Advice On Tracking Patch Replacer FX For Thumb On Guitar Sho

Anyone who had chimed in on the previous threads, I'm 11 shoots into getting this project underway. Everyone else, it doesn't matter to the question.

Just shot more footage and now see a dead/dry skin spot on my thumb. Went into the Color page to use Patch Replacer. Got the source patch on a nice clean selection of skin with the target patch over the dead skin and it looked beautiful, but then tracking it got derailed. I had the crosshairs in the Tracker palette placed over the tip of the thumb. Maybe it was a crappy tracking point but it only got a few frames in before falling apart. I'll play around with it on my own but anyone have any first-thought ideas on how/where you would track it?

In the end, this is probably complete overkill. I'm not making a movie. It's just a bunch of instructional videos. But if I can patch replace it without too much grief, even better

I am not an expert in Resolve, but I can imagine if you're strumming/picking with that thumb, then the shape of the thumb will change all the time, making it really difficult to track anyway while also finding a patch that will match the thumb while it's doing all that changing can be quite a challenge as well.

So there's a good chance that the 'fix' will draw more attention to itself than the dead skin to begin with.
Personally I would probably go into Fusion, track and stabilize the thumb, apply a patch and then destabilize again, but without seeing your shot in motion I don't know if that's a feasible approach.

I think you're right that it's probably overkill. If people don't want to learn guitar because of a piece of dry skin, then it's their loss.

without seeing your shot in motion I don't know if that's a feasible approach.

I think you're right that it's probably overkill. If people don't want to learn guitar because of a piece of dry skin, then it's their loss.

Here is the shot in motion. Of course I haven't graded anything yet or compiled left/right/scrolling music.

(in case any other musicians are on here, I feel self-conscious to state that the music you are about to hear is specifically an example of what not to do once you learn some scales and modes. I'm demonstrating an overly methodical "G-Mixolydian over G7, F," "G-Blues over C" kind of artificial approach that students fall into with trap of academic onanism when they get into advanced concepts. The whole point was to *not* play something particularly inspired; just a little bit disjointed, blues at the wrong time, and just sort of overall blah instead of great).

Almost certainly I'm going to fold on replacing the skin then. But since I asked, here's the shot:

thanks for the explanation of the movements... they seem a bit errrmmm... forced

i'd also likely drop the attempt to fix the finger, but if i did try to get there from here i'd most likely try to garbage matte, key skin tones, try some combo of gaussan blur / mid detail / soften and sharpen to turn it into a non issue, but not remove it completly

thanks for the explanation of the movements... they seem a bit errrmmm... forced

i'd also likely drop the attempt to fix the finger, but if i did try to get there from here i'd most likely try to garbage matte, key skin tones, try some combo of gaussan blur / mid detail / soften and sharpen to turn it into a non issue, but not remove it completly

Thanks. This concern has passed. I'm not fixing anything. But the ideas might be useful in the future so it was worth asking. Yes, that's the example where I created a hypothetical scenario of tanking it on a session by getting stuck inside the head. The whole point was that guitar players get stuck in pentatonic boxes early on. Then you learn some basic theory and modal concepts....and it may well lead you absolutely nowhere. I didn't want to completely suck, so I stayed in tune at least....but very deliberately....did not come up with very good ideas in the improvisation...entirely to demonstrate traps typical young music students routinely fall into. If modal concepts do not happen as naturally as hitting one string with one finger (no frets), you're better off throwing away your theory books. And yet, that too then becomes a dangerous excuse. So we're in a state of arrested development. Guitar players....get away with too much laziness all of the time, and when they try to grow up and learn a little more, they frequently get stuck in a state of collateral damage from the lessons they tried to pursue. It's a problem that just keeps repeating itself over and over again (one triad may be worth more than three pentatonics; two triads may be worth more than 7 modes; Miles....was not thinking of Dorian anymore than SRV was thinking of the blues scale). A better approach to chord/scale theory was necessary. Because I keep seeing everyone following everyone else off the cliff.

Could the point tracker's offset feature be helpful for you maybe? There's a section in this video about how that works: