Відео

There’s always some more stuff to go around!

That's certainly one of the use-cases for it for Erode/Dilate. The reason I used it to fill in this case is because it was a quick and dirty method to "fill" the color that's being keyed. Not saying it's the best method by any means. I haven't tried the Matte Control method yet, so I'll give that one a look.

@@jackoneil3933 That sounds like my 7-year experience with Premiere. Vegas does some things really well, but it features a lot less overall functionality than other software, which is why more people don’t use it. When it comes to auto-syncing, that usually only adds about 10-15 minutes to my workflow (or up to 30 depending on amount of cameras and “takes”), but the time saved from creating those multicam clips is night and day. For me, it is as simple as popping clips on a timeline and right clicking to make a multicam clip, but that’s probably because I’m very used to the workflow. I’d be curious to see what bottlenecks you’re running into and see if there’s any better solutions. What kind of audio are you getting from the cams? And I’m assuming you’re not using timecode sync? And then additionally, what tracks/channels are you using to auto-sync?

@@CameraTim Thanks for the reply Tim. True about Vegas, especially when it comes to grading and titles. In the past Resolve has been able to sync audio from a cameras and field recorders if the camera audio is simply the monitor out from the field recorder, but seems for the most part useless if I have two lav mics/and or a shotgun and ambient camera audio. Normalizing levels helps but slower than manually syncing. Basically what I'm trying to sync and edit are 4 Police Bodycams with audio that run about an hour each and start and stop at different times, voice audio is pretty clear on all, and at points is practically identical, but auto sync from audio it fails on all tracks, and I've tried several times. What I did finally was to place all clips on a timeline and sync them manually (took about 10mins). I've Placed a marker at the beginning of each clip, and/or In points, but you have to choose a sync option when you create the clip, so no matter the option (there's no option to simply create them in place?), it leaves the clips in place but the start of one or more clips are moved to the start of the timeline. If there was a way to simply create a multi-cam clip with the clips in place, that would be good enough, but it's' almost like it automated sync or or nothing. When I've encountered this in the past, I've typically went to Vegas or skipped making a multi-cam timeline and manually cut and moved clips, but that's a pain. I thought this would be a good project to finally nail down Resolve Multi-cam workflow, but after two days, at some point one has to decide if it's me or the package is not fit for purpose. I got to know Grant Petty when BlackMagic got started and did what I could to help promote the company, and respect for the most part what he's done with Resolve but I'm not sure it's the solution for mult-cam and long format complex projects.

Ah, so there are parts of the audio that are identical, or "matching" at least, but most of the audio is seemingly different and it can't find sync because of that probably. You can use the camera# tab in the Media Pool (you have to manually check it because it's not one of the metadata tags by default) to label each set of clips so that when you enter the Sync Bin on the Cut page, it auto orders them for you so it doesn't try to sync clips from the same camera. That could potentially help somewhat. Even if it doesn't though, hitting Save Sync in the Sync Bin will still create a multicam clip automatically from it (Multicam clips don't show in the Media Pool on the Cut page). Even if you don't go that route and you still just manually sync everything in a normal timeline, you can still right click the timeline in the Media Pool once everything's in place, and select Convert Timeline to Multicam Clip, and then just drag that multicam clip into a new timeline and you're all set! Hopefully this is helpful.

