Tracker fundamentals in DaVinci Resolve 11 involve correction of the automated tracker, which this online tutorial coverscovers. Select Show Track to display the line that the tracker follows. Moving the shape will also move the track without changing its motion. Select portions of the tracker window to delete select frames. Resolve will automatically interpolate between the remaining portions of the tracker window, which makes it easy to remove any bounce or jitter from the tracker.
- With a basic sense of how the tracker works with a power window, and how every power window has its own dedicated tracker, let's take a closer look at the interface. We've already looked at the analysis tools and how we can turn them on and off, we've looked at how we can track forward and track backward, and even start tracks in the middle of a shot and pick them up going forwards and backwards. Let's click on this power window to activate its track. What if I want to clean up a track? What if there's a bounce in here that I don't particularly care for? Like, let's say right here is a bounce I don't care for, and I want to get rid of these middle couple frames here and just have Resolve kind of interpolate across these couple frames? In reality, it's not a problem with this shot, but it's really tough to break the tracker nowadays.
So I'm just going to have to simulate a problem. Well, the first thing we can do is, take a look at what the track actually looks like. If I come to this pull-down menu here, and select Show Track, I'm going to get a little line. This little line here shows me what the track looks like. If I hit Play, you'll notice that the center point of this shape is going to follow this line. Let me turn on loop and hit Play. (chuckles) That's pretty nifty, right? Then, as I move this shape around, I'm also moving the entire track with it.
So doesn't matter, once I track a shape, I can move this over here, hit play, and it's going to follow the exact same movement we had before, following this basic track. I'll put it back on top of his nose here. All right, so we're following our singer again. What I'm going to do is, take a look down here at my graph. It's these couple frames right here that I want to clear out. What I can do is, just click and drag on this graph, anywhere I want.
But what I want to do is, just kind of pull in the frames that I want to get rid of. So I've created this bounding box. Now, when I tell it to, it's going to delete the tracks inside this bounding box. Now, I can't actually just delete for tilt and leave it for pan, zoom and rotate. Doesn't work that way. The bounding box, no matter where I put it, is going to delete ... When I tell it to, it's going to delete that range for all four of these parameters. I'll come up to this pull-down menu and select Clear Selected Keyframes.
These are my selected keyframes, and I'm just going to clear all of them, not just the ones that I bounded. Boom, now you can see how all four of these tracks have been cleared out. Now you could also see up here on the wireframe, the wireframe is showing, "Hey, I've got no tracking data in here." And what's it going to do if I just go frame by frame? You're going to see it interpolate across those two end points. Really powerful feature. If there was a bad bounce in here and it revealed the track, I could just get rid of that bounce and Resolve will interpolate between the two good points.
I'll hit play, let me get rid of the wireframe and hit play. All right, and you can't even tell that I went ahead and deleted a little section in there. Let's turn the wireframe back on. Another thing I can do is, let's activate this guy here and go ahead and Clear Track Data. When I do that, I can clear it for all of my windows or just one set of my windows. Now, it's probably going to also clear not only for this guy, but for him as well.
Let's go ahead to clear. And yeah, it lost it for both of them, because they're both circle windows. I'll undo. Now, if I were to select this window, use the pull-down menu and select Copy Track Data, guess what's going to happen when I come to this window, activate it, and Paste Track Data? You got it; two windows doing the exact same thing. Really useful for, like, a car commercial or something like that, where you got a big object that's all moving in the same basic direction.
You track it once and you can apply that track to other masks that you're using to mask out other elements of that bit. I'll go ahead and undo this, so we're back to where we were. Let's go back to this windows track here. Let's come to this section in the middle here, where there is no tracking data. I can actually insert a keyframe in here by coming out of clip mode and moving into frame mode. I activate the frame.
Now if I click and drag and move this wireframe, I'm actually inserting a key point here. Let's put it over there, and if I go back a frame, you can see how, right in here ... Look, I've got a little dot in here of brightness, showing me, "Hey, I've actually got some tracking data in there, "so I'm going to interpolate between this end point "on the left and then this center point, "and I'll interpolate going to the right." And now I've built a little bump in there. Really tough to see unless I go frame by frame.
I go frame by frame, there it is. This goes so quick. Notice, when I'm in frame mode ... I'll sit back on that. It's not moving the entire track. You're not seeing the track move with it. It's just moving that one frame that we're talking about. Of course, if I want to get rid of it, I just put a little bounding box there, Clear Selected Keyframe, and I just got rid of that. If this whole bounding box thing seems a little imprecise to you because it's tough to define where exactly one frame starts and another frame begins, and you want a little bit more precision ...
I'm going to click in the graph to make that disappear. We've got these keyframes controls down here. What I've got is this diamond for adding a keyframe, and this little icon that looks like a bezier icon but really is just an interpolation icon. The concept is, I create two keyframes and then it'll interpolate between them. Let's imagine, for a second, I want to get rid of this hump in here. I can precisely move to the frame I want to start the interpolation, I'll add a keyframe, then I'll come to the other side, where I want the interpolation to end, right there.
I'll add another keyframe. And now I'll click this button. Notice it's just going to straighten the lines out and do a direct interpolation, just like if I had done a bounding box and did a delete, except I've got precision now, knowing precisely which frames it is I'm deleting through this interpolation. I'll click this button. Notice it doesn't really disappear the track, either, just straightens out the track. In here, we're deleting the track, and it's interpolating from the end of one track and the start of the next. Here, we're adding two keyframes and flattening out the track.
It's a bit of an esoteric difference, but it does look a little bit different when we look at this little track line here, as opposed to just bounding box, Clear Selected Keyframes, and now it just disappears up here. I'll undo that. If you find yourself needing to get rid of these keyframe marks, there's no real easy way. I can get rid of one keyframe mark or another, but not both. I can't actually click and drag these in order to move them, a frame one way or two frames the other.
Not like here in the keyframe editor. We have a lot of precision control over our keyframes. We'll be talking about that in a later chapter. I don't have that kind of control here, when working with these keyframes in the tracker. If I want to get rid of one of these keyframes, I just sit on one keyframe, click, and it'll get rid of the one I'm not sitting on. But what it won't do is, if I click again, it's not going to get rid of the keyframe that I'm sitting on. If I go to a different point, add a keyframe, click again, it'll get rid of the one I'm not sitting on, but I can't delete the one I am sitting on.
The one workaround I have discovered is to clear the track data completely, and then undo, command + z. There we go, it's gone. There you go, a bit of a workaround to a visual interface problem. Now, as powerful as all of this looks, we still haven't talked about interactive mode. You're going to want to check out interactive mode, because it takes this kind of work we've been doing here in the tracker to a whole new level.
In these tutorials, indie-feature-film and broadcast colorist Patrick Inhofer guides viewers through color grading with DaVinci Resolve and Resolve Lite 11. With emphasis placed on real-world techniques and workflows, the course will help editors and aspiring colorists edit in the timeline, perform primary and secondary color corrections, match shots from multiple cameras, create mood-rich looks, and render out movies to share with clients. Interspersed throughout the course are "lingo" movies, which will help you learn the language of colorists, and "in action" chapters, where Patrick applies the lessons learned to a real-world music video for the band Minimus the Poet.
- Building a Revolve system
- Comparing Resolve and Resolve Lite
- Tweaking preferences for better performance
- Getting clips, timelines, and projects into Resolve
- Editing footage in Resolve
- Evaluating images like a colorist
- Working with serial nodes
- Making contrast and color adjustments
- Making targeted secondary corrections with keys and shapes
- Creating looks with third-party plugins
- Matching shots
- Rendering, delivering, and archiving footage