Only realised whilst recording so thought id show the process as might be scenarios where you need to keyframe eg. 2 gymnasts at different depths and you want depth to change dynamically. Thanks for watching to the end anyway!
Lel me too! And it made me very funny when at the end of the video he also realizes the simple way but I learned a lot new stuff though, so it's worth it
@@DarrenMostyn even funnier it took 6 weeks if you think about the simple solution at the end of the tutorial. It could have just been answered in a single comment. Instead you made a full episode showing the controls :D
First time I've come across your channel, and Oh GOD I love your content. This is spot on. Congrtz on the 50K - I'll be here when you have a 100K Next year!
Well I learnt that you could right click the key frame marker to change the ease in or out.. 🤯. I've been going through the expanding of the clip key frame dialogue to do this.. So much easier.. Thanks..
Great vid Darren. It's funny because i'm sitting here watching and talking to the screen saying why don't you just trim the clip when you come back in and do exactly that. Lol. And say hi to Lucy for us...
I render in place all the time when doing any FX. It is a habit I got using an Adobe Premiere - After Effects workflow as Bridge was garbage and comps would fail and sometimes not be recoverable. In adobe I rendered every effect out to Media encoder so of course I was excited when I realized I could do the same much easier right on timeline. I render them to ProRes 422 10bit .
Glad you liked it! was literally nearly finished....too much concentration on getting it right for youtube I think! Didnt want top throw the front info away though - render in place etc. all useful
One question for a potential future video - when Depth Map and Magic Mask don't do the job properly, what is the most organized way to fine-tune the matte/mask by hand? I know how to do it in a clumsy way (merging in other power window nodes in the Color page), but that gets very clumsy very fast, esp. when manual painting on just a handful of frames is needed, and basic shapes don't cover it.
Thanks! I’m a fan. 2 questions: - would this (jump over the title) have been easier and clearer with a magic mask on the gymnast rather than depth map? Seems much less resource intensive. - I’m trying depth map to create bokeh and the lag to cache is annoying. Any way to cash the depth map and try different blurs without recaching? Other suggestions? Thanks for the videos!
What a great idea, having that gymnast flip over the title. lol. I think that switching back to h.264 after is good to know, but I would never switch back. The same resource hungry delivery codec that you are switching back to, depending on the video, will add time to the final render. For me H.264 is for getting the footage to your computer on a small disk and should be transcoded to an edit codec as soon as possible and left there. If then you need to render it for a delivery then, so be it. But you kind of gave the impression that the quality would be better because it is original media.I would think that you would have to be some kind of bionic eye human to see degradation from h.264 to ProRes 422. I have tested this many times and even full screen on a calibrated display, I can't see any loss of quality. What might even sell this one even better, since you got it so close to the head and letters, is to then put a little camera shake on the letters, like he just cleared them and the air made them wobble. You know of course that I still have the 2013 Mac Pro trash can and these new effects are a no-go to even try- I ordered the new Ultra Studio about a month ago. But according to Apple, I won't see it until around August 22nd. Can't wait to be able to play with these new OFX and try some of this stuff you are demonstrating. So I have all your new video tagged to go back and watch when my new system arrives. Looking forward to it. Congrats again on the 40k - I'll still be with you here when you click that youTube odometer over a 100k - I have a feeling it won't be too long of a wait. Cheers.
Can't wait till Resolve 18 comes out of Beta so I can learn to play with this sexy new tool. However I do have a problem and I'd be most grateful if you could point me in the right direction on how to learn and research my problem. I have a 50mm Siuri Anamorphic lens which is on my GH6 that allows me to use the full sensor to capture my masterpieces. I would be most grateful if you could point me in the direction of learning how to de-squeeze the footage captured on my camera because my brain is spinning with all the conflicting advice on RUclips. I have tried to follow the advice of Tito Ferradans on his Anamorphic on a Budget channel but he makes it really hard to follow him because he keeps providing conflicting examples of the maths and my brain hurts. BTW I love the small mouse graphic when you click a left and right mouse button. Very subtle but works perfectly.
