you will never use again. External GPUs, Grade monitors, a room full of hard drives, etc.
The stumbling block here is that the last time I sent it to Atlanta, I was charged Import / Export Duties (both ways!) as the customs officials refused to acknowledge that my owned-and-used device was not part of a new purchase and that the item was being transported for maintenance.
“You can’t fool us”, they said. “You’re trading items for an upgrade.”
Country of Origin… Proof-of-Ownership… they did not care. And not only US customs guilty, yes, Canadian customs basically said Pay Up, what’re you going to do about it… Thought so…”
To the main thread, so many good Organic and QLED consumer monitors now available that with some Calman software and a C6 probe, you would be good to go.
Done it several times since.
JPO
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No need to start from scratch.
There is a “round trip” workflow that we have been using for some time, involving exporting a project via XML between applications – it works both ways to and from editing programs. Essentially it allows users to elect their application of choice for various phases of a project finish. Resolve has a number of pre-built protocols for accepting and exporting Edit Decision Lists.
Export your Cut as it is to Resolve. RE-constituting may or may not require some nip-and-tuck, depending on some of the editorial choices you may have made, as not all processes (but most) will be common between the Editorial timelines. Speed changes are notoriously difficult, and text/font are nearly always wrong.
Resolve should handle very large projects, but personal experience suggests creating “reels” corresponding to common sense “Acts”. This also gives you some reliability safeguarding the integrity of the project overall.
JPO
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Yeah. Ouch.
Scene Detection is the automated way to go. It has its limitations and gotchas.
Consider trying to set up a scenario with a bare-bones EDL, since you are dealing with a single Video Layer (Textless, I hope), then use the EDL as a cutting guide. The Blade tool is going to be something that you may become very familiar with, even if your Scene Detector will get you most of the way there. It won’t detect transitions. AS cited above, you will have to sort out the midpoint of the dissolve, or whatever it is, then match the duration, and then manage the grade transition. There are some colorimetry migrations, from colorimetry A to colorimetry B that just will be very awkward. SO much better to have a populated timeline with individual clips.
It will be very unfortunate if there is a special VFX transition — like a page turn or something. That will be something you should charge extra for.
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Depending on the final file size, you could probably get away with formatting the thumb drives in FAT32, which would likely be universally readable. You will have to optimize the data density so that the bitrate can be sustained by whatever player system they are likely to use — directly off the drive into a smart TV, AirPlay from a laptop, or something else. I’d start with one of the Delivery pre-sets suitable for YouTube, Vimeo…
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If you are happy with your FCPX version of the *Ken Burns* still manipulation, the sure-fire method is to export the sequence as a .mov, re-imbed it or render and conform back in either FCPX or Resolve. As another contributor noted, there are a large number of Lost in Translation parameters that can go awry, even if the instructions are intact.
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So many ways to create a mis-match condition. A few of my machines had internal generators so I could pre-stripe entire cassettes, and then it was a matter of setting the TCG to “Regen” so it would ignore incoming timecode.
There was a time in the distant past where we initialized all our crystal-black tapes to start at 23:58:50:00 so that the first frame of program rolled over to “0”. Complete and total no-no with non-linear platforms. Convention became 09:58:50;00 with program start at 10 hours. Of course this also plays havoc with captioning. Depends on Deliverables.
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“Double” the duration, &c. makes me wonder if the system is confused about frame rate. I would try unifying the system at 25i. The Standard Def decks you refer to are likely not going to understand anything else. Make sure the Tape Deck isn’t in some sort of feedback-loop with the Resolve system as far as external reference is conerned. It should lock to incoming, whatever it is — and likely nothing other than 25i. And make sure the interlace is actually correct. PC/Mac-based video systems are notoriously bad at it, some legacy applications just pumping out 50P with repeated fields. If the decks are losing their time-code accuracy or suffering from disappearing code, there might be an issue with “jam” code at the edit point not being continuous, or low probability, the Vertical Interval TC not agreeing with the LTC when it is re-inserted with the active video. I dunno, I stopped recording to tape about 6 or 7 years ago and gave away all my Beta, D-Beta, UMatic, and SR decks. Like, literally, the same as sending them to the dump.
JPO