Frame reordering davinci что это
кто может нормально перевести
If you’re having problems with your audio or video, making some changes to your video will usually solve the issue.
Audio and video are out of sync
Make sure the duration of your audio and video tracks are the same. For example, if your audio is playing for 40 seconds but your video is playing for 50 seconds, that could be the cause of the problem.
You can use a third party video editor like Windows Movie Maker or iMovie to change the length of your audio and video tracks.
Step 1: Open your file with a video editing tool like iMovie, Final Cut Pro, or Quicktime Pro.
In iMovie, select Share > Export Using QuickTime
In Finalcut Pro, select File > Export > Using Quicktime Conversion
In QuickTime Pro, select File > Export > Export: Movie to QuickTime Movie
Step 2: Next, verify your settings by clicking Options
Compression Type: H.264
Frame Rate: 30 is preferred. 23.98, 24, 25, 29.97 are also acceptable.
Data Rate: Automatic
Key Frames: Automatic
Frame Reordering: Unchecked
Audio/Sound settings
Format: AAC
Click Show advanced settings and choose Constant Bit Rate as encoding strategy
Other settings
Size: Choose the original size of the video
“Prepare for Internet Streaming”: Fast Start
ПРоблемы аудио/видео.
Если у Вас проблемы с аудио или видео, то внесение некоторых изменений в видео обычно исправляет проблему.
Аудио и видео не синхронизированы.
Убедитесь что продолжительность аудио и видео одинаковы. Например, если продолжительность аудио 40 секунд, а видео 50 секунд, то это может вызвать проблему.
Вы можете использовать сторонний видеоредактор, например Windows Movie Maker или iMovieчтобы изменить длинну Ваших айдио- и видеодорожек.
Другие проблемы
Шаг1:Откройте Ваш видеофайл редактором, например iMovie, Final Cut Pro или Quicktime Pro.
В iMovie выберите Share > Export Using QuickTime
В Finalcut Pro выберите t File > Export > Using Quicktime Conversion
В QuickTime Pro выберите File > Export > Export: Movie to QuickTime Movie
ШАг 2: Проверьте Ваши настройки нажав Options
Тип компресси: H.264
Частота: предпочитаемая 30. 23.98, 24, 25, 29.97 также допустимы.
Частота данных: Автоматически
Ключевые кадры: Automatic
Переназначение кадров: Отключено
Настройки аудио
Формат: AAC
Нажмите Show aдля дополнительных настроек и выберите Constant Bit Rate для декодирования
Другие настройки
Размер : Выберите оригинальынй размер видео
“ПОдготовка для интернет-вещания”: Быстрый старт
Insider
Insider
Mixing Frame Rates in DaVinci Resolve – Part 3: Editing and Interpolation
A useful method for editing mixed frame rate material is to leave the source files at their native frame rates before you start cutting. In my experience, this type of workflow is more common in the commercial post world, as leaving frame rates at their native frame rate preserves timecode consistency across the project and file(s). And in the commercial world, since many shots and sequences are sent out to other facilities or software, matching timecode is essential.
But, editing clips with different native frame rates is more tedious than simply conforming them all together with clip attributes. By default, if you edit non-matching frame rate files to a timeline, your files will playback choppy. That said, most editors don’t worry about this and just edit mixed frame rates together without realizing it. But, this method can turn into a big headache down the road.
Logging Metadata
As we’ve mentioned in previous sections, the first step to sorting out all this mixed frame rate business is to add and organize metadata. This is extra important when it comes time for editing, and can be used to help smooth out playback issues.
Percentage Metadata for Smooth Playback
Logging non-matching frame rate files is less involved than changing the simply native frame rates, but can still deliver similar results.
For this method, you’ll need to change the speed of the clips once they’re edited to your timeline, which will ensure they play back smooth. Keep in mind, it can be helpful to add those percentages to the camera notes field for quick reference, and to add the recorded frame rate (as we did earlier when changing the native frame rate in the Camera FPS field).