I'm feeling rather smug here, Right at the start I thought 'why don't you just remove the depth map effect when he jumps the title?' Thanks for the video though Darren. Always informative and entertaining.. 👍
Hi martin. Just answered Nicholas with this but Only realised whilst recording so thought id show the process as might be scenarios where you need to keyframe eg. 2 gymnasts at different depths and you want depth to change dynamically. Thanks for watching to the end anyway!
@@DarrenMostyn Interesting point there Darren, maybe though in that scenario you would just do the depth map effect for each gymnast on their own individual clip layer and just remove it as the shot plays out in turn. Saying that there must be an instance where the depth map is animate-able comes into it's own, maybe some kind of ping pong motion. Cheers.
You couldn’t remove the depth map effect at that point because the text would disappear-covered by the top (now un-modified) clip. However, as I suggested separately, you could push opacity to zero on the upper clip to ensure no interference with the title.
@@martinclay7557 I’m only making my observation based on the example in front of us. If you’re compositing multiple figures for instance and had another layer with which to contend, then the needs would be different. At the same time, we all have to keep in mind that if for some reason the underlying color grade needs to change, then the depth map will often need to be recalibrated and the renders redone.
nice, i liked that..... now... i wonder if you want to go even further down the rabbit hole and 3d track the room, place the text in a layer in space (next to that righ curtain maybe) so that it stays in place through the movement forward and pan. that would be next level
Hi Darren. I am a fairly new subscriber. I have been using Resolve for about 3 weeks now. I am still photographer and now after 2 decades going back to edit video. I. Been watching your videos non stop! You are a great teacher and it is very pleasant to listen to you. You do remind me my photography mentor. I came to this video searching on how I could better color correct long shots where exposure and color balance change constantly using keyframes. In my case what I have are drone in auto exposure and auto WB going in and out of houses with different lighting conditions. It is a mess... I tried making a a node for WB another for exposure, and try to keyframe the changes... but somehow it is being very complicated. I tried searching for an answer and could find any good video about it. Maybe you would interested in doing it? I would love to see you approach on that. I hope I was clear enough and Thanks a lot for sharing your knowledge in such a pleasant way!
Great, just great. I’m guessing this will look even better if you could track title to position. And it will move naturally in camera when gymnast flips. Camera tracker maybe?
I realize you’re trying to teach the depth map, which is fine. This technique gets the job done. But in the real world, wouldn’t it be cleaner to push the opacity of the top clip to zero in between those two frames, so there’s absolutely no possibility of bleed through?
@@lukascampen Yes, that works as well, though if you have to slip the edit later (for instance, to better match the beat of the sound track), then it might make sense to keep the clip whole, but at this point we’re discussing personal preference workflow details which depend more on how you want to organize the edit so you can find these adjustments more easily when the client comes back a month later with changes.
You may have a small channel, for the moment, however you are having a big influence on some of the more flamboyant RUclips channels across the pond. They no longer push and pull the Curves and add a bit of contrast before resting on their laurels and basking in adulation. They are using Colour Space Transforms and Cineon Film Log nodes, which they never mentioned until way after you first discussed such concepts. The more I watch your stuff the more I begin to grasp what is in those episodes. Fusion is still evil, and I want no part of it. 🤣
@@DarrenMostyn I will try my best to tune in, especially as I'm getting brave with my first ever attempt at a colour grade for my latest project. Baby steps. 😀
Wouldn't it be easier to add an edit on the top clip where the guy clears the title and then just adjust the black in the adjust map levels area there without need for a keyframe?
Great video Mr. Mostyn. Keep up the good work. Quick question, what happens to the files after you decomposed each one, do they get automatically deleted or stay in your hard drive?
@@DarrenMostyn Thank you! I just tried it and it works pretty well. However, like you said in your tutorial, my CPU and GPU were screaming for resources.
Hi Alex. Camtasia - however that was only HD not 4K like normal as Im on my old mac pro trashcan for resolve 18 stuff (my main machine sensibly staying on R17 for now) and cant screen record higher than 1080 on that set up.
After you add a keyframe and advance the clip, DR adds a keyframe at any point that you stop advancing the clip and make a change, so why do you add a keyframe and then make the change?
