Blackmagic Forum

KRW support please. Hell i'll even send in my Terra if that helps you in any way shape or form.

Jonathan Murphy wrote:Kinefinity krw raw support please!!!

+1 please

Offline clips inside of a timeline need to be differentiated with something like a red color - so I can look at a relink and know what did and didn't relink without having to go through cut by cut by cut.

I would love the ability to display your wipe/mix offline reference in the Lightbox (or a lightbox-like window in the Edit tab/thumbnails on the timeline).

Being able to see mismatched/re-positioned clips at a glance would really speed up my conform process.

Request for Delivery page - to calculate the expected file size with the settings you have. Very useful for sending cuts to clients via whatsapp (64MB limit) or dropbox (if you want it to be a certain size for them to download).

For edit page: having access to the keyframes I put with the inspector.

Hello,

For new features, please :

- Multiscreen with floating windows to organise as we want
- Support Kineraw please (KRW), for instance we are oblige to use Scratch but we prefer DVR
- Some other features asked before by community

Regards,

select a bunch of clips in the color timeline and export .ccc files...

I started out as audio professional, so I'd rather use pro tools.
Working with audio in a video editors world drives me nuts. Doing the fades and cleaning everything up a bit, automating the levels, trust me, pro tools is still the way to go for audio editing (not necessarily mixing).

Btw I find resolve better for working with audio than premiere (which I think everyone can agree on sucks witch audio, except for OMF that is).

My problem using any dual-software workflow is that in my work, I never get picture lock. So doing all the work in one program has it's advantages.

While we're on the subject, it would be extremely helpful if the "Export to Protools" function supported other audio software as well... so for example we could get say a ProRes proxy render at reduced resolution (for speed inside a DAW), plus an AAF/OMF file with the audio region data...

Simon Rabeder wrote:I started out as audio professional, so I'd rather use pro tools.

I think the other fundamental issue that most picture editors miss is that video NLEs are granular in their approach to event positioning on a timeline. What I mean is that you get tied to a framerate.

Some NLEs offer a narrow version of sub-frame operations, but its not like having access to a timeline that is only defined by the sampling rate. When you are dealing with 48K as an example, that is around 2,000 discrete samples per 23.98 frame -- consider how limited you would feel if as a picture editor, you could only make a cut every 83 and a half seconds.

Also, I am completely baffled by Resolve's track/mix/submaster buss grouping, if it has one. Track/Channel is poorly documented and even if I set everything to mono (and this happens all the time, when I get stem elements) the output is chaotic and arbitrarily mixed.

jPo, CSI

JPOwens wrote:I think the other fundamental issue that most picture editors miss is that video NLEs are granular in their approach to event positioning on a timeline. What I mean is that you get tied to a framerate.

Exactly my point.

I find my way around Resolve audio quite easily, that stem problem didn't occur to me at all. What specific problems do you come across?

I love the clip management, clip attributes, syncing audio and making proxies with resolve over any other NLE I know.

Simon Rabeder wrote:I love the clip management, clip attributes, syncing audio and making proxies with resolve over any other NLE I know.

Manually syncing audio in the media page could be sample-accurate, instead of frame-based, I think.

Keep in mind that Blackmagic bought Fairlight which is on the high end of audio post production. I expect to see some serious improvements in the audio area at NAB...

Keyboard shortcut to delete the current version.

It's easy to add a new version, but currently to delete the one you're on (the one you don't like), you first need to switch to a different version, right click on the clip, move the mouse to a different version, and click delete.

Cheers.

Noel Sterrett wrote:Keyboard shortcut to delete the current version.

It's easy to add a new version, but currently to delete the one you're on (the one you don't like), you first need to switch to a different version, right click on the clip, move the mouse to a different version, and click delete.

Cheers.

i also like the idea to "clean" the versions: if you are on version x, a global delete that clean all the other versions AND make the only left version 1.

also, select a number of clips and be able to switch version on all of them at once, or add or delete versions at once

"Clean" all other versions sounds right.

Cheers.

Jim Simon wrote:I'd kind of prefer Resolve stepped up it's audio game, so no need for Pro Tools.

Note that Pro Tools has a number of advantages over everything else out there, particularly in video editing. A big one is being able to slide and edit tracks at the sample level, along with the vast number of plug-ins available for Pro Tools (both RTAS and HDX).

Marc Wielage wrote:

Jim Simon wrote:I'd kind of prefer Resolve stepped up it's audio game, so no need for Pro Tools.

