Marc Wielage
Forum Replies Created
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[Robert Withers] “Yes that’s what I wanted. To export still images, otherwise known as freeze frames in other software and film lingo.”
I would grab stills in the Gallery — option-command-G on the Mac — then right click on the still and export it in whatever still format you need. Be aware you should make sure the session settings are at the same resolution as your source material. -
I don’t believe there’s currently a way to do that, but it is a good idea and I wish you could copy those settings. Beyond writing the settings down manually, I have no other workarounds.
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I don’t understand what you’re saying. Is this a green screen background? Are you keying the person itself? Are you keying only what’s around the person? Are you using a garbage matte? Is something being tracked?
Explain this with a lot more words, and maybe upload a still frame, and I think you’ll get more feedback.
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[Sascha Engel] “Found the issue….silly me.”
Please explain the solution, just in case somebody is looking up this problem in the future and needs an answer. -
What is the destination? YouTube? Vimeo? Different sites have different requirements.
For me, if it’s just a file for clients to take a look at, I upload a ProRes 422LT to Frame.io and I let the site transcode it over a period of time. It’s possible to download the LT directly if that’s what they want to see.
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[Paul Page] “So that means they didn’t sync it during filming and I have no other way but to manually connect it using clapper as a reference?”
Yes. That is the way motion pictures shot on film were synced for about 80 or 90 years. It’s an annoyance, but it’s possible to get good at it over time and you can do it very, very quickly. I’ve seen great assistants sync up 2 takes a minute, so if there’s 200 takes total shot in a day, they get them all done in less than a couple of hours. If there’s problems, maybe 3-1/2 hours. It’s not that hard.It is imperative for the camera crew and the sound crew to communicate so that every camera has a timecode box on it and the camera is in continuous jam mode. At least twice a day, the sound crew (who is generally in charge of timecode) should rejam the box and the timecode slate. And yes, you need a timecode slate just to confirm that the timecode on the slate is the same timecode in the camera, and that that timecode is also the same on the audio recorder.
I can recall a case where we had about 350 hours of material on Martin Scorsese’s Rolling Stones: Shine a Light documentary, and almost half of it was synced by eye… because the camera operators failed to shoot slates. We had no timecode on the film, and just had to watch the movements of the musicians and figure out who was doing what, when, and where. Somehow, we got it done. So don’t think what you’re doing is undoable. It just takes hard work and stamina. (Or barring that, a great assistant.)
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And in addition to Joe’s excellent answer above: you need to use a GARBAGE MATTE to handle the occlusion (the unwanted element passing in front or near your keyed image). A tracked power window can do this. Check out pages 2215-2218 of the Resolve 15 manual.
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[Eric Sternberger] “Yeah, like racing the formula 1 – with a beetle…”
I think a better analogy is “using a skateboard to get from LA to Vegas.” It’s a lot better in a powerful car, preferably with lots and lots of air conditioning.I have no idea why people think a light-powered 2012 laptop is going to work well with 4K material. This is all covered very well in Blackmagic’s extensive system requirements… and those are not posted just for fun. You really have to read them in order to understand what kind of hardware and OS requirements you need to run the program.
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Smartphones are bad choices for editing, because they often run at variable speed, which is problematic for editing. Get an app and convert it to a usable constant-frame format like DNxHR or ProRes, and you’ll be a lot better off.
If this is just basically home movies, I’d say go with 29.97 HD and keep it simple.
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How does the laptop rate in terms of the Blackmagic Configuration Guide? The hardware specs for Resolve are pretty steep, but it depends on the specific formats you’re using, particularly the video files. Given really heavy-duty hardware, you can edit damn near anything (up to and including 8K Raw files), but laptops are often iffy.