My old school techniques - good practise! You are right...but I want to add the keyframe and then explore the clip further to see if any changes needed. By fixing the KF I know where my changes happen and can go easily back to that keyframe. Your way is good too
Puzzled why you didn’t just cut the top track at the point he cleared the text and the the the bottom track would automatically be behind…..much simpler and production time friendly.
the beauty of these MotionVFX titles is they are created in Fusion but you can edit in the edit page with NO fusion knowledge. Else, the tutorial works with fusion titles too. just add fusion title from the edit page.
While I think it's good to explain how to animate a depth map, for this particular effect it's overkill. It would have been much easier to simply end the foreground clip all together as soon as he clears the text. Changing opacity or anything else would just be unnecessary extra processing when everything else should already be in place.
@@DarrenMostyn lol, you are correct. I did stop watching this particular episode a little early, particularly when i saw what you were doing. I 100% get the over thinking something like this, and yes if it had been a multi gymnast situation the information would have been the way to handle it. =)
@@billyoung9538 I think a few are not watching this to the end as similar comments. Ive changed the title of it to hopefully help, but I think plenty of good information in there to leave it on RUclips. Thanks anyway Bill.
I personally think that any video that is not in perfect focus 'SUCKS'. Even Motion Blurr Sucks. I shoot 99.99% videos of TOY R/C model Planes. Some costing in excess of $20K (Turbine Jets). So when some unfortunate guy screws up and makes a SMOK'N HOLE in the ground with a $20K TOY i want every piece that's flying through air to be in perfect focus when they come jump'n outa tha smok'n hole as I single frame or do super Slo-Mo, on that video that's in perfect focus.
Great tutorial! As soon as you started doing the keyframes I was thinking "Why not just end the clip?" but by the end you read my mind!
Only realised whilst recording so thought id show the process as might be scenarios where you need to keyframe eg. 2 gymnasts at different depths and you want depth to change dynamically. Thanks for watching to the end anyway!
Lel me too! And it made me very funny when at the end of the video he also realizes the simple way but I learned a lot new stuff though, so it's worth it
Wouldn't it be even easier than the lightbulb moment to just split the text clip and move the second half to a higher video track to put it on top?
Happy RUclips Birthday, Cuz! And enjoy that well deserved vacay! 🎂
Thanks mate x
You are the best Darren. As simple as that. Greetings from Spain!
Many more happy returns of the day dear Darren
Thank you so much 😀 Livestream tonight 7pm. ruclips.net/video/kJRhDFzLfnM/видео.html
Awwww Happy Birthday Darren 🎉🎉
Birthday is in June but thanks anyway!
Just came back, realised I hadn't hit the like button. Fixed now 👍
Only humble people with sense of humour dares to upload a tutorial like this. Thanks for your amazing videos and greetings from Spain.
Thank you very much - very kind! Even pros get it wrong sometimes!! Appreciate your support and kind words after I felt quite low about this one!
Yesss!! Thank you for making this as I was one of the people asking how to make it so it jumps over the text. You're DA MASTAH!
You’re welcome! Sorry it took 6 weeks to make!! Quite a few asked the same.
@@DarrenMostyn even funnier it took 6 weeks if you think about the simple solution at the end of the tutorial. It could have just been answered in a single comment. Instead you made a full episode showing the controls :D
Brilliant! 💛✨
Thank you for sharing.
Sir your videos tutorials are good i always see easy to understand
First time I've come across your channel, and Oh GOD I love your content. This is spot on. Congrtz on the 50K - I'll be here when you have a 100K Next year!
Much appreciated my friend!!
Well I learnt that you could right click the key frame marker to change the ease in or out.. 🤯. I've been going through the expanding of the clip key frame dialogue to do this.. So much easier.. Thanks..
Great vid Darren. It's funny because i'm sitting here watching and talking to the screen saying why don't you just trim the clip when you come back in and do exactly that. Lol. And say hi to Lucy for us...
I render in place all the time when doing any FX. It is a habit I got using an Adobe Premiere - After Effects workflow as Bridge was garbage and comps would fail and sometimes not be recoverable. In adobe I rendered every effect out to Media encoder so of course I was excited when I realized I could do the same much easier right on timeline. I render them to ProRes 422 10bit .
