Suggestions for improvement

So a discussion in another post made me think about this. We have the forum for the users to share tricks and experiences and get the occasional feedback from BM officials, but its not set in stone that you will get the feedback from BM. And we have BM support to actually ask for help in situations where things don't work. But where would BM suggest putting just general remarks and suggestions to improve the software and the experience of using it? It's kind of not one nor the other. It would be good for these things to reach BM as they are the people who make the software, but I would feel like a bit of an arse sending this kind of stuff to support, as they are busy actually solving immediate problems. Thoughts?

Start a feature request thread here. There are lots of them already. Stuff like:
1. Please add custom mapping.
Things like that

a pubic visible/usable ticket system would be very fine to handle issues and feature requests in a more professional way.

[Peter Chamberlain]

We read the forums. Just place concise descriptions of the request, or even just an idea, in a thread here.

Peter, in the selection where you can select clips, grouped flagged and do on, can you add [ungrouped] as another selection?

I find myself keep scrolling to find the new clips that had been added to a timeline (like new vfx) and look for the little icon to understand which is not in a group then add them to the right group.

Make better baziers! Better meaning thinner lines more accurate selection area of the points so you don't select other beziers and power windows by mistake, when clearly clicking on the one that you are adjusting. And the ability to just drag a selection and select many points at once and move them. Use nukes baziers as an example, they are boss. Not all of us have roto departments for support and roundtripping to nuke or mocha takes time...


Sent from my iPhone using Tapatalk

The ability to save your audio presets and copy them to other audio clips!!

For example, I dailed in my compressor settings using AUDynamicsProcessor but I need to reapply the same numbers to each audio clip I want to adjust on the timeline while editing. If there was a save or copy function this process would be much more faster and less tedious.

Fantastic work guys! I'm loving Resolve 12!!

Please see the short video with my request for the static numerical boxes in the Color Wheels and RGB Mixer panels to become dynamic (scrub-able).

I would like to echo what has been said by others in relation to having more precise control over the RGB MIxer input values, so as to have the ability to closer approximate 3x3 matrices (e.g. to use the Alexa white paper values to remove or add their Film Matrix).

Extra control over inputing values in the curves section would also be great. It's a bit odd how there's far more control in the Luma to Saturation curve, whereas the main curves reply on hit and hope.

Speaking of which, in the interim if anybody knows how to arrange so that a change in the Luma to Saturation curve resulted in a change in luma instead of saturation (therefore by default becoming a regular Luma to Luma curve), please share the method

PLEASE! Add the option to quickly zoom into different areas of a shot to see them on a scope. I mean really zoom in. Baselight had this feature and I miss it badly. Problem with doing this on the Input Sizing Controls is that 1) you can't zoom in far enough and 2) It re-caches every time I do it. Then it will re-cache any shot I copy the setting to because it thinks there's been a sizing change. Baselight had a button you'd hold on the keyboard and then it was mouse. Not sure exactly, but it's such a great feature to be able to zoom WAY in on an image and see where things are on a scope.

Thanks!

Would love to have an option to use MacBookPro as field monitor for my pocket cinema camera, and to be able to control all camera settings through computer interface... including record button.

In Resolve 11 when opening a saved grade from the stills you could resize the node tree box or even zoom out to view the individual nodes. In R12 Beta 3 you can only zoom out so much and you cannot resize the window. So I cannot grab individual nodes and drag to a new shots. Could this be fixed or is there a work around? Thanks.

We need the ability to select a timeline and add default dissolve to all clips in the selection.

If this already exists I'd appreciate someone telling me how to do it since I can find nothing in the manual.

Thanks...Resolve 12 is terrific, but still needs a couple modifications as noted in other posts.

Jim Watt

Scene change beep. I am surprised even the Resolve panel doesn't have this feature. Priceless for scene detected timelines… even a chirp to the system speaker would be appreciated!

