on Dec 22, 2017 at 3:27:09 pm Last Edited By Michael McCune on Dec 22, 2017 at 3:34:44 pm
Often a node on a clip timeline will need many keyframes, dozens or more, perhaps where tracking itself, with its Clip and Frame options, might not be preferred.
So: How to deal with a timeline filled with a great many keyframes when-- surprise!-- a window adjustment needs to be made and must apply to all of them???
For example, a window with Inside and Outside or softness settings is created and keyframed throughout the timeline. Then those many keyframes--perhaps a great many more than first anticipated--are found to need some common adjustment. Now that adjustment must be applied to each one of them independent of the others.
So, lots of node keyframes each needing the identical adjustment, say a change in the Inside or Outside or Softness setting.
In the Tracking pane there is the option of making a change which is applied to ALL the tracking keyframes. This adjustment is applied to a window position and its settings through the entire timeline. Thus a Clip mode change of, for example, the Inside parameter of a window or the size or position of that window, ripples throughout the timeline.
Feature Request: provide a Clip and a Frame option for each node such that Clip mode changes are applied to all the node keyframes on that timeline.
Often I create a pair of nodes with the first node holding the window and that key then feeds a second node where other non-window adjustments, such as color, are made. Here in the second node a single adjustment would apply to the first node window and all its keyframes.
Nevertheless, any adjustments to the first node window parameters would still need to be addressed by going into each one of possibly a large number of keyframes.
If only there was a Clip mode available which would apply any window adjustment to all the timeline keyframes simultaneously. And, of course, the corresponding Frame mode option would also be available to apply changes only to the selected single keyframe.
I think the answers to your questions boil down to: you need to examine your philosophy of color correction and how you approach the problem, and alter that to fit the software. Don't expect that the software will alter itself to what you need. This is also true for Baselight, Lustre, Mistika, Pablo, and everything else out there, not just Resolve.
I find for tracking, sometimes I can get a fairly decent track completely automatically; sometimes it only works for part of the clip; and sometimes it requires total frame-by-frame roto. It is what is is. I try to make the right decision for aspects like softness and shape and get them right the first time, so I don't have to worry about having to change it mid-way through the shot.
Sometimes, multiple shapes work better than a single shape, particularly when you're working on a tight deadline. I have a couple of pre-made shapes that I use that will fit a lot of shots (for example, head and shoulders), and this seems to help.