Partly 2 of this 5-part series, I’ll stroll via a state of affairs for why and the way you may need to change the native body charges of the footage earlier than modifying. This instance is meant to provide you a good suggestion of this workflow choice, however needless to say your undertaking may need completely different wants or necessities than my instance right here.
Clip Attributes
We are able to change the native body price of clips within the clip attributes settings to match our undertaking settings. After all, once we change the body price in clip attributes, we’re not really altering a clip’s information, we’re merely telling Resolve to play again the information with a distinct body price. The recorded variety of frames in a file received’t change.
If you change the body price in clip attributes, greater body price clips will play again slower in a decrease body price undertaking. So, in case you have a clip with a local body price of 29.97, and you alter the body price in clip attributes to 23.976 to match the undertaking, that clip will play again slower than its native body price within the sequence.
Additionally needless to say the timecode of the clips inside the Resolve undertaking will now not match the timecode embedded within the supply file on disk. Since timecode is generated based mostly on body price, altering the body price in Resolve would require new timecode to be generated for the supply clips inside the undertaking. That is vital to remember as you begin to change body charges of your supply clips.
It’s vital to notice that modifications to a clip’s timecode will trigger audio sync points if the audio file’s timecode is completely different out of your undertaking’s body price. Simply altering body price with clip attributes will make the audio unusable. You must go away a lot of these clips and their audio on the native body price, and make the most of body interpolation as an alternative (which can be lined later in a later part).
Now let’s stroll via the precise steps of fixing clip attributes Resolve. Since we’ve already organized our clips into separate bins based mostly on digicam, it needs to be simple to search out non-matching clips.
Open every of the digicam bins we created in our undertaking. As a reminder, we set our undertaking to 23.976, so we have to discover all of the clips with a distinct body price. On this undertaking, we are able to see that Digicam A has information operating at 24fps, and Digicam B has information operating at 25fps frames per second.
For those who click on on the FPS column of the listing view you possibly can type the clips based mostly on their body charges collectively. Now choose all of the clips with a body price of 25, right-click, and choose Clip Attributes.
Within the Clip Attributes dialogue, choose 23.976 because the Video Body Price and hit okay.
Since 25 frames per second is a quicker body price than 23.976, these clips will now play again barely slower. There received’t be any dropped or duplicated frames, however movement may look a bit completely different.
Now, if we wished these clips to play again nearer to real-time (whereas nonetheless conforming to the undertaking’s assigned body price), we would want to extend the pace of the clips to 104.27 % in our timeline. Sadly, since 25 isn’t wholly divisible by 23.976, dashing these clips again as much as real-time will result in visible stutters and skipped frames.
Logging Metadata
Native Body Price Metadata
After we alter the native body price, we should always add metadata to the clips or “log” the native body price within the digicam notes of the metadata subject. Oddly, Resolve doesn’t retailer the native body price anyplace within the undertaking as soon as we’ve modified it, so including the native body price to the digicam notes will assist us reference it when wanted.
To do that, choose all of the clips that have been modified, and within the metadata window to the best, discover the digicam notes subject. With a number of clips chosen, verify the field to the left of the sector to allow it.
Now kind within the native body price of the footage adopted by native, i.e. “29.97 native.” Choose save on the backside of the window to use the metadata.
Digicam FPS metadata
As we discussed in part 1, the Digicam FPS subject represents the recorded body price of our information. This recorded body price by no means modifications, even when we’ve modified the playback body price within the step above. However, relying on the digicam and sort of information, Resolve could or could not have the ability to learn the recorded body price metadata saved within the information. Oh the thrill of know-how.
If we’re unfortunate sufficient for the Digicam FPS to not present up within the metadata, we’ll want so as to add the recorded body price to the Digicam FPS subject manually. To do this proper, we have to discover out if any clips have been shot in excessive pace (that’s, a better body price than our undertaking). By including new metadata for these excessive pace clips, we’ll have the ability to make sense of them way more simply as they transfer via the workflow.
That stated, if you recognize nothing was shot excessive pace, and your whole clips already match the undertaking body price, you don’t want so as to add any extra metadata. However you higher be completely positive that’s the case, else issues will get messy down the road. For those who don’t know precisely how your information have been captured, it’s a good suggestion to undergo their metadata and add any lacking info.
For those who don’t have an enormous quantity of footage, begin choosing every clip within the Media hub in every digicam bin with the digicam metadata window open. This offers you a way of how every digicam information metadata. For those who discover Digicam FPS metadata already there, you received’t want so as to add any extra metadata info.