Seeing as this became quite popular I'll mirror my (and a few other users from LGG forum) request:

BM can you please program the tracking of windows not to carry over via remote grades? This has been mentioned by several people on the LGG forum. I can barely think of a situation where the tracking from one timeline event would be useful in another timeline event of the same clip. Yet because the tracking is always carried over you end up needing to make a new version to retrack the window. This results in 10-20 versions of grades just because the tracking needs to be fixed.

Can you make Davinci Resolve supports plugins like DebugMode frameserver with the possibility of rendering directly to software like handbrake or MeGUI without going through an intermediate file?

A direct link of clips between Resolve 12 and Fusion 8 (go and back) similar to the already existing in Adobe Premiere+after effects

[Rohit Gupta]

We need the ability to select a timeline and add default dissolve to all clips in the selection.
....
Jim Watt

Just select the clips or edit points and press Cmd+T

[Rohit Gupta]

Seeing as this became quite popular I'll mirror my (and a few other users from LGG forum) request:

BM can you please program the tracking of windows not to carry over via remote grades? This has been mentioned by several people on the LGG forum. I can barely think of a situation where the tracking from one timeline event would be useful in another timeline event of the same clip. Yet because the tracking is always carried over you end up needing to make a new version to retrack the window. This results in 10-20 versions of grades just because the tracking needs to be fixed.

The tracking is related to the window which is part of the node which is part of the remote version. You can use local versions if you want independent grades/tracks for each clip.

Ok here me out over here. The whole point of a remote grade is to be able to have the same grade automatically applied to all timeline events of one master clip. This is what everybody uses it for. But when you have a tracked window as part of that grade which you tracked in Timeline Event No1, 9 times out of 10 it will not work in Timeline Event No2 (cause 9times out of 10 the object will move differently) . You want to keep the grade but just retrack the window, but you can't do that because then the tracking is going to be whacked off in Timeline Event No1. So you make a new version. It's not too uncommon to have 10-20 timeline event originating from the same clip in a 3-4 minute music video. That means 10-20 versions of the same grade WHEN YOU ONLY NEED 1.

I don't want to use local grades. I want to use remote grades but I want them to work properly, and needing to make 20versions is not working properly.

I understand if you can't implement it easily but could you please at least look into this? Otherwise it just looks like BM doesn't want to fix problems and just suggests you don't use the feature instead of making it work right.

The ability to change exposure or other settings in RAW over the duration of a clip. Maybe by keyframes. An example would be that the last few seconds of a clip are overexposed but the rest is fine, I would like to be able to bring the setting down to match.

Cheers

Steve

I don't want to use local grades. I want to use remote grades but I want them to work properly, and needing to make 20versions is not working properly.

I get around it by just not using remote grades. To me, the only case where it would be useful would be if you had (say) an interview show where all the sit-down interview footage came from a very controlled shoot. But you'd still have to correct all the footage around the interview, so it's not going to save you that much time.

Bear in mind it's just one button to grab "scene before" or "two scenes before" buttons. What I think sets the full daVinci control surface apart is the ability to display a scene and then scroll back and very quickly recall previous scenes. In truth, you can kind of get that functionality with the Lightbox (manually), and this is how I would approach an interview-type show. Heck, you could sort all the clips in B-mode, pull up just the interview shots, group them and give them the identical correction.

On the rare occasions I've used Remote Grades, I've always gone to unique grades for the second pass just because of how the material cuts together. I don't dispute that if you have zero time on a project and have to (say) grade a 1-hour documentary or reality show in 3 hours, this would be one way to do it.

Marc, with all due respect, why implement a feature that users then can't use efficiently for what it's supposed to do? It's called not fit for purpose. If you buy a mobile phone and realize that its broken and it doesn't connect to the network provider, you don't get told by the seller than you can still use skype over WIFI, you get the phone changed to a one that works, ie fit for it's purpose. If I promise "A" to the client I can't then go and say here's "B" I know that doesn't work for you but maybe you can work around it. Yes I can get around it as-well. But it doesn't work.