@@CameraTim Thanks much for the help Tim, much appreciated. The audio from the cameras to have matching audio but started a few mins apart but I can zoom in and can quite easily match the audio waveforms visually. There's not much background noise but the levels are different, and I suspect that is the issue. I've tried marking the in-points on the clips before creating a multi-cam clip ( ua-cam.com/video/Hl8wIuEVjM4/v-deo.html), but the clips end up several frames off. I need to mix the audio from multiple cameras and syncing manually resolve actually seems to match the audio perfectly once you get the clips within one frame. I also took the clips I synced manually and rather than select the individual clips and create a Multi-cam timeline, I tried selecting just the main timeline and choosing to make a Multi-cam clip, and that created a perfectly synced multi-cam clip, but it only shows the #V1 video track and I can't switch cameras. Right now I'm doing it like 20 years ago before Multi-cam edition, and simply splitting tracks and opening up slots. It takes about 5X longer but makes mixing audio a bit easier. All I need is a way to manually adjust the sync of the clips after the multi-cam has been created, something I've tried to accomplish several times over the years. I just asked GPT but I once the multicam clip has been created I can't adjust any angles individually as GPT suggests (I'm using Resolve Studio 18) ChatGpt: Manual Re-Sync in a Multicam Clip: Open the Multicam Clip: Locate your multicam clip in the Media Pool or timeline. Double-click on it to open it in the multicam viewer. Enable Audio Waveforms: In the multicam viewer, make sure audio waveforms are visible for each camera angle. You can toggle this option using the waveform icon at the bottom of the viewer. Switch to Angle Viewer: Click on the angle viewer button to switch to the angle viewer panel. This allows you to see individual camera angles and their corresponding audio waveforms. Manually Adjust Sync: Drag Clips: In the angle viewer, you can drag individual camera angles left or right to adjust their synchronization manually. Use the audio waveforms as a visual guide to align the audio peaks or significant events (like claps or cues). Use Nudging: You can also use the keyboard shortcuts (Alt + ← to nudge left, Alt + → to nudge right on Windows; Option + ← and Option + → on Mac) to make smaller adjustments to the sync of individual clips. Monitor Sync in Timeline: As you make adjustments in the angle viewer, the changes will reflect in the timeline where the multicam clip is used. You can play through the timeline to ensure the synchronization is correct. Fine-Tune as Needed: Continue to adjust and fine-tune until you are satisfied with the synchronization of all camera angles.

@@jackoneil3933 ChatGPT is quite flakey when it comes to doing stuff in Resolve for whatever reason. If you need to change something in the multicam clip after it's created, you can always right-click on an instance of it in the timeline or in the Media Pool and select Open in Timeline. In order to get the multicam clip to cut and switch to all your cameras properly, you have to have the Mutlicam option selected in your source viewer. If it's set to Source, even if you see all your cameras, it won't work. What really helps with this is having Stacked Timelines enabled so you can toggle between timelines very easily, or have multiple timelines open at once. The Timeline View Options button is in the top left corner of the timeline on the Edit page (right above the timecode), and that way when you open the multicam clip, it'll stay there as a tab that you can easily switch back to from your normal timeline. That should solve your issue with that I believe. Let me know if you're still having trouble!

@@ElMeach That’s going to be a great dog. 🤣 Thank you so much!

@@ElMeach Thank you! And yeah, I don’t fully know the extents of what’s causing their issues, although they do seem to be more Mac related. I haven’t heard much in terms of people’s experiences with it in 19, but it’s worth a look. If you’re looking to make just complete copies of footage and folders, you might just go with something like the Clone tool, which I explain in my how to import video.

@@CameraTim Thanks Tim, I'll go check it out. I'll go check that video, sounds like a time saver. I am on windows, so if I have any problem I'll let you know.

Yeah, just checked the Clone tool video, that was actually what I needed. I hate to check clips on file explorer. I wanted to do that on davinci while copying to a new location. Thanks for making this videos and for taking the time to directing me to the right answer for my case.

@@ElMeach Absolutely, glad to do it and glad it’s helpful!

@@CameraTim oh, my. I just tried it. I thought you could clone individual files, that would have been awesome. I think I am staying browsing on resolve, adding to media pool, then copying individual clips with media management. But I am from now on importing with the clone tool with the added checksum for sure.

@@treadingtheboards2875 I’m so glad this helped a lot! That’s great to hear! And yeah, 30fps is an NTSC frequency, and PAL is 25fps like you mentioned. Cross fades are known as Cross Dissolves in the Video Transitions tab under Effects. The easier way to set them though is to right-click on an edit point and choose the transition length that you want. I would make sure the chain link button isn’t highlighted when doing this so you don’t add a transition to the audio as well if that’s not what you want. You can also set keyboard shortcuts to them as well.

Does the audio layer show up without audio, or is there only a video layer?