For those who suspect your footage is a distinct pace than your undertaking, and there isn’t any Digicam FPS metadata in your clips, you’ve gotten just a few choices:
- Examine the script notes
- Examine the digicam experiences
- Open the digicam information in one other app like RedCine-X or a digicam metadata reader
- Name the DIT or DOP from the shoot for extra info
Resolve doesn’t at all times learn the particular digicam metadata of sure cameras (usually instances this is a matter with RED cameras). If digicam info wasn’t recorded on set by way of script notes or a digicam report, verify the metadata of your information in one other app. Generally a digicam producer’s personal purposes can detect this metadata when Resolve doesn’t see it. For instance, RedCine-X Pro will learn the recorded body price of RED information in the event that they aren’t in Resolve.
As a rule for including recorded body price metadata, listed here are some finest practices:
- If the playback body price matches the recorded body price, no extra metadata must be added
- If there’s Digicam FPS metadata already, nothing else must be added
- If the playback body price doesn’t match the recorded body price, discover the recorded body price externally with one other app or script notes and add the recorded body price metadata to the Digicam FPS subject in Resolve
When you’ve discovered the recorded body price in your clips, it’s simple so as to add this info to the Digicam FPS subject in Resolve.
Choose your whole clips with the completely different recorded body price, enter the data within the Digicam FPS subject within the metadata window, and choose “save” on the backside to use the metadata to the clips.
You must undergo every of your digicam bins to use the recorded body price metadata when you’ve discovered it. If you’re carried out, every clip ought to have 23.976 within the FPS column, native body price metadata within the digicam notes subject, and recorded body price metadata within the Digicam FPS subject. Lastly, you’re prepared for breaking down the footage, optimizing media, and modifying.
There are additionally some ways to paint code, manage or make bins for several types of clips in Resolve. Each editor has their preferences, however it’s a good suggestion to use them after you have the metadata in place. Expertise will train you environment friendly methods to arrange, reference, and/or mark clips with completely different recorded body charges.
Syncing Exterior Audio and Multicam
A word about sync audio and multicam: In case you have information that have to be synced to exterior audio, or multicam clips that have to be joined collectively for modifying, it’s vital to know tips on how to deal with them in a undertaking. Timecode turns into principally unusable for syncing in these eventualities if the body charges don’t match. Ideally, your undertaking body price and the clip body price ought to match with a lot of these information, however we don’t at all times have that luxurious with each video we minimize. In the event that they don’t, you’ll most certainly have to manually sync the information collectively which could be very time-consuming.
For instance, your clips have been shot at 48fps however your recorded audio was synced for 24fps (horrible, however it occurs). Perhaps the concept was to have the flexibleness to gradual a number of the clips down whereas additionally recording audio. For those who change the native body price with clip attributes to sync these information, they received’t sync. Your information will play again slower than the audio, and the timecode of the information at 48fps may also not match the 24fps audio. No sync for you.
The identical syncing difficulty happens with multicam clips. For those who’ve recorded clips with body charges that don’t match one another or the undertaking, the syncing course of can turn out to be very troublesome and guide. Altering body charges with clip attributes may also help, however that may throw off your supply timecode, which suggests manually syncing these information is the one actual choice.
If you wish to keep away from this horrible destiny, it’s actually vital that clips with externally recorded audio or multicam clips are recorded in real-time on the undertaking’s body price. Altering clip attributes may also help, however it could get very sophisticated. At all times higher to spend just a little time planning forward to keep away from the issue than losing hours manually fixing it.
Re-Timing with Matching Body Charges
Again to our undertaking instance. Since we’ve made all our clips’ body charges match our undertaking, re-timing is way less complicated and simple than it will be with native body charges. Since every part is already operating at our undertaking body price, we don’t want to fret about mixing our body charges or re-timing exactly to match our timeline settings. And if you happen to hold your re-times to multiples of 100, you received’t even have to do any body mixing or optical movement for easy playback.
Re-Time Controls
Choose a clip in a sequence and hit command or management R to open the re-time controls. Subsequent to the share displayed, click on the arrow and choose Change Velocity. By selecting 200 %, we guarantee even playback on the clip with no need to make use of optical movement.
