Wed Sep 13, 2023 12:01 pm
Michael McCaffrey wrote:jallen0 wrote:Use two Hyperdeck's to capture the key and matte and then bring those files into Resolve. Use timecode when shooting to match the key, matte and unreal background to color correct.
Interesting. Is there any videos or documentation on this process where I can learn more?
I have not seen this online and I have not made any documentation for it yet. I do plan on it. Here is an image of my most recent test. I took a green screen video file from a job last year and played that out real time from Resolve through my UltraStudio 4K mini into the Ultimatte12. I recorded the matte to the hyperdeck and then brought that matte back into Resolve and use it to key my original camera footage. Note the file names on the clips. This gave me a great key without using any additional keying inside Resolve. I did have to apply a despill to the original footage however. This is because the matte is only good for the outside image.
Why would I do this? I wanted to have more creative control on the talent than I can get from the Ultimatte12 system. This allows me to grade the talent anyway I need to and also have foreground, matte and program files from the original shoot as well as go back into Resolve for creative grading if possible.
This same process is also undergoing testing on my virtual production system not only feeding different feeds into the system, but pulling those feeds, plus the Unreal Engine background out of the system. One I get my new computer system in it will have dual Decklink 8K Pro cards so I can feed in 4 feeds and pull out both program feeds as well as background feeds to the Hyperdecks.
Michael McCaffrey wrote:Also wouldnt recording the key and matte in a capture card in a PC do the same thing?
It would. However you are asking your system to capture multiple feeds at, in my case, 4K. The Hyperdecks do this same thing as a dedicated capture device vs a computer needing to capture multiple 4K streams at once.
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