I'm super greatefull this forum is here because people like you and Walter have a wealth of knowledge of how to work around a problem. But let's not forget that the only reason you need a workaround is because things don't work as expected, or as advertised.

[Rohit Gupta]

Ok here me out over here. The whole point of a remote grade is to be able to have the same grade automatically applied to all timeline events of one master clip. This is what everybody uses it for. But when you have a tracked window as part of that grade which you tracked in Timeline Event No1, 9 times out of 10 it will not work in Timeline Event No2 (cause 9times out of 10 the object will move differently) . You want to keep the grade but just retrack the window, but you can't do that because then the tracking is going to be whacked off in Timeline Event No1. So you make a new version. It's not too uncommon to have 10-20 timeline event originating from the same clip in a 3-4 minute music video. That means 10-20 versions of the same grade WHEN YOU ONLY NEED 1. .

What you can do is to add the shot to a new timeline, and track and grade the full clip there. Then you have your track and grade for the 10-20 timeline events.

Alternatively, you can add a new mark at the beginning of the edit just to your power window line in the keyframe widget, and then you get a separate track without a different grade.

What you can do is to add the shot to a new timeline, and track and grade the full clip there. Then you have your track and grade for the 10-20 timeline events.

Alternatively, you can add a new mark at the beginning of the edit just to your power window line in the keyframe widget, and then you get a separate track without a different grade.

Well whilst the first suggestion is completely unfeasible in the time that you normally have to knock out a grade (and I don't have 10 assistants), the second one I have tried and it works well. BUT! Can you still look into this =) ? Surely there's always a more elegant solution?

Let me say first: I love Resolve and think it is a great piece of software with smart responsive developers. That said, there are some tiny things that have been in there for ages that drive me crazy.

Here's my long-standing list of little quality-of-life things:

1) Am I the only user who sometimes (ok often) forgets they are in Log mode on the wheels and wastes 30 seconds trying to do a base grade as if they were in Primary? Yes, I always figure it out, but it would be great if there were a clearer visual indication of Log mode or a preference to always pop back to Primary when you change scenes.

2) The Window Tracker/Stabilizer should revert back to window tracking when you select a new node, especially one with an active window. Almost every day I do stabilization and then on another shot, create a window, and hit the Track Forward button, only to find I'm still in Stabilization. A little but super-common annoyance.

3) Node order. Is there *anyone* who wants Next Node to go to the next one created, rather than the next one in the tree? The people who wrote the code, maybe, but I can't imagine why a user would want that.

4) Base grade resetting sizing: if I want to get rid of the grading on a clip but not lose sizing, I have to delete all of the nodes one by one, then add new nodes (unless I'm missing something). It would be great to disentangle the two somehow. (Same thing for copying a grade without copying sizing.)

5) Looping of the timeline as a whole: when I'm showing the cut to my client, I want it to stop at the end, not wrap back around to the first shot. I don't see any way to have that happen. (I know - a tiny thing!)

6) Opening up a saved project, it should remember which clip I was on on the color page. This seems pretty basic.

7) Readout of RGB values on the eyedropper is nice, but desperately needs two additional things: a) a way to control (or at least know!) how big the sampling area is and b) it should update as you change the grade, even if the cursor doesn't move!

Thanks!

• Icons to replace the dots for color wheels & curves (enough room on the left of the dropdown menu), faded when default, highlighted when have been changed, double click to bypass (with a red cross, stroke around or specific color to notifie that have been bypassed).

• Submix chanels in the mix section with the possibility to insert VST/AU effects (would be wonderful as well to have effect inserts with send & return levels at clip, track, submix & master level, as well as a "clickable to open effect editor or inspector" icons showing used effects).

