Blackmagic Forum

Posted: **Sun Feb 18, 2018 3:45 pm**

Kye Leslie wrote:Probably mentioned before, but the ability to assign a shortcut key to any tool, or anything I can click on for that matter.

I'm going through clips and using the white balance eyedropper on each of them (using ceiling white as a rough reference) but I can't assign a shortcut key to the white balance eyedropper, so I have to go back and forwards with the mouse to accurately click on the eyedropper tool each time. Annoying.

I know this isn't the solution you are looking for and I am with you on getting more keyboard short cuts (I really want one for Add Clip To Group)

But in the short term for the problem you are running into there are a number of options for macro programs that would automate that task for you. I use an X-keys w / macroworks, but there are a lot of ways to automate for buttons that have a set place in the UI.

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Posted: **Mon Feb 19, 2018 2:11 pm**

This one already exists, and was nicely programed into thew new MacBook Pro Touch Bar.
(the first tool that made me like the damn thing)

Can we have the 7 button printer point tool in the GUI too?
they can be placed in a 3rd tab on the bottom of the Color Wheels window

*would be nice to get separate settings in preferences for CMY density and step size too... (though I manage without)

**scroll pic down to see

: image1.jpeg (607.07 KiB) Viewed 32652 times

Posted: **Mon Feb 19, 2018 5:46 pm**

Please add support for midi tracks with piano roll editor, vst intruments, BPM tempo with tempo tracks. final cut's audio function is a joke. few years back i used vegas pro, has support for vst plugins and actual mixer, super easy to use for a music producer like me. although it have BPM tempo sync with metronome, i cannot program any vst instruments because it doesn't support midi tracks. it doesn't have to be super heavy like cubase or logic pro, just this few functions. maybe limit the midi tracks or intstruments to maintain stability of the software.

Posted: **Mon Feb 19, 2018 7:33 pm**

Hector Berrebi wrote:
Margus Voll wrote:1. Option to disable clip to see if VFX matches original grading. Now i need to go to edit page for that.
Ideal would be select clip and D like on edit page. Still leave it in place but just disable it.

+1 for D in color page...

As a workaround you can click the track number on very left of color page timeline on/off so if your VFX are all on same track it would almost serve that function. I know its not a shortcut but how I do it now.

+1 for D in color page

Also a shortcut for enable disable video tracks.. I do this so often manually with a mouse click, its quite cumbersome..

Posted: **Mon Feb 19, 2018 8:51 pm**

Hector Berrebi wrote:This one already exists, and was nicely programed into thew new MacBook Pro Touch
*would be nice to get separate settings in preferences for CMY density and step size too... (though I manage without)
image1.jpeg

This is implemented on mini panel as offset ball.

Posted: **Tue Feb 20, 2018 9:16 am**

Would be nice to have a "disable video out" button to just send black to the video output.

Would just be handy in some client review sessions when you have to jump around a bit and sort stuff out before showing them (queuing timelines etc.)

Posted: **Tue Feb 20, 2018 3:30 pm**

1. Fine adjustment of the color wheels without a panel, e.g.

a. The ability to use keyboard keys to finely adjust the primary and secondary wheels, without using a panel. (Moving the mouse is quite a coarse adjustment of these)
E.g. perhaps
- hover mouse over wheel to be adjusted & press scroll wheel button
- then use l/r/u/d arrow keys to adjust finely the wheel concerned

AND/OR

b. use something like a Shuttle Pro as a 'nano panel', e.g. press one of the buttons and use the shuttle and scroll wheels to adjust the values

[Partly because it is panels are not so transportable and I end up grading on my laptop in a hotel room, but have the Shuttle Pro with me]

2. The ability to Zoom in on the source monitors scrub bar for when dealing with long clips.

Posted: **Tue Feb 20, 2018 8:03 pm**

I would love to someday start editing in Resolve. But i cant seem to force myself - everytime i open Resolve i want to arrange all the windows the way i want, but resolve just does not care

Same thing with FCPx. It is like some bizarre backaward step because "original" editing applications could always do that. Please blackmagic free The UI.

Posted: **Wed Feb 21, 2018 4:15 am**

color page / thumbnails;

can we get "C mode sort" to sort by reel/filename, then TC please?
and call the existing sort mode "B mode"?

