User Manual

7 Choose how you want the edges of the stabilized clip to be handled using
the Zoom checkbox:
–
If you want DaVinci Resolve to zoom into the image as much as is necessary
to prevent blanking (black edges) from intruding into the frame (the result of
repositioning the image to steady camera motion), then turn on the Viewer
Zoomcheckbox.
–
If you want to leave the scale of the image alone, allowing blanking (black edges)
to intrude into the frame so that you either (a) have an effects artist deal with filling
in these holes later, or (b) manually animate the Input Sizing Zoom parameter to
eliminate blanking in a dynamic way, then turn off the Viewer Zoom checkbox.
8 With all of these controls adjusted, click Stabilize. The clip is immediately transformed to
apply the amount of stabilization you selected via the Smooth Frames slider.
9 Play the clip and examine the stabilization effect. If you need to make any changes,
choose new Strong and Smooth Frames values, then click Stabilize. Any time you
change any of the Stabilization parameters, you need to click Stabilize to recalculate
the resulting transform to your clip.
Using Stabilization to
Create a Match Move
In some circumstances, such as when you’re using the HSL Qualifier to create transparency for
a composite (using the Alpha Output described later in this chapter), you may find you need to
apply the motion from a foreground clip to the background clip so that the two clips appear to
be moving as one. This is referred to as doing a “match move,” and is a necessary step when
creating a composite for purposes of doing a sky replacement, for example. This can be done in
a simple way using the Stabilizer mode of the Tracker palette.
To match the motion of a background clip to a foreground clip:
1 First, in the Edit page, edit a foreground clip onto track V2, and a background clip with a
more interesting sky onto track V1.
2 With that done, open the Color page and follow the instructions in the section titled
“Using a Qualifier Key to Create Transparency” in Chapter 127, “Channel Splitting and
Image Compositing,” to key the sky, and use that key to create a region of transparency
in the foreground clip that lets the background sky clip in track V1 show through.
Creating transparency to replace the sky in a superimposed
clip with a sky image edited into a lower video track
In this example, the plain blue sky is being keyed so that it can be replaced with a more
interesting photo of a dramatically cloudy sky.
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