[Bf-funboard] New compositing and VSE monitor tools

[Knapp]

I think it is important here to look at what needs "fixing" first.

IMOHO when we load a film strip it should be available in both the
compositor and the VSE. You should not need t load the same strip two
times, once in the VSE and once in the compositor.
Cuts made to the video in the VSE version of the video data should also
take effect in the Compositor version of the video data. The films strips
should show up in the outliner. I see no reason for the user to know that
there are two versions of the video data.

I would like to see color scopes etc in the compositor as output nodes.

It would be good but not a must have to have compositor changes to the film
strip show up in the VSE but clearly this would mean a lot of work and is
not truly needed.

A next step would be having a per strip view of the compositor like we have
a per material view of nodes in the node editor.




On Sun, Feb 21, 2016 at 2:54 PM, David McSween <3pointedit at gmail.com> wrote:

> On Sun, Feb 21, 2016 at 11:36 PM, Knapp <magick.crow at gmail.com> wrote:
>
> > >
> > > On Sun, Feb 21
> > >
> > > On Sun, Feb 21, 2016 at 12:15 PM, David McSween <3pointedit at gmail.com>
> > >  wrote:
> > >
> > >> Douglas,
> > >
> > > You must remember that the VSE strips are unique to the VSE. You can
> load
> > >
> > > movie clips elsewhere (tracker, compositor) but they do not correspond
> > with
> > >
> > > the VSE directly. The only way to import media from elsewhere in
> Blender
> > >
> > > (IIRC) to the VSE is via Scene strips or Masks. A VSE Movie clip strip
> is
> > >
> > > only a local, unique instance of another datablock elsewhere in
> Blender.
> > >
> > >
> > >
> > OK, and now I understand this but it should not be this way to the user.
> > When a film clip is in blender then it should be in blender and usable
> > anywhere. The way it is now is very obtuse to the end users.
> > So when it is loaded there should be one apparent film clip or picture.
> > Clearly it has two data forms; one in the VSE and one in the rest of
> > blender.
> >
> >
> >
> > > So what you are describing in the bug workflow is not strictly what is
> > >
> > > actually happening. The VSE only uses local instances of external
> media.
> > >
> >
> > So it is not a coding bug but I would still describe it as a functional
> > bug. It is something that could be made much simpler from the user's
> > viewpoint.
> >
> >
> > >
> > > The actual current solution is to define other scenes as wrappers for
> > >
> > > external media. That is a scene would be named for the camera clip or
> > shot
> > >
> > > that it holds. This scene would have a Compositor set for grading the
> > shot
> > >
> > > and its corresponding audio strip on its own VSE timeline.
> > >
> >
> > I am not clear  on your use of the word scene. In the info window there
> is
> > a pulldown that says default and one that says scene. Are you talking
> about
> > these scenes?
> >
> > Yes a scene in this case is just a regular Blender scene, they can be
> used
> for different animated shots or for creating compositor effects. These
> scenes can become available to the VSE as a strip.
>
>
> > So I think you mean that we load in a movie clip and it has 3 data
> > components: VSE sound and VSE video and linear data for the compositor
> etc.
> > Is that correct? All this together you are calling the Meta Strip? Really
> > the sound should not be part of the meta strip because it can be cut at
> > different places than the video. I see no case where the VSE video and
> the
> > compositor video would have different cut points.
> >
>
> You are right, having the separate audio from the video, in a metastrip, is
> preferable (for J or L cuts) where audio should precede or trail shot.
> Unfortunately Blender opens source media with any associated audio as
> separate strips. These strips are not linked in any way on the timeline, so
> they can easily loose sync without reference to each other. The suggested
> workaround is to group them together as a metastrip. however you cannot
> edit the audio of a metastrip (but you can edit the audio of a  scene strip
> (but not separately to the video).
>
> >
> >
>
> > >
> > > In your master edit scene, you add the camera native strip and this
> > >
> > > Composited/color grade scene strip and Meta strip them together. You
> > would
> > >
> > > then cut with the metastrip (using a proxy of the footage if required)
> > and
> > >
> > > at picture lock, switch to the graded scene strip.
> > >
> >
> >
> >
> >
> > >
> > > This workaround(?) fails to provide correspondence between the edit and
> > the
> > >
> > > source footage however, so multiple grades from alternate sections of
> the
> > >
> > > same source media could be an issue. This depends on length of source
> of
> > >
> > > course, as single short shots probably don't change much. While long
> > screen
> > >
> > > captures or wild recordings can last hours (changing all the time).
> > >
> > >
> > > Troy would suggest that clearly defined shot listing would resolve this
> > >
> > > later issue.
> > >
> > >
> > > What is a shot listing? Is it a list of film strip and photos?
> >
> >
> > Typically film editing produces edit decisions, that is a list of shots
> in
> order that includes their start and stop times (in point and duration) and
> location on the time line. If you know these times you can reconstruct all
> of the edited shots by length in their own scenes.
>
> >
> >
> > > However I don't recall what the implications for color transforms are.
> > >
> > >
> > > Hope this helps.
> > >
> > >
> > > David
> > >
> >
> >
> >
> > --
> > Douglas E Knapp, MSAOM, LAc.
> > _______________________________________________
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> >
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-- 
Douglas E Knapp, MSAOM, LAc.