Posted: **Wed Feb 21, 2018 6:26 am**

Dermot Shane wrote:color page / thumbnails;

can we get "C mode sort" to sort by reel/filename, then TC please?
and call the existing sort mode "B mode"?

Doesn't the current "C Mode" sort by reel then TC?

Posted: **Wed Feb 21, 2018 7:03 am**

Thomas Dove wrote:Support for Windows 7 64-bit Professional

I know it is an 'old' OS but in the Windows world in my experience it is still by far the most popular OS in post (at least in the UK: among a bunch of post-houses I asked - no-one uses Windows 8 - 10).

Many Resolve users on Mac of course, many high-end users on Linux: but I am guessing that a large number of smaller post houses are on Win 7 64b Prof and would like to switch to Resolve, but can't realistically go from Win 7 [even if they wanted to, which like us, they don't].

Resolve 14 has such great editing and audio capabilities that I think this has now opened up a whole new potential market of those who would really like to switch from Adobe, but lack of Win 7 64b Prof support precludes it for many/most. (Our post house included: we have one copy of Studio but will not switch over wholesale from Adobe due to this one issue.)

And also add Fusion to that, switching from AE.

-1 on that one...

Posted: **Wed Feb 21, 2018 11:46 am**

We highly recommend migrating to w10 for security updates alone.

Microsoft ended mainstream support for Windows 7 on January 13, 2015.

Resolve also used some items only shipped in w10.

Posted: **Wed Feb 21, 2018 1:40 pm**

Thomas Dove wrote:... many high-end users on Linux

You don't have to be at the high-end to use Linux. BMD made that possible with the free/Studio release of Resolve and Fusion.

I'm a low-end user and I can hardly see Windows in the rear view mirror.

And although Resolve works quite well as is, it would be nice to have Ubuntu support, or at least a .deb install.

Cheers.

Posted: **Wed Feb 21, 2018 4:06 pm**

My suggestion is to add a function to the Media Management tool. It is already capable to concatenate all used media in a project, add handles and copy all that to a different location. My feature request is to do the same and simply create a timeline of the used footage (trimmed to accommodate retimes, dissolves, etc. plus handles) within the current project.

This would be super helpful in a commercial situation where you have two 30" edits, four 20", ten 10" and a 90" director's cut, all using overlapping footage. Creating a single "render timeline" would help save rendering time, storage and make life easier for the compositors.

Posted: **Wed Feb 21, 2018 4:28 pm**

ignore me, i misread Christian's note

Posted: **Thu Feb 22, 2018 1:12 am**

Christian Lessner wrote:My suggestion is to add a function to the Media Management tool. It is already capable to concatenate all used media in a project, add handles and copy all that to a different location. My feature request is to do the same and simply create a timeline of the used footage (trimmed to accommodate retimes, dissolves, etc. plus handles) within the current project.

This would be super helpful in a commercial situation where you have two 30" edits, four 20", ten 10" and a 90" director's cut, all using overlapping footage. Creating a single "render timeline" would help save rendering time, storage and make life easier for the compositors.

Have a look at the commercial workflow options in the deliver settings.

Posted: **Thu Feb 22, 2018 9:06 am**

Peter Chamberlain wrote:
Christian Lessner wrote:My feature request is to do the same and simply create a timeline of the used footage (trimmed to accommodate retimes, dissolves, etc. plus handles)

Have a look at the commercial workflow options in the deliver settings.

Christian I have wanted this feature for so long.

My idea was to add an option to the Master Timeline to limit it to used footage plus handles (as set in user prefs). This would hide all the footage not used in “real” timelines, and the master timeline would be useful again.

A broader solution would be some kind of generative smart timelines that can be created from a number of variables - even if these are “live”. The current master timeline could be based on this new architecture, I imagine it working similar to smart bins. You could choose specific bins or timelines as sources, set to full clips, or in the case of timeline sources used clips with or without handles, choose different sorting options etc.

Peter the commercial workflow delivery options are not useful in this situation. They are designed to leverage versions to render different grades of the save footage.