Go through each non-matching-FPS clip in your camera bins. Divide that FPS number by your project frame rate. Now add this percentage number to the camera notes field. For example, “40% native” for 59.94 clips in a 23.976 timeline. This is the number that you’ll use for any speed changes when editing your clips to the timeline.
This may seem tedious or unnecessary work at first, but it can really benefit the whole post process if it’s done right the first time. Having this information close at hand can really save editors a lot of time.
Camera FPS metadata
If a clip is high speed, you’ll need to read the previous section on finding and adding the recorded frame rates to the Camera FPS metadata field for your clips. This will allow you to retime clips more easily.
Re-Timing with Non-Matching Frame Rates
In contrast to matching frame rates, where you should use multiples of 100, editing clips with mixed frame rates requires you use multiples of the divided percentage number for smooth playback. If you are re-timing footage, obviously you don’t want the choppy playback, so you’ll need to use multiples of that new percentage for any speed changes.
For the 59.94p to 23.976 example, doubling that 40% slow down to 80% will, of course, speed the footage up. Now the footage will play back closer to real-time without any uneven cadences. Frames will still be thrown out, but they will be thrown out evenly, so there won’t be any jerky or skipped motion using this method. By using multiples of 40% like 80%, 120%, and so on, we can achieve smooth playback across a range of re-timed speeds.
It’s important to remember that clips with frame rates that aren’t perfectly divisible won’t playback smoothly in real-time without frame interpolation. It’s also notable that synced audio will have issues with re-timing and frame interpolation if not matched to the timeline.
Frame Interpolation
The re-timing process defines how Resolve handles any non-matching frame rate or speed change. In those settings, you’ll find options for frame blending and optical flow, which are methods of rebuilding missing frames through interpolation.
The settings for this can be found in the project settings and in the master settings. Do remember, the project settings can be overridden for any clip in your timeline with other settings.
By default, Nearest is the setting used for clips, which adds or throws out frames any time you change the clip speed or have non-matching frame rates. It’s generally a good idea to keep this setting at Nearest during editing, as the other options are more processor intensive.
However, other settings, like Optical Flow, smooth out uneven motion, speed changes, and non-matching frame rates fairly well. This setting is usually applied once an edit is closer to being finished, or to test out if optical flow work well on a particular clip. Editing with it on constantly will be a drain on your system resources, and might interrupt smooth playback.
But each of these settings behaves differently, and can be useful in certain situations, so let’s take a look at them individually
Nearest
Nearest is the default setting for retiming, and is the least processor-intensive setting when re-timing clips. You will see stuttering with fast-moving footage or using uneven speed changes, but that’s the price of faster performance.
Frame Blend
Frame Blend is generally not used that much because it creates blended frames, which are very noticeable, even to untrained viewers. If you’re going for that specific effect, Frame Blend might work. But for most situations, frame blending is probably not what you want.
Optical Flow
Optical flow can be used to smooth out the issues when converting between frame rates or changing speed. It can also make it possible to slow down footage beyond what the originally-captured frame rate allows. Optical flow actually interpolates entirely new frames, or new pixels on existing frame to fill in movement.
Resolve has various levels of quality for the optical flow process. With lower quality settings, your image might tear or start to ghost, which usually makes it unusable. But each increasing quality setting adds significant benefit (and processing load) to the end result.
Here is an example of optical flow warping.
The first clip has not been re-timed, and does not have Optical Flow interpolation. The second clip has Optical Flow applied, and has been re-timed to 130%. Notice how the drummer’s right hand warps and tears from frame to frame. In the before example, the quality has been set to the standard, and only natural motion blur is present.
If you want to improve the result, you can change the various optical flow settings in Resolve 16:
Footage with a higher shutter speed (less motion blur) usually results in better frame interpolation. However, most of the time you have the footage that you have, which was likely shot with more natural motion blue. Few productions shoot regular speed footage with higher shutter speeds intentionally, but if unless you haven’t shot yet, and plan on severely re-timing footage and using Optical Flow, try a higher shutter speed.
