Today, we will take a look at new equipment inside the Davinci Sankalp studio that help improve efficiency in the early stages of your editing workflow.
The second day, I heard an interesting quotation of someone discussing the recent barrage of AI Pragati. AI is a complex issue and is not the subject of today’s article, but because some of the promotion I discuss today, they fall under the AI Tools category today, I thought it is worth a minor preamble. The man compared the word “AI” to the word “transport”. The word “transport” includes many different things – from a bicycle to a boat, from a metro to a spaceship – a lot of things are technically transported. But they all mean different things and are different variables. I mention that because the word “AI” also has many meanings. Some combine better emotions than others, as I have written extensively in the past. But in the case of AI Tools included in Davinci Sankalp Studio 20, which I am discussing today, they feel a lot of efficiency that fit into an existing workflow instead of changing it. So, I felt that you might like to know what could be done.
Intelligent
I am the author/director of the scripted story. Therefore, when I spend the week/month/year to complete my script, get those words in front of the actors to bring those words on the screen, the next thing is that all those Gazilians are biting, to find out if I had spent so long, they were really worth ink. The first cut of any film is known as some assembly. And I believe that “rough” is an important word to remember. At this point in the editing process, it is less about ensuring that everything is right and more about lining things to ensure that I: A) is all materials required to create views, and B) they line correctly as I had imagined on the page. In other words, we are still moving a very, very long way from the finished product.
Doing your initial rough assembly is a fairly tedious process. Everyone has their own method. But for me, I want to go from line from line to learn every small divine and pronunciation, which I have available to me during the angles and angles shot for a scene. I do not want to miss anything. Therefore, it may take hours/day/week to get through this process, which I need to review and assemble. Solve the new Intelliscript Facility Studio 20 (only studio version) in Davinci, essentially promises to do this initial grunt work for you so that you can organize your clip on a time -term so that you can start your more creative editing process.
First of all, let’s show you how to work, so how do I work, I will join it. The process is quite straightforward.
Import your clip to your project.
Right-click on all clips shot for that scene. AI Tool> Audio Transcription> Select Transcribe. This process will listen to all your clips and transfer audio to text form. (Note: This is the same process how you will produce audio transcription for things like client interview, they should request them in print.)
Once your clip is transmitted, choose the clip again on the edit page. Very important – as I have wasted about half an hour in an attempt to find out – make sure you are on the editing page for it and not a media page, as your options will be different. But once on the edit page, select a transnaded clip that you want to consider for your timeline, then right-click> AI Tools> Create a new timeline using AI Tools> Intelligent …
It will bring another window. In this window, you will import your script. In my case, I write in the final draft, so I have to export my script as a .txt file (.FDX file) from the final draft. It is also important to note: Do not export a rich text file (.RTF). Export a regular .txt file.
The script I have then “read” and will match the transmitted text of individual clips. This will then be attempted to align the clips that are on a time -line in the order written in your original script. If you have several tech/angles from the same view, it will lay down the clips vertically on its time, in which the “Best Tech” is on the bottom layer and the alt takes the stack on the top. Those Alt Clips will be disabled in the beginning (both audio and video) so that you can easily play your timeline.
Now, I am not 100% sure how it decides on “Best Tech”. There is no doubt that you want to go back and review regardless of every person carefully. But all this works the initial grunt of the lining. If you do not agree to “Best Tech” and want to review the disabled stacked clip, just select the clip and either hit D on the keyboard or right-click the clip on the timeline.
And Voila. that’s pretty much it. Similarly, you have a thick assembly. You still have a lot of real editing. But the raw material is in place.
Does it work?
Now, clear questions: How well does it actually work? Well, I have only started testing it, so I have not yet placed it through every situation, but so far, the answer is mostly “yes”. There are some caves, which I will get to the next, but I can become the initial part of my workflow.
The first warning requires you to keep in mind that this is a very thick assembly. This is not real editing. You still need to go through your time, flow, and all other aspects of editing that make it the secret sauce of any well -described story. AI devices are not going to change the skills of a real editor. Editing is an art in itself. Best of all, it will handle some more tasks of finding and lining them that may have been handed over to an assistant first. But you must not expect dead allen levels of craftsmanship here. This device saves you time. But it does not replace skills.
Now, to be fair, I deliberately gave it a very difficult task. I pulled some raw clips from my latest film, Small heightComedy short has three characters. And while the final film, which just started its festival, is very close to my original script, I was also gifted with talented actors with gifts for Eddie-Lib. So the lines on the page were not always 100% which were words coming out of their mouths. Nevertheless, the Intellicript function performed a very concrete job of following the essence of the script and including the alt as an alternative to the rough assembly. In other words, it was able to understand the sense of reference. There were some wild lines that I did not think what to do was to end in the assembly in unexpected places. But then, it is a simple fix. Once things are on the timeline, you can change them and edit them. Therefore, I can make it an excuse to always make it not the right choice for the first time.
It is important to note that it is cutting on the basis of dialogue. You are not necessarily feeding it to the 20-minute action scene and hope that when you sit for lunch, it is expected to cut it in Spielberg’s Normandy Landing. In fact, I think its best use will be distributed directly to the camera for scripted materials – perhaps something like a YouTube video or a promo piece. I could see it using it for my video essays Moving canvas YouTube channel. I am always doing many people, and will be a very efficient way to do everything that I wrote quickly and efficiently before tuning.
Akshar tracking using facial identification and smart compartment
A related tool that I think is worthy of mentioning here is Analysis Clips for Peepal Feature Inside Resolution Studio 20. Essentially, it has analyzed your footage for specific actors so that you can recognize quickly and easily who is in each scene and how much screen time you are giving them.
The process is quite simple:
Right-click> AI Tool> Analyze the clip for people.
Give each face a name.
This will add a name to the category of people on each clip metadata.
It should automatically make smart compartments for each character.
Note: If it is not, be sure to go into preferences> User> Editing and make sure that Automatic smart cans for people Matadata Is current.
Now you have a smart bin which displays every clip that has the face of that person.
A trick you can then use, those clips have to color-codes. In this example, I have painted the Sophie character as lime.
Then, when you look at your timeline, you will see a color-coded timeline that matches the person when the person is on the screen. Then, it can be important to track character development in your project – or simply to keep your star happy.
Both these devices are very useful in closing some more worldly functions that come in the early stages of editing, when trying to keep themselves organized for the upcoming work. Neither replaces the need for human intervention, but both should save you some time in the early stages and hopefully, hope you are just a little faster in the fun part.