• An icon on the clips thumbnails in media pool appearing when a clip have been used in the active timeline (indicating the number of usage on the icon with a drop down menu when used more than once, just indicating the timeline timecode as a name in the list... In the dropdown list, clicking on any of the clip timecode brings you to the clip in the timeline retaining actual timeline zoom level). Ala PP, but better!

Keep up the amazing work!!!

A neighbouring Timor-Leste happy user!-)

1) Am I the only user who sometimes (ok often) forgets they are in Log mode on the wheels and wastes 30 seconds trying to do a base grade as if they were in Primary?

Guilty as charged! That happens to me all the time. My forehead is bloody from the number of times I smack myself because I forgot to switch back to Primaries. Unfortunately, this may be a "pay more attention" solution.

The Window Tracker/Stabilizer should revert back to window tracking when you select a new node, especially one with an active window.

Good idea.

Base grade resetting sizing: if I want to get rid of the grading on a clip but not lose sizing, I have to delete all of the nodes one by one, then add new nodes (unless I'm missing something). It would be great to disentangle the two somehow. (Same thing for copying a grade without copying sizing.)

There have been times that I've wished for a "sizing-only node" early in the tree. Maybe the Stabilizer would only work within the Size Node.

Looping of the timeline as a whole: when I'm showing the cut to my client, I want it to stop at the end, not wrap back around to the first shot. I don't see any way to have that happen. (I know - a tiny thing!)

My cheap workaround (not a total fix) is to always lay in about 10 seconds of black at the end of every timeline. But I agree: "stop" is not a bad idea.

Opening up a saved project, it should remember which clip I was on on the color page. This seems pretty basic.

100% agree -- we've asked for a "state" memory for a long time, where Resolve remembers the exact cursor position, window position, nodes selected, stills selected, and all that stuff.

Robert, Some of those points (1&2) are discused in this thread:
http://forum.blackmagicdesign.com/viewtopic.php?f=23&t=38054

Regards,

Remco J

there is a problem with metadata order in the media page
if you order video by "shot" for example, the "take" will be in a random order insteed of any form of logical order.

second point is about audio sync, a quick logo or something to show quickly that a sync was done can be cool. manual sync can also be improved (why not keep the old "in point" like all NLE too ? )

ratio buttons are all gones, so you loose time when you when to go somewhere quickly. Yes it's nicer without but make more step to go to hue vs sat for example

Alpha-bloody-betical lists everywhere please.

I added 55 mattes on a project and in the color I was selecting the one I need but the box was giving me them in the order they where loaded.

Same for the luts and other menus.

I know there is a sort list command in c++, use it please.

Alpha-bloody-betical lists everywhere please.

Yes, please! Alphabetical ordering should be default, without the user needing to sort by Name.

I would like to see mouse dampening when using the mouse on the colour wheels, like Red Giant have on their looks app. Even a hot key that can be pressed at the same time when controlling the movement of the mouse, changing the mouse set up every time I'm in resolve isn't a solution especially when out in the field or using resolve away from my work station.

Alpha-bloody-betical lists everywhere please.

Yes please! This is a big one isn't it!

Also with the looping in the color page it would be good to be able to loop within selected in and out points. Then you can put the in point at the end of one clilp and the out point in the beginning of the other clip and loop and see the cut and how the colours look. Obviously in and out points would be in the mini timeline in the color page, not having to go back to edit page, set them and come back (that would be awful). Or at least something like a "play around" option in the edit page. Right now it doesn't work in the color page.

Alpha-bloody-betical lists everywhere please.

Yes please! This is a big one isn't it!

Also with the looping in the color page it would be good to be able to loop within selected in and out points. Then you can put the in point at the end of one clilp and the out point in the beginning of the other clip and loop and see the cut and how the colours look. Obviously in and out points would be in the mini timeline in the color page, not having to go back to edit page, set them and come back (that would be awful). Or at least something like a "play around" option in the edit page. Right now it doesn't work in the color page.

Yuou can loop with selected on and out.

