However, other settings, like Optical Flow, smooth out uneven motion, speed changes, and non-matching frame rates fairly well. It’s generally a good idea to keep this setting at Nearest during editing, as the other options are more processor intensive. Do remember, the project settings can be overridden for any clip in your timeline with other settings.īy 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. The settings for this can be found in the project settings and in the master settings. In those settings, you’ll find options for frame blending and optical flow, which are methods of rebuilding missing frames through interpolation. The re-timing process defines how Resolve handles any non-matching frame rate or speed change.
It’s also notable that synced audio will have issues with re-timing and frame interpolation if not matched to the timeline. 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. By using multiples of 40% like 80%, 120%, and so on, we can achieve smooth playback across a range of re-timed speeds. 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. Now the footage will play back closer to real-time without any uneven cadences. 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.įor the 59.94p to 23.976 example, doubling that 40% slow down to 80% will, of course, speed the footage up. 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. This will allow you to retime clips more easily. 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.
Having this information close at hand can really save editors a lot of time. 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. This is the number that you’ll use for any speed changes when editing your clips to the timeline. For example, “40% native” for 59.94 clips in a 23.976 timeline. Now add this percentage number to the camera notes field. Divide that FPS number by your project frame rate. Go through each non-matching-FPS clip in your camera bins. Changing the speed to 40% will make the clip play back without dropping any frames.
To avoid this issue, we can just change the speed to 40% - 23.976 / 59.94 =. If we edit this clip in a 23.976fps timeline, Resolve will throw out frames at an uneven cadence to achieve real-time playback by default. 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).įor example, imagine we have clips that are 59.94p natively. Logging non-matching frame rate files is less involved than changing the simply native frame rates, but can still deliver similar results.įor 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. This is extra important when it comes time for editing, and can be used to help smooth out playback issues. Logging MetadataĪs we’ve mentioned in previous sections, the first step to sorting out all this mixed frame rate business is to add and organize metadata. But, this method can turn into a big headache down the road.
That said, most editors don’t worry about this and just edit mixed frame rates together without realizing it. By default, if you edit non-matching frame rate files to a timeline, your files will playback choppy. And in the commercial world, since many shots and sequences are sent out to other facilities or software, matching timecode is essential.īut, editing clips with different native frame rates is more tedious than simply conforming them all together with clip attributes. 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).
#DAVINCI RESOLVE STABILIZE SERIES#
Welcome to part 3 of our series on editing mixed frame rate in DaVinci Resolve.Ī useful method for editing mixed frame rate material is to leave the source files at their native frame rates before you start cutting.
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