Simon Ubsdell
6
COW Coins
Forum Replies Created
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Here’s a quick tutorial for anyone else who wants to know how this works:
Simon Ubsdell
tokyo productions
hawaiki -
Sorry, I should have explained in a bit more detail.
Firstly, make sure that you are going to be tracking the right paintstroke – note that Fusion automatically sets up a new stroke immediately after the last one you have painted. To avoid confusion, I tend to delete Stroke 2, but you don’t have to.
Next select the Center Position in the Stroke Controls (for the correct stroke!), right-click and choose Modify with “Tracker position”. This will create a Modifier tab, so got to that next.
Drag your track source video into the Tracker Source well right at the top of the Track controls. This tells the Paint tracker which node you want to track.
Making sure you are on the first frame that you want to track, adjust your tracker position using the onscreen control – I’m hoping you know how to do this. Choose the Track Forward from Current Time option to execute the track.
Your paint stroke will now be locked to the tracker position. You can offset it if necessary using the tracker’s X and Y Offset sliders.
Hope that helps.
Simon Ubsdell
tokyo productions
hawaiki -
Who hasn’t had occasion in this modern world to become irritated by the inefficiencies of a supplier’s delivery systems?
Most of us are sufficiently grown up not to escalate those irritations into a long-running campaign to belittle the supplier’s entire product line.
Simon Ubsdell
tokyo productions
hawaiki -
[David Lawrence] “Vashi’s “pancake” method is driven by the unique flexibility of the Pr Pro panel UI.”
Actually, the same kind of pancaking was entirely possible in FCP Legacy too.
In FCP X, perhaps not so much. But obviously Mr Davis is poised to show that I am wrong in that regard.
Simon Ubsdell
tokyo productions
hawaiki -
[Bill Davis] “Still very uncomfortable with this view. “
Think of it like cooking a meal.
I learned early on as a cook that it’s considerably more efficient to lay out all my ingredients on the work surface before starting, rather than each time I needed something searching for it individually in a different place – hunting for the spices in one cupboard, the pasta in another, the olive oil in another, the butter in the fridge, the vegetables in he vegetable basket, the bread in the bread bin, the meat in the freezer, sequentially going to a different “container” each time in order to add a new ingredient to the dish.
The string-out method is the same thing as laying out our ingredients on the work surface (albeit on a vastly long work surface where you can nonetheless grab anything instantly as if it were all within arm’s reach). The bin method is the same thing as hunting around through your kitchen storage for each ingredient in turn as you discover you need it.
Simon Ubsdell
tokyo productions
hawaiki -
[Shawn Miller] ” for motion graphics/VFX centric projects, I’m not sure Resolve/Fusion will find a foothold any time soon.”
I think you could be right about that (for now), but from my standpoint (which combines motion graphics plus VFX plus editing plus finishing for cinema) Resolve/Fusion represents almost exactly what I have been wanting for more than fifteen years. (Or at least everything I have been wanting at the right price point – the Studio versions of Resolve and Fusion are a very modest investment for what they earn for me.)
I still use Ae and Ps and Ai and Id a lot, as well as Motion and FCP X and Premiere and Media Composer, but increasingly Resolve/Fusion is the hub where it all comes together.
I suspect though that atypical workflow combinations like mine will become the norm in the near future and that’s where BMD are poised to take advantage.
Simon Ubsdell
tokyo productions
hawaiki -
I use Andreas Kiel’s excellent psTitles plug-in for this. It creates editable TIFFs so your post house will have no problem, nor will you.
https://www.spherico.de/filmtools/
I strongly recommend it.
Simon Ubsdell
tokyo productions
hawaiki -
[David Lawrence] “Seems to me Vashi falls heavily into the spatial camp.
“This seems to be the case, yes. (Thanks, David, for starting this thread. It’s certainly ground that’s been covered before but I still think there’s a lot more to say.)
What’s important to highlight here is that Vashi’s use of markers is an embellishment of the all-powerful string-out method and it’s fundamentally the string-out that’s giving him the instant access that he wants with the markers acting as information-rich, searchable helpers.*
He also touches very briefly on the reasons why string-outs work for him creatively as well as organisationally and to me these are just as interesting to consider.
* I think in some ways the “marker vs metadata” distinction is a red herring conceptually – a marker is “metadata”. It’s just that we tend to use a very narrow technical definition of metadata that doesn’t adequately cover the range of possibilities.
Simon Ubsdell
tokyo productions
hawaiki -
[Steve Connor] “How do we keep you both here, we’ve missed you!”
Seconded!
Simon Ubsdell
tokyo productions
hawaiki -
[David Lawrence] “Edit: reading the comments, he makes clear he’s seen the technique in Hollywood. But he’s the one who gave it a name and shared it with the Pr community.”
Yes, he’s certainly the guy that popularised this incredibly useful technique, but he’s modest enough not to to even begin to claim it’s his alone.
He’s a very decent bloke in my book.
And most of all I just love his sheer enthusiasm for the craft.
Simon Ubsdell
tokyo productions
hawaiki