The problem for the modern colourist is that takes are usually so long as to make the master timeline much less useful. You might have 10 or more different timelines for a single commercial grade (a 60, 2x 30s, 4x 15s, a directors cut, 6x10s etc) (as a side note, being able to import multiple xml’s at once would save a lot of time, maybe even automatic import and setting of reference videos if they are in the same folder with matching filenames). In a perfect world everything would be precisely cut down from the 60, but that is the never the case. Remote grading helps but gets confusing with long takes (two shots in an edit may be from the same take, but need seperate grades).

So you import all your footage, xmls, references, check everything. The master timeline at this point is probably 2 hours long. You delete all the unused clips, now it might be 30 minutes… but you know that even with one second handles (which is standard), there is really only 90 seconds of footage in there you need to work on and render. It would be really useful to be able to further limit the master timeline to show just the footage you need to work on (used footage in normal timelines plus handles). Also handy that this master timeline has no edit scaling on it (full plate at source res is what I almost always deliver), and that is at 100% speed.

Also, when it comes to render time, currently you need to set up a render job for each timeline, render the same footage multiple times, and hand the online artist a mess. Or you gamble that everything in the other timelines is contained in the 60, plus handles… plus those three other shots you remember in the 15s… much better to render this master timeline, meaning each shot across all the versions shares the same source footage in the online.

My current workflow for big commercial jobs is to create a single timeline containing all my timelines by nesting and decomposing. I then manually reduce this down to a single track, export an EDL, and reimport the footage using “split and add” - this almost gives me what I want, but you often end up with a few doubles up overlapping shots (another request - make the start and end timecode of these shortened shots editable in clip attributes). Also currently problematic if there is an edit change or additional edit after you’ve started working that references footage in the same take but outside the bounds of the split clip.

One more feature request - I’d love a “match edit scaling to offline reference” button in the edit page that uses difference mode and automatically tries to match the edit scaling of the current frame of the offline. Matching this manually is often what keeps be back late at the studio after a full day of grading, prepping for the next days job.

Oh, and a way of disabling all scaling on the current clip temporarily in the colour page, similar to show clip with handles. Same with speed changes. Perhaps could be two variations of the show clip with handles, like menu checkboxes - show in real time / show native fit to timeline.

And have “render at source” automatically disable output blanking.

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Posted: **Thu Feb 22, 2018 11:14 am**

Alex Uzan wrote:We all agree that Resolve 14 is an impressive update.
But I feel a little disapointed (like a spoiled child) that some of my features requested (all of them actually ) have not (yet) been implemented.

So here's a quote from the old thread

1) To be able to add a node to a TextTitle. For grading or fx.

2) Keep transparency of a compound clip.

3) Double-click in media pool to import media.

4) Curves for position keyframe.

5) When we drag'n drop a file from bin to timeline, it always move the playhead at the end of the clip. Would be nice to have an option to not move the playhead.

6) A shortcut/button to export an image right from the timeline.

7) A new timeline created from a clip could have the same name by default.

8) A visual icon on optimized media thumbnail would be nice.

9) Optimizing in background.

10) An option to remove unused footages from bin. (there is a workaround with smart bins)

11) The ability to replace any file by another one.
I'm thinking about offline different sources.

12) When we select and split a clip on timeline, both parts are selected.
That's unusual, but I'm sure you had a good reason to do that
Anyway, maybe adding a split which will select only one part (on Edius you can choose which part, it's very useful).

13) More keyboard shortcuts (clip attribute, duplicate timeline, etc...)

14) The ability to move forward and backward the playhead with the vertical wheel mouse.
And why not, to zoom in and out with horizontal wheel mouse.

15) A next/previous clip/edit that could work with all tracks, even if tracks selector are not active or clip selected.

Thank You BlackMagic

Alex, You have nailed it!

- Asit

Posted: **Thu Feb 22, 2018 12:46 pm**

Christian Lessner wrote:My feature request is to do the same and simply create a timeline of the used footage (trimmed to accommodate retimes, dissolves, etc. plus handles) within the current project.

+1
This would be a big time saver

also, totally unrelated - but it would be great to be able to view monochrome R/G/B channels in the viewer (without having to create a splitter/combiner).