Good advice although i think adobe prob needs that backup more than resolve
Darren, what g r e a t tip for dynamic zoom effect ♥️
Nice one . That gave me a lot of ideas. Thanks..
Like the end of the video ! Yes, I'm a little bit lazy :-D . Yet another great content !
Glad you liked it! was literally nearly finished....too much concentration on getting it right for youtube I think! Didnt want top throw the front info away though - render in place etc. all useful
One question for a potential future video - when Depth Map and Magic Mask don't do the job properly, what is the most organized way to fine-tune the matte/mask by hand? I know how to do it in a clumsy way (merging in other power window nodes in the Color page), but that gets very clumsy very fast, esp. when manual painting on just a handful of frames is needed, and basic shapes don't cover it.
Your explanations are great, even as a starter i got the idea, thy
Glad to hear that!
Good catch. I usually have my OMG moments when waking up in the morning, or in the shower!
Thanks Mike.
this is awesome, thanks for the tip
No problem!
haha, i am watching this with headphones on and then your phone rang i went to answer mine and thought, hey its not displaying a call ...cool video
Thanks Ste., Glad u like it
Another Fantastic tutorial thank you, Daren.
Thanks Michael.
Thanks! I’m a fan. 2 questions:
- would this (jump over the title) have been easier and clearer with a magic mask on the gymnast rather than depth map? Seems much less resource intensive.
- I’m trying depth map to create bokeh and the lag to cache is annoying. Any way to cash the depth map and try different blurs without recaching? Other suggestions?
Thanks for the videos!
What a great idea, having that gymnast flip over the title. lol.
I think that switching back to h.264 after is good to know, but I would never switch back. The same resource hungry delivery codec that you are switching back to, depending on the video, will add time to the final render. For me H.264 is for getting the footage to your computer on a small disk and should be transcoded to an edit codec as soon as possible and left there. If then you need to render it for a delivery then, so be it. But you kind of gave the impression that the quality would be better because it is original media.I would think that you would have to be some kind of bionic eye human to see degradation from h.264 to ProRes 422. I have tested this many times and even full screen on a calibrated display, I can't see any loss of quality.
What might even sell this one even better, since you got it so close to the head and letters, is to then put a little camera shake on the letters, like he just cleared them and the air made them wobble.
You know of course that I still have the 2013 Mac Pro trash can and these new effects are a no-go to even try- I ordered the new Ultra Studio about a month ago. But according to Apple, I won't see it until around August 22nd. Can't wait to be able to play with these new OFX and try some of this stuff you are demonstrating.
So I have all your new video tagged to go back and watch when my new system arrives. Looking forward to it.
Congrats again on the 40k - I'll still be with you here when you click that youTube odometer over a 100k - I have a feeling it won't be too long of a wait. Cheers.
@@DarrenMostyn Oh dear, hope it's not something I said. I think for people learning keyframing and design choices , it's is a good resource.
Ive changed it into a positive!
Can't wait till Resolve 18 comes out of Beta so I can learn to play with this sexy new tool.
However I do have a problem and I'd be most grateful if you could point me in the right direction on how to learn and research my problem.
I have a 50mm Siuri Anamorphic lens which is on my GH6 that allows me to use the full sensor to capture my masterpieces.
I would be most grateful if you could point me in the direction of learning how to de-squeeze the footage captured on my camera because my brain is spinning with all the conflicting advice on RUclips. I have tried to follow the advice of Tito Ferradans on his Anamorphic on a Budget channel but he makes it really hard to follow him because he keeps providing conflicting examples of the maths and my brain hurts.
BTW
I love the small mouse graphic when you click a left and right mouse button. Very subtle but works perfectly.
I'm feeling rather smug here, Right at the start I thought 'why don't you just remove the depth map effect when he jumps the title?'
Thanks for the video though Darren. Always informative and entertaining..
👍
Hi martin. Just answered Nicholas with this but Only realised whilst recording so thought id show the process as might be scenarios where you need to keyframe eg. 2 gymnasts at different depths and you want depth to change dynamically. Thanks for watching to the end anyway!