@@CameraTim Yes the sudio layer shows up.

@@Bizzography It sounds like it’s either referencing the wrong audio track or you have the track muted in the multicam clip.

It could be a resolution mismatch, but if you want to send a screen shot or recording to me, you can send it to the email listed in the description through Google Drive and I could take a look at it.

@@CameraTim the image and the resolution of the timeline are both 1080p i'll drop you an email with it.

@@ericzimmer6896 Ah, I see it. So yeah, because that text is so thin, it just needs to be extended for the edges of the 3D shape to have data to use. So the Erode/Dilate trick after the MediaIn node before it goes back into the Extrude3D should fix the issue.

@@CameraTim tried that already it does nothing but just thicken what you see in that image.

@@ericzimmer6896 Hm, it shouldn't do nothing. If everything is just one color though, you don't really need a material input. Or you could just use a Background node and select the color from the original PNG. You just need some color that fills in all the data that the sPolygons need for coverage. I will say that if you have the font that was used for this PNG, I would just use the normal Text3D node, but if this was a custom drawn thing, then that wouldn't work.

@@userceis Yes, Color Monitor works with any source

@@benmagnus0858 The Sync Bin, when it works, is really nice, but it does tend to have more issues syncing than the Edit page method for whatever reason.

@@SagarGanesh_ContentCreator You’re welcome a ton

Star Wipes are somewhat of a meme with editors. It's a transition that was popularized in the 80s, but quickly became "out-of-date", tacky, or just goofy-looking. There's also a bit of a story for me personally during a 48-hour film festival event where one of the short films used a star wipe with every single cut in the video, even if the angle/perspective didn't change.

@CameraTim haha I didn't know. I'm so new to this world. I learned one more thing. Amazing job, again thanks for the video, I'm following through step by step, actually I'm spending hours and hours on it. Slowly slowly, thanks, much appreciated 😊

@@ele4356e Haha! Yeah, there's a lot of nuance to the editing life. Thank you so much, I'm glad this is helping! I definitely put a lot of effort into this one, and if something doesn't make sense, just let me know.

So there are multiple different ways you can do this depending on what you want the game to look like. I would also recommend watching the updated version of this tool because it adds two new sliders for even better control: ua-cam.com/video/4agVabVPmrk/v-deo.html It'll also make the following recommendations make more sense. In most cases, I would recommend order 2 (HSL first then HSV) because I like the look of pulling HSL down and pushing HSV up on a desaturated image, makes it feel more dense. But aside from that, here are some good go-to options: If you want to just simply add saturation to the game, I would do either order 1 or 2 and push HSV Gain. Order 1 will be like a 50% blend, so it'll cut the adjustment in half if you want a more precise adjustment. Another option is if you want to add more saturation to the body of the image but you want to keep the very vivid colors controlled (almost like compressing colors), you can do one of two or both things, also using either order 1 or 2 depending on how each look: - Pull HSL Gain down and push HSV Gain up. - Pull HSV Gain down and push HSV Gamma up. If you choose both, I would pull HSL Gain down first and then playing the HSV adjustments against each other till you get the desired result. The key thing to know is pushing HSL is additive, and pushing HSV is subtractive, so if you want to increase your density, you pull HSL and push HSV. It's pretty easy to overdo it of course, but that's the general rule of thumb. I would also use the Waveform and Vectorscope tools and sample an image that has very high color contrast, meaning a spot with very saturated and very desaturated colors at the same time. This way you can ensure you're not pushing any colors to a clipping point. Hope this helps!

@@CameraTim thank you for your detail response ! I just want to simply add saturation so I kept order 2 and HSL 1.0 and hsv 1.50 👍🏽

@@CraftyDex Sounds good! Let me know if the other video helps understanding this tool as well!

@@CameraTim hey man would you know how to fix this: whenever I start my stream there is a static sound the whole time I thought it was maybe my mic or the game but it’s not I muted my mic I turned off all game sounds I even removed audio sources from obs but still a static noise in background I have no idea what noise obs is picking up

@@CraftyDex A couple questions on that. One, do you have any hidden audio sources or Global Audio Devices enabled (this is in Settings > Audio)? And two, is this static something you're only hearing from OBS while you're streaming or do you still hear it when OBS is closed? If it's only when OBS is open, maybe check to see if any of your audio sources are using Audio Monitoring in the Advanced Audio Properties window.

