Compositing

edited February 2017 in Pro Support

Hi

 I'm not sure about the workflow for the projects I'm working on. I write my own music and record all the parts into a sequencer. I then record a video of me performing the song lip sinking to the backing track I have previously made. This video can amount to many takes so I will edit out certain sections I want to use in the Edit timeline in HitFilm Pro 2017.  Can someone give any ideas about the  clips that I  convert into a composite shot from the edit timeline, do they all have to be on separate  composite timelines or can I arrange them to be in the same timeline. There seems to be many options here that I find confusing, bearing in mind all these clips have to to be synced up to the music track and I do that by nudging the the track till I hear and see they are in sync, long winded but for me it works.

Michael Blount

Comments

  • Triem23Triem23 Moderator
    edited February 2017

    Hey, Michael,

    Suggestions:

    Work in the editor timeline first to nudge, trim and time out your edit. Finalize that before you worry about composite shots. That way your lipsynch will be locked. Besides, it's easier to work with audio in the editor timeline than a composite shot.

    Aiden at Digital Blast has a quick video on how he uses colored planes as DIY markers in the edit timeline. This might be useful to you in blocking out zone. A variation of this is to use composite shots to create text notes you can overlay. This might help you plan out where you'll need to create composite shots for vfx. (i.e. you might make a text label for "atomic particles thing goes here.").

    You can add effects directly to clips in the editor timeline, so for basic grading you might be able to do everything there--unless you want to keyframe animate effects, in which case you'll have to go into Composite Shots.

    The difference between Editor Timelines and Composite Shots: The editor timeline is for arranging media clips into a final sequence. Composite Shots are for heavy VFX and animation to create a final media clip for the Editor Timeline. The Editor is "track based," where you can have multiple media clips on a single track. Composite Shots are "layer based," where you can only have one media clip on a layer. The Editor Timeline treats a Composite Shot just like a video clip, so you can trim stack and move around composites in the editor like any other video.

    From the editor timeline, you can only convert a single clips at a time into a Composite Shot. If you need to have, say, three editor clips in a row in a Composite Shot I'd create a new Composite Shot, then cut/paste editor clip 1 onto a layer, then cut/paste editor clips 2 and 3 onto layers, edit the composite shot length to the needed time and drag the comp shot into the editor timeline where the orignal three clips were and give it a quack watch to make 100% certain I didn't paste something in the wrong order or time and mess up the synch. Then I'd go back into my Comp Shot and start adding effects.

    If you're thinking of using a Comp Shot to grade the entire video--well, then every edited clip has to be it's own layer. This can be tedious to set up.

    Remember--once you'd created effects for a layer, that setup can be saved as a preset (presets can only be saved in a Composite Shot) to apply to other layers and clips (presets can be applied in the editor timeline)... From there, it's pretty fast to copy a preset to multiple clips.

    I'll cheerfully plug my new tutorial channel here, since a lot of what I typed above is already covered in my exisiting tutorials (and the rest within the next three weeks). From that channel I have playlists which can help you find other tutorials from Hitfilm, inScape Digital, Digital Blast, Hitfilm Sensei, Shiny Films, Red Alert! and other tutorial creators. So if I don't have the tutorial you need, it'll be easier to find someone else's.

    https://www.youtube.com/channel/UCoxIFCFVZMs0-JSrrZREZdQ

    P.S. I unbolded your original post. A full paragraph in bold is a bit "shouty."

  • Hello  Triem

     Thank you very much for taking the time to explain what I wanted to know and more. 

    Michael

  • Michael,

    No worries, sir, we're a very friendly and helpful community. 

    Don't forget to post it here when it's done, and, if you have any other questions feel free to ask. 

  • Hey, Triem23,... wow - finally some clarification;  thank you.

     

    Yeah, the handy 'User Guide' tells us what can be done - but not really how to do it.  If you made an extensive video, using the above explanation as your script, that would clear up a bunch-o-stuff.

  • @DesignR I'll just point you to the YouTube channel link, above as well. A lot of the above is already in my completed tutorials (like the discussion between Editor vs Composite Shot timelines) and the rest will be covered eventually. :) 

    If all continues according to plan, within the next three months I should have a fairly complete coverage of all Hitfilm's major features! 

    Audio tutorial coming Friday! 

  • @Triem23 Your scopes tutorials were really good, so you've set the bar high for yourself ;)

    Definitely looking forward to more... I'm primarily a cinematographer, and I've color graded most of the shorts I've filmed,  but I don't have that much knowledge/experience in VFX yet, which I am hoping to change in the near(ish) future. 

  • I have another question, about editing.  I notice that when I cut an unwanted shot, from a video, and replace it with a different shot, seemingly the same length,... there is a ghost few frames remaining, when I use a cross dissolve, from what was (I thought) cut.  Is this normal, forcing me to cut into footage I want to keep, in order to remove it, or is there a different solution?

  • @DesignR Basically yes that's normal. If there are trimmed frames available and the transition you use wants to extend Clip A into Clip B for the transition it will pull trimmed frames to do so. 

  • edited February 2017

    so guys can we expect so see markers and regions in Editor and compositor for updated versions of hitfilm.  they simply save a lot of time when you cut to markers and regions because mentally you get to see and maintain the big picture while still focusing on individual shots and sequences at the same time.

    if i may please suggest  an option moving forward 

    lets take a normal workflow, i import my media BUT NOW I can arrange in sequence of events already in my imported media bin = shuffle around move this clip up down etc and then select all and dump on the time line. THIS WE CAN DO BUT CANNOT SHUFFLE . I DO NOT WANT TO WAST TIME SHUFFLING ON THE TIME LINE

    so i get the footage according to the shot list but the shot list is not in sequence. I edit according to the script so the script says shot 24 then shot 6 then shot 12. so i re-arrange according to script IN THE MEDIA BIN and don't care about filmed sequence. i can't change the shot list name/number because that is how it was filmed and i need that NUMBER /NAME to follow the scripted sequence. 

    then finally markers this is so important because it puts a visual marker for audio ...we really need this

     

  • @rorycooper I suggest throwing your suggestions in the official, dev-moderated Wishlist Thread since that is checked and re-checked regularly.

    FxHome does not comment on possible future updates and features to Hitfilm, so if they add markers, we aren't going to know about it until it's implemented and released. Otherwise, I think you'd been directed to Aiden's tutorial for his colored plane markers workaround? I'll just add it here again. A variant of Aiden's trick I use is to create quick text objects in Composite Shots and drop them in instead of planes, using Rate Stretch to drag them out, if needed.

    https://www.youtube.com/watch?v=IwLX7QdipQc&t=2s

     

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