Havr the loop off.
Sgovto the in point and use the (I) key to set in, do the same for out with (o)

Press loop.


Once there you can move the in/ out point re-pressing (I/o)

giphy.gif (598.48 KiB) Viewed 7970 times

Ok here me out over here. The whole point of a remote grade is to be able to have the same grade automatically applied to all timeline events of one master clip.

What you can do is to add the shot to a new timeline, and track and grade the full clip there. Then you have your track and grade for the 10-20 timeline events.

Alternatively, you can add a new mark at the beginning of the edit just to your power window line in the keyframe widget, and then you get a separate track without a different grade.

I second Stephans suggestion. I love remote grades, and use them almost exclusively. While I understand the clarity provided by just having them be the exact same grade, tracking and all, this limits their usefulness. I agree that there is essentially never a situation where you want tracking data to carry through to a new clip. There is certainly never a situation where you want a grade downstream in the take to break or affect previously tracked clips.

You often end up in situations where you might have 9 versions for a particular remote grade, which cancels out any benefits for having the grades linked. Tracking in the master timeline can work some of the time (ie commercials) but as soon as you have long takes with changing conditions or tight framing this workflow tends to fail. You can use the keyframe at the start of the shot method but this fails if the edits don't move through the take in a linear way that matches the footage

An option to "use local windows and tracking" would be fantastic. This could be on a per shape basis. All shape and tracking info would flow from the remote grade, until being turned on, where it would copy all shape and tracking info into a local state. If the option was turned off, it would return to the classic remote grade tracking and shape info.


In addition, a common workflow I face for commericals is a master timeline / remote grade setup with say 4 timelines - a 60, a 30 and two 15's. It would be fantastic if there was some way of seeing whether shots were in use in other timelines (but not the master timeline) - if there was an option for the linked media indicator to work across timelines. Perhaps hovering over the linked media indicator would pop up a list of timelines where that media appears.

Two more quick little ones:

1) Include shortcuts in the tool tips! (e.g. rolling over the Arrow tool on the Edit page, it says "Normal Edit Mode". It would be great to add "A" to the end of that. Lots of programs do this and it's great when learning.

2) The 3D qualifier should not remember which dropper tool you used last. Often the last tool used in the 3D qualifier is the subtraction dropper. This is *never* the first one used when making a new qualification in a different node/scene. It should always reset to the main dropper when you switch nodes/scenes.

The 3D qualifier should not remember which dropper tool you used last. Often the last tool used in the 3D qualifier is the subtraction dropper. This is *never* the first one used when making a new qualification in a different node/scene. It should always reset to the main dropper when you switch nodes/scenes.

I agree, there are a few of those kind of odd behaviours in resolve

On creating a new node, all data/tools should be reset to initial values.
After creating a node and changes are made, there is state and should be persisted.
After switching nodes,clips or even tabs, it should return to it own state.

Why this is not now in resolve puzzles me.
The only thing i can think of is that i got something to do with how resolve interacts with the control panel.

Regards,

Remco Johannes

In addition, a common workflow I face for commericals is a master timeline / remote grade setup with say 4 timelines - a 60, a 30 and two 15's.

One problem with this -- and I've dealt with situations where we had 40 or 50 different versions of a TV trailer, based on essentially the same group of media -- is the shots are sometimes different enough that an exact match will not work, particularly with tracking windows and so on.

I find just having the Lightbox and clicking on matching shots works fine. And you can still grade in context, knowing that the shot order could well be completely different, throwing off the balance of how the shots in the :30 feel vs. the 1:00 version or the :15-second version.

I've never had a client balk and say, "oh, geez, now we have to wait for you to drop in the identical corrections for the other versions." If there's 10 shots in the trailer, it literally takes me :30 seconds to glance at the Lightbox shots and just click them in. And there's always a chance they'll need to be changed.