Thank you for the suggestion! And yeah, I should've mentioned that tab as a third option and added keyboard shortcuts to it so that you can easily toggle between them from the multicam source window. I just didn't think about it at the time because when I was recording this, I didn't really use it because of my typical workflow (which often has me cutting between multiple audio sources), but definitely something I will mention in the future if I do any other tutorials on multicam.

@@CameraTim My comment was just a suggestion, Tim. I usually have one audio recorded on a separate mic which is my best audio, but I can see that using multiple audio sources would work better in other workflows. I'm mostly a "one-man-production crew" and use shotgun mics on the cameras, usually two but sometimes three. There have been times in editing that the best audio may come from one of the cameras and, well, then I have a problem using my suggestion. Thanks, again for your quick response. I will follow you to get additional helpful ideas. Les.

@@llpreiss I’m really glad you found the video useful! I run solo shoots pretty often as well, so I feel that. I am happy with suggestions, and it’s definitely something that can help a lot of people’s workflows, so it’s good you brought it up. Thanks again!

Not really. Resolve doesn't offer a lot of customization for workspaces, which can be of benefit when trying to do tutorials because the variance in windows is minimal (unlike another software that shall not be named...). With that said, dual screen and single screen layouts are very different, and I tend to switch between them quite a bit, so which part looked different to you?

@@CameraTim As soon as you go to the cut screen, nothing looks the same on my computer. It may be that I'm using a MacBook pro with a small 13" screen right now but at work with a larger 27" monitor, things still look different. Before I take any more of your time, I need to figure out what I've done so wrong setting up this multicam project with my two camera clips and single external audio clip that I can't follow along from the start. I'll spend some more time watching and listening to see what I can figure out. Thanks, Tim! If I could send screen caps I guess it would be easier to convey exactly what's different but let me do some more learning before we get all fancy sending pictures back and forth! lol Who knows maybe I'll figure out what I'm doing wrong.

@@rsw987654321 If you want to send screen shots through a Google Drive link to my business email (listed in the description), I can take a look at it there! Scaling can definitely be a factor as screens will look different depending on resolution. The Cut page also has had some updates since the version I made this video in, so if you’re on 19, it’ll likely look different. There are also different tabs that can make different windows appear/disappear and extend/retract, that might also contribute to it.

This method is pretty old and I don’t believe the Individual clips option is necessary anymore. Did you have the in and out point over multiple clips?

You’re welcome, and thank you!

So I do plan on making a dedicated tutorial at some point with Fusion and color management. The thing is with version 19 it completely changed as Fusion now recognizes Resolve Color Management and can use Color Space Transforms as the viewing LUT. Now with that said, the reason I still recommend using the CST anyways is a little more technical than anything. Fusion operates in a Linear space, so it does effectively a similar thing that displays do when trying to show log footage in a Rec.709 display. It just "auto-conforms" it but doesn't actually do a color space and gamma conversion which is why looking at plain log looks really bad. This matters for Fusion because depending on how the footage is conformed, it changes the math on how pixel values are calculated which changes how the Tracker perceives the image. If you leave log footage as is, but Fusion assumes Linear, the contrast in the image is not Linear and Fusion as a harder time analyzing the footage correctly. So by putting the footage into Linear via a CST, we are actually giving Fusion accurate values to do the tracking calculations properly. What I should've probably expanded on in this video (which would've made it even longer and why I didn't mention it) is that if you are going to a color grading space after Fusion, then you would want it to end up in DaVinci Wide Gamut/DaVinci Intermediate at the very end of your node tree (or back to camera space depending on your preference with the Color page). The reason I didn't do that in this scenario is because I needed the lightsaber color/glow effects to show accurately for the example as I wasn't doing any color page adjustments here. But for color purposes, I would put a CST at the very end and ensure any other sources/assets I use go into Rec.709/Linear as well so that they all transform the exact same in the end. Hopefully this makes sense and I will hopefully do a Fusion to Color workflow video eventually. Casey Faris has done some videos in this space as well before.