Note that Pro Tools has a number of advantages over everything else out there, particularly in video editing. A big one is being able to slide and edit tracks at the sample level, along with the vast number of plug-ins available for Pro Tools (both RTAS and HDX).

They did acquire Fairlight, let's hope they bring some improvements into Resolve.

Dani Iosafat wrote:Manually syncing audio in the media page could be sample-accurate, instead of frame-based, I think.

I'll second that one, as a feature request. You can slip audio in subframe increments on the timeline, but that's not the place you want to be doing it.

In quarter frame increments like with film and perf audio?

I liked how FCP7 did this.

In the media page, I'd rather if it were sample accurate. It would also be a tremendous help if we could see both the clip waveform (e.g. the camera mic sync guide) and the waveform to be synced (from the sound recorder). That way one could manually sync via a clapperboard spike. That would be awesome, in cases where the auto waveform sync fails.

In the edit page, a switch to enable quarter frame or 8th frame grid would help a lot those who want to do sound design inside Resolve. That'd be great for something quick.

While we're at it, audio volume keyframes in the edit page are also currently limited to one-frame intervals, too crude when there are problem to fix....

I din't expect this to evolve into a full on "please make Resolve a DAW as well plz" thread.
It is a grading platform that's trying t much into the editing market.
I only suggested things I thought to be necessary for it to become successful at the latter.
It is somewhat unreasonable to expect it to do audio editing as well, there are dedicated tools for that. Nobody is expecting it to do complex compositing either.
I want it to become a usable video editor not a bloated monster. If they can implement it nicely I'm not against finer audio control but for the time being I would just want it to have the standard export format for most workflows.

Simon Rabeder wrote:It is somewhat unreasonable to expect it to do audio editing as well, there are dedicated tools for that.

I couldn't tell you where to draw the line, but some of the features discussed above were present in FCP 1.0, around 2000. Even consumer NLEs, like Vegas, manage sophisticated audio editing (or so at least I'm told).

Reasonable or not....

Simon Rabeder wrote:I din't expect this to evolve into a full on "please make Resolve a DAW as well plz" thread.
It is a grading platform that's trying t much into the editing market.
I only suggested things I thought to be necessary for it to become successful at the latter.
It is somewhat unreasonable to expect it to do audio editing as well, there are dedicated tools for that. Nobody is expecting it to do complex compositing either.
I want it to become a usable video editor not a bloated monster. If they can implement it nicely I'm not against finer audio control but for the time being I would just want it to have the standard export format for most workflows.

I completely agree.
To that end, since not everybody uses protools (there are a gazillion DAW applications out there) I stand by my original suggestion to support AAF audio export plus proxy render for more apps and not just protools.

However, sample accurate sync in the media page is, I believe, essential, if Resolve is to work as the master ingest program.

Dani Iosafat wrote:However, sample accurate sync in the media page is, I believe, essential, if Resolve is to work as the master ingest program.

Thanks, but sample accurate wont give you much, since the time quantisation of the slate or anything that confirms your sync for that matter is only at the frame rate. Sure you could estimate how far into that 24th slice of a second the sticks meet but sampla accurate sync is not, or ever was a necessity. As stated before, film had to work with a quarter frame (for 4-perf 35) of accuracy. Frame accurate is way workable. And visually pleasing. Only stuff that has to be super accurate is different audio sources.

Simon Rabeder wrote:the time quantisation of the slate or anything that confirms your sync for that matter is only at the frame rate.

True, if one tries to do it visually. More often than not, at least for me, the camera footage will have some sort of audio inside, say from the on-board mic. Matching the spikes using both waveforms is easily possible, and my preferred method (when I'm doing it in a DAW). I agree it is not strictly necessary beyond 1/4 frame, but there's no harm in it either.

Also, as you say, this could be used to sync audio from multiple sources. Granted, a really bad strategy, but I can see it happening on the rare occasion that there are, say, too many lav mics, and the recorder only has a few channels.

The way I see it, once that view is free of the frame-based grid-snap, there's no reason to impose a new one: maybe the waveform could move with the accuracy of the zoom level. That way, one can zoom as much as his sync needs require, assess drift in long recordings, etc. No harm in it, and I don't see it as harder to implement than, say, a 1/4 frame grid.