Enhanced Optical Flow
In Resolve 15 and higher, there are more options for Optical Flow.
Click the gear icon and Master Settings from the options, and look at top and bottom options for Frame Interpolation. You’ll see Motion Estimation Mode and Motion Range. Motion Estimation Mode has four options, listed in ascending quality, with enhanced better producing the best result. Motion Range is a setting that dictates how much motion is happening within an image, which helps the interpolation produce more believable motion blur.
Of course, the higher quality the setting, the longer the processing time. So, if you use Optical Flow, it’s a good idea to use the render cache for those clips (so you don’t have to re-render every time), or to only enable those settings once you’re finishing or ready to export.
Speed Warp
In Resolve 16, Speed Warp is a new advanced option for frame interpolation with Optical Flow. This new option is processed by Resolve’s new DaVinci Neural Engine, which uses machine learning and AI to process new video frames. It sounds fancy, and it’s results look pretty great.
Speed Warp looks much better than the Enhanced Optical Flow, but is a lot more processor-intensive.
Here is an example of the same scene from above using Speed Warp instead of the standard settings. You’ll notice there is much less warping and way better motion blur interpretation.
This new setting is set to be a game-changer for slowing footage down or complicated retime curves.
Speed Warp can really sell the illusion of ultra-slowed down footage, way beyond what your footage was probably intended for, or could believably achieve otherwise. Also if you have a complicated creative speed change using lots of curves and uneven multiples, Speed Warp can help hide any frame skipping or duplicating that might be visible.
Since Speed Warp is so processor-intensive, it might be a good idea to bake the effect in. It seems odd to render out a clip re-time as a new clip, but if you plan on using this effect a lot in a project, it can save you a lot of time.
Of particular note for this guide, Speed Warp might help with mixing frame rates together as well. While the older Optical Flow can help sometimes, it wasn’t dependable or consistent enough for a lot of professional work. But Speed Warp looks like it will greatly improve the ability to slow footage down and to mix frame rates together, so we’ll see how much use it gets for those types of projects.
Ultimately, though, it’s still important to understand how frame rates work in Resolve so that you can control the final product of your video. Having new tools like Speed Warp are helpful, but they’re of little use if not implemented appropriately. For example, in a professional setting, if you ignore our previous steps of organizing and matching mixed frame rates, and are just counting on Speed Warp to every other clip, this will probably slow down your project to an unacceptable level, especially on 4K+ footage. Just like every tool, we need to understand when to use it and when to use alternatives.
In the next edition of this series, we’ll discuss how to use all of these new processes and settings in a proxy workflow. Check out Part 4.
How to Adjust and Fix Frame Rates in DaVinci Resolve (Tutorial)
You may have noticed that while it is a powerful tool, it is not always as simple as you might expect to adjust the frame rate in DaVinci Resolve. If you are having trouble understanding how to change the timeline frame rate or even the frame rate of your clips or project itself, you are not alone.
In this article, not only will you learn how to do all of the above. You’ll also understand how to deal with a project using footage with different frame rates, and why templates come at one frame rate, while your project is at another.
Part 1: How to Set Your Project Frame Rate in DaVinci Resolve
In many projects, the frame rate will have been selected in pre-production, so this step will already be clear. If this isn’t the case for you, now is the time to decide for certain which frame rate you will use to edit and deliver your project.
Step 1: How to Choose the Right Frame Rate
Choosing your frame rate in advance will save you a lot of time from potentially having to redo work, especially since in DaVinci Resolve you cannot change your project frame rate once it’s been set. To help you to decide, you can consider the frame rate specifications for different distribution platforms.
Remember to double-check the individual delivery specifications of any film festivals, broadcasters, or theaters where you will be sharing your film project.
Step 2: Project Setup
In DaVinci Resolve, it’s important to set your project frame rate correctly; it cannot be changed after importing any media. If you have DaVinci 16, you can start a timeline with a different frame rate later, but it’s better to get the first step right and save yourself time later.