I don't see the need to use Remote Grades in very intricate-grading situations. I do understand it when there's a frantic, last-minute session where a show has to hit a deadline (which is sometimes the case with news segments and reality shows). Commercials are far more exacting and precise. I do agree with Robbie Carman elsewhere that one excuse you can use is that the initial Remote Grade gets you close, but then you immediately break it by creating a new version when a change has to be made. My problem is the temptation to want to change it, then you realize those changes have rippled through to 29 identical shots in other segments... which may not be what you want. I'd rather have it under direct control and just do it shot by shot. I don't expect these things to be automatic.

I find just having the Lightbox and clicking on matching shots works fine.

And there's absolutely nothing wrong with that. But we have a very interesting conversation here.

BM has given us a feature and claimed it works. I posted on here and said that the feature essentially doesn't work (and i'm not the only one that thinks that). BM replied that I should not use the feature, or given me a workaround. And then you replied saying that it doesn't matter that it doesnt't work cause you don't use it anyway cause it's not fit for use for any serious job.

My point is, that all of this does not address the feature that doesn't work. And yes I completely agree that for tweaking within context remote grades are not great. But surely this is separate problem and has nothing to do with the fact that including tracking in remote grades makes it completely unuseable even in those situation were you can get away without tweaking in context.

Surely if this is fixed then it's a winwin for everybody?

One man's "broken" is another man's "fixed." I think Remote Versions are limiting in what they can do, and I didn't even like them when they were standard in Resolve 8 and 9. There are a lot of traps with them, and I think this is a path best avoided.

The manual covers quite a few of the limitations. For me, Groups solved a lot of the problems with Remote Versions, which I think is what their intention was. And Groups I use all the time. The new "Collapse Group Grade" mode is particularly useful for cases where you have to take a shot out of a group for a different approach, and that takes the feature even further.

Another area with room for improvement is the Colortrace interface. The whole interface could use a rethinking (though the underlying functionality is great). My first suggestion would be a way to gang the scrolling of the source and target timelines, so you can scroll them together.

Another area with room for improvement is the Colortrace interface. The whole interface could use a rethinking (though the underlying functionality is great). My first suggestion would be a way to gang the scrolling of the source and target timelines, so you can scroll them together.

That's an extremely good idea. In fact, the scrolling on both of those windows is dodgy.

I posted this on another forum, but it would certainly apply to this one too.

In it I set out an argument for more specific inputs in the RGB Mixer and Custom Curves.

http://liftgammagain.com/forum/index.ph ... post-49396

Thank you.

Another area with room for improvement is the Colortrace interface. The whole interface could use a rethinking (though the underlying functionality is great). My first suggestion would be a way to gang the scrolling of the source and target timelines, so you can scroll them together.

I would actually like to see another approach, based off other platforms history.

the idea is to keep the colortrace alive: where we have in the color page the thumbnails, have the option to open another tier and drag and drop a whole timberline there:

you can then color and have the option to colortrace immediately, and reference still from the second timeline, and select section and color from there and drop another previous version of the timeline and Always be Anne to go back to the previous version, and hang then together and easily see a before and after and. ......

(the bloody autocorrector... I want to kill you)

I posted this on another forum, but it would certainly apply to this one too.

In it I set out an argument for more specific inputs in the RGB Mixer and Custom Curves.

http://liftgammagain.com/forum/index.ph ... post-49396

Thank you.

Bump

I posted this on another forum, but it would certainly apply to this one too.

In it I set out an argument for more specific inputs in the RGB Mixer and Custom Curves.

http://liftgammagain.com/forum/index.ph ... post-49396

Thank you.

Bump

I think I suggested this one long time ago......

Scene change beep. I am surprised even the Resolve panel doesn't have this feature. Priceless for scene detected timelines… even a chirp to the system speaker would be appreciated!

I not only want that, I wish we could scene detect a selected clip(s) in a timeline in the color window. It'd be nice to be able to scene detect just a short segment if a new chunk came in.