@@DarrenMostyn Interesting point there Darren, maybe though in that scenario you would just do the depth map effect for each gymnast on their own individual clip layer and just remove it as the shot plays out in turn.
Saying that there must be an instance where the depth map is animate-able comes into it's own, maybe some kind of ping pong motion.
Cheers.
You couldn’t remove the depth map effect at that point because the text would disappear-covered by the top (now un-modified) clip. However, as I suggested separately, you could push opacity to zero on the upper clip to ensure no interference with the title.
@@waveland Wouldn't that depend on the order of your (gymnast) layers?
@@martinclay7557 I’m only making my observation based on the example in front of us. If you’re compositing multiple figures for instance and had another layer with which to contend, then the needs would be different. At the same time, we all have to keep in mind that if for some reason the underlying color grade needs to change, then the depth map will often need to be recalibrated and the renders redone.
nice, i liked that..... now... i wonder if you want to go even further down the rabbit hole and 3d track the room, place the text in a layer in space (next to that righ curtain maybe) so that it stays in place through the movement forward and pan. that would be next level
Let me know once you've done it!!
@@DarrenMostyn need to find similar footage, my days doing backflips are long gone. challenge accepted though
@@DarrenMostyn here ya go. ruclips.net/video/_SYhvT5RviQ/видео.html
@@DarrenMostyn ok its done, but ive no way of letting you know as urls are removed from comments
Hi Darren. I am a fairly new subscriber. I have been using Resolve for about 3 weeks now. I am still photographer and now after 2 decades going back to edit video. I. Been watching your videos non stop! You are a great teacher and it is very pleasant to listen to you. You do remind me my photography mentor.
I came to this video searching on how I could better color correct long shots where exposure and color balance change constantly using keyframes. In my case what I have are drone in auto exposure and auto WB going in and out of houses with different lighting conditions. It is a mess... I tried making a a node for WB another for exposure, and try to keyframe the changes... but somehow it is being very complicated. I tried searching for an answer and could find any good video about it. Maybe you would interested in doing it? I would love to see you approach on that. I hope I was clear enough and Thanks a lot for sharing your knowledge in such a pleasant way!
Thank you Enrique. Watch this video - should help.ruclips.net/video/Wr_fiAxq-sE/видео.html
This is great
Really enjoying your channel! My biggest challenge is color grade and correction 😐👈
Thats what im here for.
Great, just great. I’m guessing this will look even better if you could track title to position. And it will move naturally in camera when gymnast flips. Camera tracker maybe?
yes can be done. Glad you like it. Dont miss my livestream on Tuesday June 28th 7PM BST.
@@DarrenMostyn Thanks, Darren, I'll try not to miss it.
I realize you’re trying to teach the depth map, which is fine. This technique gets the job done. But in the real world, wouldn’t it be cleaner to push the opacity of the top clip to zero in between those two frames, so there’s absolutely no possibility of bleed through?
or even make a cut and delete the second part, right?
@@lukascampen Yes, that works as well, though if you have to slip the edit later (for instance, to better match the beat of the sound track), then it might make sense to keep the clip whole, but at this point we’re discussing personal preference workflow details which depend more on how you want to organize the edit so you can find these adjustments more easily when the client comes back a month later with changes.
That's exactly what I thought while watching the video!
You may have a small channel, for the moment, however you are having a big influence on some of the more flamboyant RUclips channels across the pond. They no longer push and pull the Curves and add a bit of contrast before resting on their laurels and basking in adulation. They are using Colour Space Transforms and Cineon Film Log nodes, which they never mentioned until way after you first discussed such concepts.
The more I watch your stuff the more I begin to grasp what is in those episodes.
Fusion is still evil, and I want no part of it. 🤣
Thanks Frank. Appreciate your input as always. See you Tuesdays livestream ?
@@DarrenMostyn I will try my best to tune in, especially as I'm getting brave with my first ever attempt at a colour grade for my latest project.
Baby steps. 😀
Good tutorial, but can you make the text track to the scene and calculate the shadows like the 3d tracker ae camera does?