@@CameraTim holy moly, thank you for such a detailed answer! it cleared up a lot indeed, but still gonna wait for the whole video anyways!

@@drakegostream Haha! Hopefully soon!

@@CameraTim no stone left unturned. As usual 👏👏👏

@@equisetuminc I always want to make things as clear as possible.

Thank you! We’ll get you on Resolve soon!

Yes.

and STUFF!

@@equisetuminc So much STUFF

ME TOO

Oh yeah, I totally forgot that… I meant to do that before I posted and ran into a technical issue during the edit and forgot about it. I’ll see if the editor allows me to fix it. Thanks for the heads up.

@@CameraTim You’re welcome! Good luck

@@underlyingglitch926Thanks!

@@underlyingglitch926 Fixed it! Thanks again for the catch! The first email is my business email I have linked in all my videos, so that one is fine to show.

Thank you Chloe!!!

Sorry, I just rewatched-SHIFT+R! Thanks!

What you said. ;-)

Thank you! Yeah, the LAB color space has a lot of really nice use cases that are untapped.

Thank you so much! Yeah, I haven’t done as much content on creating your own plugins, but I should eventually. I know Patrick Stirling has done a couple videos on it.

Yeah, there are so many things that can be done with layer nodes, it’s crazy.

Are you referring to if you made a macro in Fusion for the Edit page but just have the Text+ parameters as modifiable in the Inspector? If that’s the case, then yes, you can. You just have to make sure that when you create the macro, you select all the parameters in the Text node you want access to before you save it.

Awwwwwww

Thank you!

Which option are you referring to?

@@CameraTim The source mirror ain't available for the latest OBS Studio version (30.1.2)

@@FOXYGAMiNGNEWS Got it, so in the description, there’s a link to Source Clone as StreamFX is no longer a free plugin.

@@CameraTim Awesome man, thank you so much! I'm gonna try it out in a minute & let you know if it works

@@CameraTim Unfortunately it doesn't solve the problem. I have a Dubstech 4k Webcam & since a few days I use new LED lights. That combo ain't good apparently. Also changed the HZ to 50, still doesn't work /: Maybe I have to get rid of the cam or the light :D

Yeah, I realized that too late. I made that change in the match cameras video, and ever since then none of them have the background music through the tutorial. I really wish UA-cam could give me the option to replace an audio track, but unfortunately it's not possible...

@@CameraTim Thank you for the note, at least you know now, or you could keep this video but re upload another one without the audio. More work I know. But thank you for taking the time to teach us.

@@NotesFromTheExecutive I had thought about that, and that’s actually what I did with the camera matching one, but this one didn’t make sense at the time to reupload, so I just kept it. And with Resolve 19 being out, it would make more sense to just do a new video on it. Oh the joys of tutorials and updates. Haha!

@@CameraTim Oh we know how it is. Joyous indeed. Well you're making a difference in people's lives by teaching them so thank you :)

@@NotesFromTheExecutive I appreciate the kind words. Thank you.

Avid is the pioneer of keyboard shortcut workflow. If you know keyboard shortcuts in Avid, you’re golden. Editing “left-handed” used to be a big advantage too. Not sure if that’s still a thing, but shortcuts are the way to go. Glad this was helpful!

@@CameraTim Avid Beer UA-cam channel talks about editing left handed so he can uses his right hand for beer. I also found out that my mouse scroll wheel can control the primary wheels. Is there a similar shortcut for audio gain?

@@BrianMarcWhittaker To my knowledge, there's no shortcut to move the audio gain other than clicking and dragging (or using a Normalize shortcut), although you can hold shift while dragging to increase/decrease it slower for more precision.

Thanks Peej!

Thank you so much!

Thank you so much Russell!

Decided to bring that one back.

I'll allow it.

🤣🤣

@@w84me12 It never ends. LOL!