Posted: **Fri Feb 23, 2018 8:17 pm**

I am glad that blackmagic is taking this stuff seriously
Releases feel like one step forward two steps back then three steps forward
But it's far better than it just getting worse

Stuff breaks but it does seem to be getting better in general
Please keep up the good work
When the system is up and running and everything is clean it's a joy to edit in

Here's my UI request for v15

I would like to see dual audio waveforms in the timeline
This is something that Final Cut Pro does that's very nice and super helpful
You get the permanent muted grey waveform of the unprocessed audio
And you get the processed audio as the brighter overlay

: Screen Shot 2018-02-23 at 3.14.24 PM.png (87.97 KiB) Viewed 31506 times

E. G. If you have the audio you still have the muted gray outline of the unprocessed waveform so that you know that it's not a blank empty audio clip

And in general I look forward to seeing the fairlight page as good as any respectable DAW on its own

peace y'all

Posted: **Sat Feb 24, 2018 4:12 am**

After dealing with today's PITA - in the edit page;
map PTZR's zoom to the gain ring
map PTZR's pan / tilt to the gain ball
map PTZR's rotate to the gamma ring
map PTZR's pitch/yaw to the gamma ball

i'm cool with leaving x/y zoom locked, for the few times i need them split i would be ok with mouseing the ui

the need for this was made all the more clear by working Baselight yesterday

Posted: **Sat Feb 24, 2018 8:05 am**

Dermot Shane wrote:After dealing with today's PITA - in the edit page;
map PTZR's zoom to the gain ring
map PTZR's pan / tilt to the gain ball
map PTZR's rotate to the gamma ring
map PTZR's pitch/yaw to the gamma ball

Technically speaking, all these things are already mapped to the Edit Sizing knobs on the Mini Panel and the full Advanced Resolve Panel. I have used color-correction systems that tried to use trackballs and rings for PTZR sizing adjustments, like the Rank-Cintel ARCAS system, and it was an absolute disaster. Trust me, you don't want this.

Thomas Dove wrote:1. Fine adjustment of the color wheels without a panel, e.g. a. The ability to use keyboard keys to finely adjust the primary and secondary wheels, without using a panel.

There are some systems out there (notably Lustre) where some users prefer using a mouse and a keyboard. But the reality is these systems are very slow to run, and the big Lustre shops use teams of colorists working in tandem in order to get the projects done on a tight schedule. The right answer to me is just to buy a panel -- and there are affordable solutions out there, particularly with Tangent.

Posted: **Sat Feb 24, 2018 8:31 am**

Please, add normal name to Resolve window. Now the name is the same as the project, and some tools that use the window's name to look for a target can't run properly.
Thanks.

Posted: **Sat Feb 24, 2018 7:58 pm**

Please add a shortcut for enable/disable „AutoKexframe“ of current selected node.

I need this about 50 times a day and I have to scroll down, select the right node number, press the small button... this takes just too long.

The Add keyframe unfortunately adds a keyframe for all nodes, which I dont like, beacause I loose all flexibility to change the look quickly..

Thx Resolve Team!!

Posted: **Sat Feb 24, 2018 9:41 pm**

Lee Niederkofler wrote:Please add a shortcut for enable/disable „AutoKexframe“ of current selected node.

I need this about 50 times a day and I have to scroll down, select the right node number, press the small button... this takes just too long.

The Add keyframe unfortunately adds a keyframe for all nodes, which I dont like, beacause I loose all flexibility to change the look quickly..

Thx Resolve Team!!

If you switch from (all) to (color) the little selection above the keyframes window, you will add a keyframes only in the node you are.

Other options are in the manual

Posted: **Sun Feb 25, 2018 3:03 am**

Marc Wielage wrote:Technically speaking, all these things are already mapped to the Edit Sizing knobs on the Mini Panel and the full Advanced Resolve Panel. I have used color-correction systems that tried to use trackballs and rings for PTZR sizing adjustments, like the Rank-Cintel ARCAS system, and it was an absolute disaster. Trust me, you don't want this.

ahhhhh, so far i have not needed to do any conform fixes with the systems i've worked on with the Mini, i'll give that a shot, not that i'm likely to buy one myself due to the ergnomic's involved, my neck prefers a lower profile surface like Color or Elements

As to usebality of that type of layout?
drive a conform fix/tweak session in Baselight... trust me, that mapping works awesome / fast / accurate in my hands as Baselight has them mapped to the surface.. maybe Baselight in 2018 has done a better job than Rank did in 1992?