In FCP7 one could freely move the header in the source window on audio files when pressing alt (I think, might as well have been another modifier) and dragging the mouse. I liked it.

auxiliary extra visible timecode.

imagine i have a feature split in reels, i need both the reel timecode and the long play timecode.

or, like it's happening for the Netflix hdr tv series I'm doing now, the edit and conform has a normal 01.00.00.00 time but the delivery spec want one second of black in front and TC starting at 00.00.00.00 there.

keep switching between them during QC and revisions and vfx inserts is not fun.

Being able to edit the 3D perspective changes on tracked windows is a major one for me! I feel that once I use the 3D tracker I can't keyframe the window if needed! Please: unification of the the tracker keyframe animator with the normal keyframe animator. I always have to jump back and forth on more complex grades and sometimes loose myself.
And: being able to customize control surfaces!!!!


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Wyldie Maxwell wrote:I would love the ability to display your wipe/mix offline reference in the Lightbox (or a lightbox-like window in the Edit tab/thumbnails on the timeline).

Being able to see mismatched/re-positioned clips at a glance would really speed up my conform process.

+100!

waltervolpatto wrote:auxiliary extra visible timecode. imagine i have a feature split in reels, i need both the reel timecode and the long play timecode.

THAT'S something I could really use, too: a second resettable timecode display window. Great idea.

José Santos wrote:Being able to edit the 3D perspective changes on tracked windows is a major one for me! I feel that once I use the 3D tracker I can't keyframe the window if needed!

I have to confess, it feels like there should be an additional knob in there just to adjust the 3D parameter for windows.

waltervolpatto wrote:auxiliary extra visible timecode.

+1 Would almost always have source and record timecode visible if possible

This is a trade off in terms of visual simplicity, but for me I'd like the option in settings to have the timeline background a different colour from empty tracks (similar to settings>General>use grey background in viewers). The background performs a key role in that clicking it de-selects all clips, which as discussed above is important in editing in Resolve & it can be hard to find it easily or even tell if it's visible if you have a few sparse tracks.

Audio scrubbing during trim operation

I don't work in broadcast, and have no need for a starting timecode of 1 hour. Changing the starting timecode for every sequence I create is...annoying.

I'd love the option to create all timelines with a starting timecode of 0, regardless of timeline creation method.

hdr workflow: some improvements based on the grading of "Girlboss" series for Netflix.

1) a little bug, sometimes the BD panel does not switch to the Dolby page and it need to refresh (out to primaries and back to Dolby)

2) map the analysis buttons in the panel (less mouse presses): shot/shots/all/single frame/ scene (more of this later)

3) map copy/paste analysis and copy/paste trim on the panel

4) add [lock colour] to the gallery/right click: sometimes just protect the first ten nodes is not enough, we want to freeze the colour altogether to avoid changes

5) copy/paste should work with groups

6) [scene analysis] a new mode. Pretty much all the time I do SDR, the scene is balanced and what i need is the average of the "scene" to map through the CMU, not a single shot. The best and fastest way to do this is to introduce a "scene analysis" that work in this way:
a) select any number of shots (or just one)
b) upon press [scene analysis] the machine will jump to [the middle frame of each shot], [analyse that frame] and do a median (or average) and use that for all the shot involved.
in this way all the scene will have the right balance and the best fit to start from.

7) make the main rings the trim for [Lift/gamma/gain]: it is handier and at the moment if I touch the rings, I will change the actual shot and it is undesirable.

8) make the [analysis] numbers available and map them on knobs: I've been in situations where the analysis of the shot is plain wrong due to light condition and changing the analysis is more desirable that trim upon a wrong one. (better mapping to the "s curve")
To give you two example form the Netflix series "Girlboss" imagine either someone in a stage with a bright spotlight and black surrounding or someone under-lit against a very white background. The analysis was either way too hot or way too dim. using an analysis from another shot (a grayscale) was the current workaround.

-w...

Hello,

Would be nice to type into the source timeline label values --> minute-seconds-frames so i will be able to jump without scroll the cursor.

thanks

Hi all, here are some of the issues I've encountered editing with 12, along with some feature requests for version 13.

Please note that I'm just trying to help out with the development - I find the ability to edit in Resolve is wonderful and you guys have come leaps and bounds in the last year or so!

Here goes:

- I second what various users have suggested that Resolve not be so processor heavy while editing. 4k editing is extremely difficult to edit with my setup in ProRes 422, let alone HQ, where Premiere can handle the same material no problem. This is the biggest limitation I find with it, and ANY help with it would be great.