Dude, it's nuuuuuuuts!

LOL! Another day in the office

Because I was a lot dumber 4 years ago

@@CameraTim you are so real for that answer

When I first started making tutorials, I really didn’t have any intention to make it a serious thing. Originally it was just meant to make it easier to help multiple people who had similar questions in a couple Discord servers I was modding. So yeah, some of the early content is a little rough. Haha!

So the biggest reason I know that the option is grayed out is if you select multiple clips on the same layer. When you make the selection to sync the clips, make sure you're not accidently selecting clips in the same layer (even if it's just a cut on the same clip). That would be the first thing I'd try, if that's the case, I might need more info on the clips and audio.

track level audio adjustments!! what a relief... why did no one put me onto this program sooner!!!

Thank you so much! I’m so glad I could make the tutorial cohesive, but it’s funny you mention making it fun again. I was actually talking to someone else about that same thing when I switched from Adobe years ago. Also, track level audio effects are a life saver.

HI BRODY YW

Yeah, so the Timeline Proxy Resolution is only really helpful for effects since the software only has to do fraction of the math to process the effects for preview, but this doesn't work with footage because the software doesn't really have a good way of knowing what data to read or not, so it doesn't enhance playback anywhere near as much, if at all. So when you generate DNxHR or ProRes proxies, you can make sure the resolution is Half or lower. If you have mixed resolution media though, this can be a little cumbersome because it'll apply the same reduction to all the footage you generate which isn't always the best option, so something like the Media Management tool would be a better option because you can specify the exact resolution you want for everything (see the video I made on that for more info: ua-cam.com/video/ofSt2cyCuIE/v-deo.html). You could also use Render Cache in the same way so that you don't have to generate full proxies, and you can set Render Cache to User so you can specify what you want to cache in the timeline, or use Optimized Media so you can only generate stuff that's in the timeline if you don't to generate full-clip proxies. There's also the Render In Place option that creates a new clip entirely in the timeline. So there are a bunch of options, just depends on what best serves your needs.

@@CameraTim thank you for the reply sir 🙌🏽🙌🏽

@@bzibubabbzibubab420 No problem!

Apparently it works much better on PC than Mac for whatever reason. I don't have a Mac so I haven't experienced any of the issues other people have mentioned personally (and didn't know about at all until after I made this video), but hopefully it can be of benefit to you!

@@CameraTim We rely on software to perform miracles. I have faith Davinci will solve this. I love the idea of dropping new raw footage locally onto attached SSDs, editing that day, then flushing all the good stuff to the network NAS for later. i'm on a mac so I'll let you know if it blows up on the launch pad.

@@inSurfersParadise Yeah, we live in a bit of a spoiled age, it’s pretty easy to forget that. But let me know how it works if you’re on version 19! Curious to see if they’ve patched any of the oddities.

@@CameraTim Well that worked a treat. All those files from today’s event are nicely backed up to the NAS drive. Bravo sir.

@@inSurfersParadise Amazing! Glad to hear it!

Yeah, that’s one of the biggest challenges I’ve faced with finding more functional shortcuts. There’s no official documentation on keyboard shortcuts, so really the best way is to sort through tabs to narrow it down by subject. I’ve found a couple that way. I do wish there was an easier way though. It’s possible the Resolve ChatGPT assistant would be able to help somewhat.

Thank you so much! Yes it does. When you go to your Project Settings > Master Settings where you set the proxy codec, you can also set the folder you want to place them in there. You can also go into Preferences > Media Storage to determine if you want the proxies to generate in the folder you specified or in the same folder as your original sources.

Thanks 👍🏻

@@JFG_01 No problem!

Thank you so much! Glad this was helpful! Matching cameras is always a pain because even when you color manage and cameras are all set exactly the same, cameras still have white balance/tint shifts and different lenses have varying color bias and contrast, unless you adapt the same third party brand, especially with vintage glass, but it’s still a pain. The new ColorSlice tool is also a very good tool to use for this as well, and I definitely prefer it over the color warper. Although I still prefer DCTLs for that purpose, but that’s a whole other topic.