Posted: **Sun Feb 25, 2018 6:55 pm**

and today's PITA ;-)

Since v14 i've rarely needed to turn to BCC or NewBlue's utlitys for online fixes, many of the most high value utlity OFX are now replacated in Resolve v14's native OFX... great for my pocket book, many thanks

the only BCC utility i still use constantly is de-flicker, the native Resolve OFX is really not in the same ballpark, can we get some extra lurve on that one ?

Posted: **Tue Feb 27, 2018 7:28 am**

I’m wondering in future versions of Resolve will there be a counter/calculator for the export size before we start the render? I have a somewhat work around now...but its not quite accurate.; especially for image sequences. I have had render/export fails from not enough hard drive space. I love how media management has this feature, would love for it to be on the export/Render page. Thanks!

Posted: **Tue Feb 27, 2018 6:12 pm**

Better HDR support specifically:

1) direct render out of HDR10 HEVC in TS or MP4, with corerct / configurable metadata (MaxFALL, MaxCLL, mastering color primaries etc)

2) likewise direct render out of HLG

3) display graphs and data frame by frame for MaxFALL, MaxCLL so that you can see hot frames and hot spots

~~~~~~~

And not sure of the issue, but find/fix the problem about HDR10 deliverables as given in page 4 of thread:
viewtopic.php?f=21&t=53139

Posted: **Tue Feb 27, 2018 8:03 pm**

Apologies to all (and I promise, the last time) but still on Win7 64-bit Prof..

I would suggest that the potential users/market for Resolve changed with 14 and the price drop to $299.
My view [may be wrong] was that 12.5 was still viewed as being more for colorists, but with the new features in 14 and the $299 price, 14 is entirely appropriate to a much wider market - anyone doing video editing. Many many of whom are on Adobe, and many of whom don't like the Adobe subscription model. So for these reasons 14 is very attractive to what I am presuming is the target market for Resolve.

A further key factor is that I think many are looking at or already doing HDR and need a grading tool for that, and the only reasonably priced option is Resolve. So this is making many Adobe users look at Resolve [precisely the reason that our post house bought 12.5 Studio]. So now is a great opportunity to get these users to consider 14 not just for grading but as their prime NLE. And there are many more people using a general NLE than doing grading specifically.
Adobe doesn't support HDR properly, but they will sort it out in time. So there is a time window now to switch over Adobe users, the most numerous of whom are using Win7 64b Prof.

Not supporting the most widely used OS in the target market seems a bit surprising to me, and for many on Win7, for now at least this is a show stopper to going over to Resolve wholeheartedly, i.e. not just for grading but also NLE work, and audio and logically using Fusion as well. (We will be replacing our PCs in our normal cycle, so all will be Win10 in the next two years, but for now we have mainly Win7 and cannot justify ditching it / replacing PCs early.)

Reference the points from Peter C:

Microsoft ended mainstream support for Windows 7 on January 13, 2015.

Extended support continues until Jan 2020, and lack of 'mainstream' support means no more features [not needed[ but security updates continue, even if slightly delayed compared with Win 10.

Resolve also used some items only shipped in w10.

I find it hard to understand this as an argument not to support Win7. There must be a ton of stuff in the Windows 10 version of Resolve that is not in the MacOS or Linux versions; but it does not stop these versions working. Having done some cross-platform development, I would suggest that the functional differences between those items needed for Win7<->Win10 is tiny compared with the functional differences between the items needed for MacOS<->Linux<->Win10.
Maybe I am wrong, but it seems to me that supporting Win7 [at least only one version 64b Prof] would require relatively little effort on the part of BMD, for the gain to be had.

Obviously as time goes on there is less point in BMD supporting Win7, but likewise Adobe will sort out their HDR support in time and may respond in other ways [like improving significantly the color science in PrPro], so the incentive for Adobe users to switch to Resolve as their NLE is reduced and I would contend that BMD would have missed a great opportunity to switch over a significant number of NLE users to Resolve who would not otherwise switch.

(Apologies again, but only harping on about it as I am a big fan of Resolve 14 and would like to see it more widely adopted, not least in our own post house where I would like it to be not just our single grading app, but instead make it the standard NLE across all PCs - but am prevented from doing so due to this one issue.)