Step 3: Adjust Your Clip(s) Frame Rate
If your footage does not match the frame rate you have selected for your project, you do not have to be concerned. DaVinci Resolve is designed to automatically handle clips of different frame rates in a timeline. Resolve will ensure everything plays back at normal speed at the timeline frame rate.
As an example, if you have a 30 fps timeline and you have some clips that are 30 fps, some at 23.97fps, and some at 60fps all the clips will play at normal speed on the 30 fps timeline. To achieve this DaVinci will create extra frames for the 23.97 fps clips using the frame interpolation settings of the retime process (nearest, frame blend, or optical flow. As set in the project settings) and it will drop every second frame of the 60 pfs clips.
In some cases, this may not be what you want to achieve, for example, if you intended your 60 fps clips to be slow motion b-roll and play at half speed. In this case, you need to change the frame rate of the clip in the media pool or media tab to match the timeline frame rate using the steps below. After changing it the clip will use every frame and play at half speed on your 30 frames per second timeline. It is important to note that the audio will remain unchanged and be out of sync with the footage.
Step 4: Retime Your Clip
Step 5: Play the Same Clip at Different Frame Rates
If you want the same clip to play at two different frame rates within the same project, it’s not enough to duplicate it within the timeline. Any changes you make to one clip’s frame rate will apply to all instances of it within the timeline, even if you copy and paste it within the Edit tab before making the changes.
Part 2: Pro Tips & Troubleshooting
Maybe you’d already started to edit when you realized that your timeline wasn’t set to the correct frame rate. It used to be the case that you would need to start a whole new project with the right frame rate, but in DaVinci Resolve 16 there is a fix for this.
As you can see, there are a number of elements to consider when learning how to change the frame rate in DaVinci Resolve 16.
Now that you know more about how frame rates interact with your projects and media within DaVinci Resolve, you’re well prepared to troubleshoot any frame rate issues you might meet along the way. Also, check out a nice way to speed up your project workflows with Dynamic Project Switching in DaVinci Resolve.
How to Keyframe in DaVinci Resolve for Beginners
The term Keyframe denotes how the frame can independently change the parameter values in a video clip in a hassle-free manner. A keyframe is actually a frame that denotes the start as well as end of the changes incurred in respect to a certain set of parameters. The term Keyframing is a core concept of animation and filmmaking that focuses on the beginning and ending point on the desired video clip. In professional terms, these drawings or images are referred as frames. (Source: Wondershare Filmora)
In film, compositing is the process or technique of combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Live-action shooting for compositing is variously called “chroma key”, “blue screen”, “green screen” and other names. That’s how most superhero movies like Superman and Marvel’s Infinity War came to life!
To create a breathtaking visual effect like that, keyframing is one technique you should know. And we’re going to know how to do that moments from now!
Fortunately, with DaVinci Resolve, we’re able to create incredibly stunning visual effects with its Fusion Feature! Fusion’s node based interface and true 3D workspace lets you composite images on top of each other to create sophisticated effects. Nodes are powerful because they can be connected together in a flow chart style, making it easy to see the entire composition and quickly make changes.
Working with nodes in Fusion is much faster than hunting through stacks of confusing layers and filters! We can also do Spline Based Motion Graphics for our animation with the Spline tool! Serious motion graphics artists need powerful animation and keyframe tools. Fusion features an incredibly advanced curve editor that lets you create linear, bezier, and b-spline animation curves. There are even specific tools to loop, reverse, ping pong, move, stretch and squish keyframes so you can quickly make sophisticated animations!
If you’re completely new with DaVinci Resolve’s Fusion, there’s no need to worry! Here’s a helpful guide in using DaVinci Resolve’s Fusion.
Without further ado, let’s get in and start keyframing!
There are a few tools that DaVinci Resolve offers that we can use inorder to keyframe our videos. We can keyframe using Inspector, the Keyframes tab, and the Splines tab.
Before that, there are a few things we need to know:
Adding Tools
In order for us to keyframe our video, we’re going to need to add another video effect which we can keyframe on. Here, I’m going to use the Crop tool to achieve a Pan video effect.