- When zoomed out on the timeline, more precision stretching or rolling clip ends in relation to the playhead. In FCP one can postion the playhead where the clip should end begin, then drag the end of the clip to the playhead’s position. In Resolve (when zoomed out), as soon as you try to drag the clip end to the new playhead position, the playhead jumps to where the cursor is instead. It works fine when zoomed in on the timeline.

- There seems to be some discrepancy issues between playing and scrubbing audio on the timeline. This is manifested in the following instances:
- When playing back on the timeline, if the playhead is stopped at a certain point and then scrubbed frame by frame, it’s position on the audio track seems 6 frames or so off from where it was playing.

- Applying curves to the volume level on the timeline doesn’t seem to work as it should - the curves I’m drawing are not an accurate representation of the audio values I’m hearing.

- On ocasion, when pasting a clip on the timeline, the clip is pasted at the timeline’s in-point instead of wherever the playhead is (see Clip Paste Issue Mov). Perhaps this is deliberate, but it’s ant-intuitive coming from an FCP or Premiere background, where a clip (audio or video) is always pasted wherever the playhead is

- When stretching/contracting a clip on the timeline, very often the pop-up window indicating the frames added/subtracted and new clip length covers the adjacent clip on the timeline. This makes it easy to pull the stretched clip over the adjacent clip by accident.

- When in razor mode, the frame by frame arrow keys move the razor cut point instead of the playhead. In my opinion, it would be more useful if the arrow keys always move the playhead, especialy given that the playhead position dictates the razor cut point anyway in snapping mode. Perhaps whether the arrow keys move the playhead or the razor position can be dictated by whether snapping is enabled or disabled?

- The up/down arrow keys allow the playhead to jump to the beginning of the next clip on the timeline. It would be extremely useful if it jumped to the beginning OR end of the next clip - in other words, these keys simply take the playhead to the next cut, irregardless of whether it’s the beginning or end of a clip. FCP7 works this way, allowing for very intuitive navegation on the timeline.

- When locking an audio track in the timeline, it would be good if the enable/disable button weren’t grayed out - it’s very difficult to see whether its green or red, activated or not.

- It would be great to be able to copy and paste more attributes, such as Text (font, size, colour…). Sky’s the limit with how many attributes are useful to cut&paste!

- Resolve hangs most times I sleep the MBPro.

- Would be nice to be able to activate or deactivate multiple tracks with one move of the cursor (like dragging the cursor over the active/deactive symbols to the left in the timeline - FCP7 and Photoshop work this way.)

- Would be extremely uselful to be able to apply audio or video transitions to multiple clips at the same time (within the same track). In FCP7 you can select a bunch of takes in the timeline, then drag a transition on top and it’s applied to the lot. An example of when this is useful would be applying a tiny fade between multiple audio clips to avoid pops.

Thanks a ton,

Ben Gordon
Resolve 12.5.4
OSX 10.11.6 (El Capitan)
15" MBPro Retina (late 2013 version)
2,3 GHz Intel Core i7
16GB 1600MHz DDR3
NVIDIA DeForce GT 750M 2048MB
Internal 500GB SSD

DaVinci Resolve is is need of a proper waveform view. The rectified view is not correct, should not be the default view, and most definitely should not be the only view.

more option for color smart filters:

for example, i want to find all the shots that have a lut or all the shots that are marked for caching...

PRORES ENCODING ON WINDOWS.

PRORES ENCODING ON WINDOWS.

And if licensing from Apple costs money, then make it a feature of the studio version.

Thank you and sorry for the caps.

-Randy

select multiple projects and export al of them in one swoop

Randy Rubin wrote:And if licensing from Apple costs money

Apple would have to make it available on PC before they could charge money for it. So far, Apple hasn't.

Hey, not sure if someone has asked already (only glanced the feature requests) but to make generating optimised media a background task so I can keep working would be awesome!

I miss this one constantly: when the cursor is positioned over a clip on the timeline, a small pop-up window with a read-out of the clip's duration.

The only way of ascertaining that information (now) is putting the clip in the source viewer, marking it or initiating a trim, all of which can present headaches.

Optimized Media additional codec
Add Cineform to the codec options please. I think it may be better and faster for 4k edit than the DNx options (Win 10) and Resolve already has Cineform codec support.

Thanks

Support Version File of DCP for import and export
Support 3D DCP for import and export