Resolve throws frames away frames when dashing up footage. This may sound dangerous, however it’s not at all times detrimental to the viewing expertise. For instance, with a 200 % pace up, solely each different body is skipped, which makes playback easy. No body interpolation is required. And naturally, if you happen to decelerate clips by wholly divisible quantity, for instance 50 %, frames each different body can be duplicated throughout playback. Once more, no body interpolation required.
Bear in mind, body charges and re-timing are interrelated when modifying. Give it some thought. Re-timing, pace warping, or time re-mapping is actually telling your supply clip to play at a distinct body price. For instance, if you happen to double your clip pace, the clip primarily acts prefer it’s operating at double the body price.
In case you have a supply body price at 23.976 in a 23.976 timeline and you alter your clip pace to 200 %, Resolve will play again the clip as if it have been double the body price or round 47.952 fps. You may anticipate that Resolve would deal with a sped-up clip as if it was a decrease body price like 11.988 frames per second (half the native body price performed again on the undertaking body price), which would seem sped up in a 23.976 sequence. However that’s not the case.
Change Clip Velocity
For instance in Resolve, right-click on a clip in a timeline and choose Change Clip Velocity. Change the Velocity from 100 to 200. Since our undertaking and timeline body price is 23.976, the Frames per second field updates to mirror the modified clip pace: 47.952fps.
What does this imply for modifying?
If you recognize that easy playback is feasible when utilizing multiples of your native body price, you possibly can shortly perceive in case your clip will play again easily when altering the clip pace. Resolve will evenly duplicate or take away frames out of your supply clip.
Body charges that aren’t wholly divisible by the undertaking body price received’t play again in real-time evenly. So 60fps received’t playback in a 23.976 sequence in real-time with out stuttery playback.
Re-Time Curve
So what occurs if you wish to take a clip that was recorded at 120fps and play it again in real-time in a 24fps sequence? 120 is wholly divisible by 24, so we are able to obtain easy real-time playback. Since we’ve modified the native body charges to 23.976, we are able to take {that a} clip that has a recorded body price of 120 frames per second and pace it up by 500 % to get again to real-time playback. Resolve will throw away the pointless frames and it’ll play again in real-time.
However let’s strive one thing in Resolve. Let’s take a clip that was recorded at 120fps, pace it as much as real-time playback, gradual it all the way down to the initiatives body price, after which pace it again as much as real-time. It is a widespread impact you see in lots of web movies.
The very first thing we’re going to do is make the clip realtime by right-clicking on it and choosing change clip pace. Change the pace to 500 %. Now our 120fps clip is operating in real-time in our 24fps undertaking.
Hit command or control-R to open up the entry the re-time controls. Proper-click on it and choose “Re-time Curve.” Scroll to the body within the footage that you really want the decelerate to start. Click on the diamond form to set a keyframe for that body, after which shuttle down the footage to a body the place you need it to hurry again up and click on the diamond once more.
From the share dropdown, change the part between the keyframes to one hundred pc. Easy out the transition by choosing the keyframe and hitting the curve button proper below the clip. Now, drag out the handles to regulate the smoothing of the transition, and use the underside controls to alter the timing of the pace ramp.
See beneath for a display recording on how to do that. If you wish to do this your self, you possibly can download the free clips from Pexels. Credit score: Tim Savage.
Resolve makes it very easy to do this type of re-timing, however bear in mind, it’s vital to maintain these numbers even in order for you the smoothest visible playback. For those who begin to drag across the keyframes within the graph editor, the pace numbers will turn out to be uneven, and people pace modifications could seem uneven.
In some circumstances, the undertaking body price won’t be wholly divisible by the recorded body price, and easy real-time playback can be not possible by itself. However that’s what instruments like optical movement are good for, as they rebuild lacking frames. This may occasionally not at all times matter in your undertaking, although, so don’t be afraid to experiment. Our instruments serve us, not the opposite approach round.
Movement Blur
If you pace up a really gradual clip to real-time, there’s additionally the problem of shutter pace. The shutter pace, which determines the movement blur in a shot, will give a definite visible look to a clip when dashing it up or slowing it down, and is particularly noticeable when software program has to skip frames. Movement blur between frames is drastically diminished whenever you do pace footage up, for instance. Fortunately, there are a lot of choices for including movement blur again into sped up footage (some higher than others), however that’s past the scope of this text.
Nonetheless, we’ll talk about a few of Resolve’s distinctive body interpolation and smoothing options within the subsequent version of this sequence. So you should definitely verify again subsequent week for Part 3!