A new node named Crop will immediately appear. We will be able to adjust our parameters in the Inspector found at the right.
You can animate almost over any parameter that you see when you select a tool. The clue of this is the diamond icon on the right. The parameter has a diamond that you can use to keyframe over at anytime.
Downscaling a Video
Before we start keyframing, I’d like to point out the fact that this stock video has a resolution of 3840 x 2160. It’s a 4K video, and we will be down-scaling this video to fit a 1920 x 1080 frame to create the Pan Effect. You can find the resolution if you scroll up the viewer.
Since we downscaled our video, it now only shows a portion only (notice that the shoulder is now only seen instead of her entire upper torso). We’ll take advantage of this setting and create a panning video effect!
Now, let’s get into the interesting part!
Keyframing with Inspector
Before anything else, let’s reset our X Offset back to back to 0. Since no keyframes were added yet, we can simply input 0 to our X and Y Offset.
Just right below the viewer is the timeline of our video frames. Here, we will be dragging our playhead throughout this timeline to set keyframes.
If you want to do the same thing you did with your X Offset to your Y Offset, you should go back to the first frame, right-click on Y offset and select animate. Now, it has its own keyframe. you can see the keyframes on the timeline indicated by short white lines.
This means there’s an in-between interpolation. So just like any other program that you use in animation, animation curves, or also called graph lines are run through the keyframes to determine the in-between values. You can use these arrows to jump to the next and previous keyframe for that parameter.
If it seems quite awkward, or you’re not quite satisfied yet, you can always adjust your keyframes back. You can go back to the existing keyframe and adjust the values. You can also add additional keyframes by dragging your playhead through your timeline and make adjustments to your parameters.
OR, if you decided you don’t like that keyframe, you can right click over the parameter and choose to remove that key completely
Another thing you could do is force in a new keyframe without changing the value. Simply drag your playhead to your desired frame, right click on your parameter and select set key. A new keyframe is laid down with the current values of your parameters.
If you decide you don’t want any animation at all, you can simply right click and go down to Remove. you’ll see that it says RemoveCrop1YOffset. That’s the tool name, and the parameter name. If you select this option, it destroys the animation curve and all the keyframes for that particular parameter.
After adding a few keyframes to my timeframe, here’s what my edit now looks like:
Right now, our video seems quite jerky. Its panning isn’t quite smooth as it is. This is because you are limited to what you can do in terms of adjusting the animation by just using your timeline and the Inspector. In order to finesse this, we can use the Splines or the Keyframes. Let’s venture first the Keyframes tab.
The Keyframes Tab
To do more fine-tuning with our animation, the Keyframes tab is there for our needs.
As a matter fact, keyframes between the parameters don’t have to line up. This allows you to change timing. When the keyframes are further apart, that means the value change in between them happens at a relatively slower pace. On the other hand, when the keyframes are close together, that means the values change between sets the keyframes happens relatively at a faster pace.
To conclude, the keyframes editor is great for affecting your overall timing.
If you want to fine-tune the animation to make the change value much, much smoother, you need to go to the Spline editor.
Splines
As soon as you open up the Splines tab, you can see there’s nothing in there.
The animation curve is used to determine the in between values. With the header like this, value runs up and down and time runs left to right. You can select the keyframes and drag and move them left to right to your time, or up and down to change the value.
Keyframes have two handles that appear beside them. you can move those two to affect the shape of the curve. If you want the animation curve to be less linear, and more of a smooth spline, you can click and drag the tangent handle ends.
Now, as we smooth out our lines and playback our edit, you’ll slowly notice that our motion is now a bit smoother, and no longer have that linear jerkiness anymore.
The spline editor is similar to spline or curve editor you might find on other programs where you can create animation. With splines, were able to transform our panning video effect into this!
That’s about everything you need to know about keyframing in DaVinci Resolve. Although it takes some time and practice to master the art of keyframing, knowing the basics is always the best way to start!