Bro, my request for the iPhone footages tutorial of color grading 🙏
Render, add effects and kfrms, then decompose to original..wow..
It's seems so logical NOW but that didn't occur to me at all. Duh
Thnx D
Wouldn't it be easier to add an edit on the top clip where the guy clears the title and then just adjust the black in the adjust map levels area there without need for a keyframe?
My solution at the end of the video is easier than that.
@@DarrenMostyn HA sorry I stopped after the effect cause I already knew how to relink the old footage.. my bad.
Hey Darren, great video as always...
Is there a way to use the depthmap information as a alpha matte in the color page?
yes just take the key output and feed it to a new node. (blue output).
Great video Mr. Mostyn. Keep up the good work. Quick question, what happens to the files after you decomposed each one, do they get automatically deleted or stay in your hard drive?
No you have to delete them, but you can delete all render cache, or delete the folder where you specify
these files go. Hope atht helps.
@@DarrenMostyn Thank you! I just tried it and it works pretty well. However, like you said in your tutorial, my CPU and GPU were screaming for resources.
make a video about transitions and bundle pack specifically to DaVince.
as you asked so nicely!
@@DarrenMostyn just switched to DaVince. Great content you have on your channel.
you can make it easier, just cut the top video on that frame and you don't have to bother with the depth map) use it!)
I did that ?
@Cole Manning have you watched the entire episode - it is done at the end. Hope that helps.
sir how to color grade a black & white clip can u make a tutorial
noted!
Great tutorial, as always, Darren! May I ask, what do you use to screen record your videos and how do you do the cursor zoom? Thanks!
Hi Alex. Camtasia - however that was only HD not 4K like normal as Im on my old mac pro trashcan for resolve 18 stuff (my main machine sensibly staying on R17 for now) and cant screen record higher than 1080 on that set up.
After you add a keyframe and advance the clip, DR adds a keyframe at any point that you stop advancing the clip and make a change, so why do you add a keyframe and then make the change?
My old school techniques - good practise! You are right...but I want to add the keyframe and then explore the clip further to see if any changes needed. By fixing the KF I know where my changes happen and can go easily back to that keyframe. Your way is good too
Puzzled why you didn’t just cut the top track at the point he cleared the text and the the the bottom track would automatically be behind…..much simpler and production time friendly.
I did.
How works if you want to make Title Tracking in fusion?
the beauty of these MotionVFX titles is they are created in Fusion but you can edit in the edit page with NO fusion knowledge. Else, the tutorial works with fusion titles too. just add fusion title from the edit page.
While I think it's good to explain how to animate a depth map, for this particular effect it's overkill. It would have been much easier to simply end the foreground clip all together as soon as he clears the text. Changing opacity or anything else would just be unnecessary extra processing when everything else should already be in place.
If you watch the end i did that? The point is you might have 2 gymnasts different depths
@@DarrenMostyn lol, you are correct. I did stop watching this particular episode a little early, particularly when i saw what you were doing. I 100% get the over thinking something like this, and yes if it had been a multi gymnast situation the information would have been the way to handle it. =)
@@billyoung9538 I think a few are not watching this to the end as similar comments. Ive changed the title of it to hopefully help, but I think plenty of good information in there to leave it on RUclips. Thanks anyway Bill.
@@DarrenMostyn It's all good. I enjoy this channel a lot, because there is stuff for people of all skill levels. Keep up your great work! :)
Darren, do you have preference for render in place vs proxies?
depends on situation. render in place I usually leave it there permanent so I do at high res. as a colourist I dont need proxies
@@DarrenMostyn Got it. Makes sense. Thank you for the response. :)
@@quicktastic welcome.
I personally think that any video that is not in perfect focus 'SUCKS'. Even Motion Blurr Sucks. I shoot 99.99% videos of TOY R/C model Planes. Some costing in excess of $20K (Turbine Jets). So when some unfortunate guy screws up and makes a SMOK'N HOLE in the ground with a $20K TOY i want every piece that's flying through air to be in perfect focus when they come jump'n outa tha smok'n hole as I single frame or do super Slo-Mo, on that video that's in perfect focus.
haha nice1