Nuff said on this subject!

Posted: **Wed Feb 28, 2018 1:28 am**

The ability to remove markers from the Edit Index. Or at the very least the ability to select multiple markers from the edit index so that I could "remove selected markers" from the timeline.

When doing the conform for a TV show it is so great that Resolve will add markers for all of the conform errors. For many of my shows that leaves a lot of markers that I can delete right away, but it is tedious to manually select them in the timeline and delete. The ability to delete them out of the Edit Index would save a lot of time.

Posted: **Wed Feb 28, 2018 1:30 am**

This is something that sounds easy, but I suspect in reality is not.

When you are exporting to compressed formats and play with the Quality setting, certainly in H.264 this is true, you are actually telling it the Maximum bitrate to use, not the average one. I recently conducted some tests and Quality settings of 5000, 10000, and 20000 all generated the same output file size.

The problem with estimating this ahead of time is that it would need to analyse the video in such depth that it would probably take almost as long to calculate the final file size as it would to actually render the output video.

Progress bars also have this type of problem - ultimately these things are predicting the future, and as I'm sure you're aware, that technology is not yet with us, and may not be possible.

Posted: **Wed Feb 28, 2018 3:41 am**

There are other software packages that have this function in a slightly different way...and yes I understand that it might be difficult but most things of value truly are—diffifult. As far as technology is concerned the advancement is such that I am sure estimating the amount of space the export will be is not too sophisticated when measured against technology feats. Once all the export parameters are dialed in and or selected I was thinking based on that an export size calculation can be determined. I don’t know...maybe. It would be great though! :-)

Posted: **Wed Feb 28, 2018 11:46 am**

Horizontal separation of tracks like we see here in forum as first track would separate visually from second and so on.

I'm nod doing edit and somehow i loose reference of track placement to track name if there is not very clear visual aid to it.

Should be simple to do.

This is what i mean:

https://www.dropbox.com/s/hhueu1tcwm3ej ... s.png?dl=0

Posted: **Wed Feb 28, 2018 6:42 pm**

Margus Voll wrote:Horizontal separation of tracks like we see here in forum as first track would separate visually from second and so on.

I'm nod doing edit and somehow i loose reference of track placement to track name if there is not very clear visual aid to it.

Should be simple to do.

This is what i mean:

https://www.dropbox.com/s/hhueu1tcwm3ej ... s.png?dl=0

+1

Posted: **Wed Feb 28, 2018 9:18 pm**

In one dark corner of Resolve, there is support for so-called Shaper LUTs, which are basically a hack for the fact that 3D LUTs don't have nearly the resolution to deal with real-world HDR images, neither synthetic OpenEXR images nor RED and ARRI RAW files.

In another dark corner of Resolve, there is obscure support for CDLs (so obscure that you have to know a secret handshake to load a CDL on a Mac). And that support is not connected at all with RED's IPP2 pipeline.

For version 15, CDLs should be supported as first-class objects that can be loaded from files without right-clicking some special UI option to disable file type checks which, if implemented correctly, would have accepted rather than rejected CDLs in the first place.

By rationalizing and prioritizing CDL support, Resolve can deprecate Shaper LUTs, which were a bad hack anyway. CDLs can do a mathematically better job that Shaper LUTs, and they should be supported as first-class objects, not some weird piece of ColorTrace and/or Aces conformance.

Posted: **Thu Mar 01, 2018 12:23 am**

On the Mini Panel, it would be great if there was a function to reset the "group" to the default menu page.

Aka if you are working in curves and you use the arrow keys to mouse over to the High Clip / High Soft screens and then switch to you primaries the next time you switch back to the curves tab you will be in the High Clip / High Soft page.

That functionality is great and I love it, but it would be great if there was a way to "reset" the page. For example if I double clicked the "CURVES" button it would set the panel back to the custom/custom curve tab. This would ensure that when one is working quickly to be able to set the panel to a known state.

Posted: **Thu Mar 01, 2018 10:10 pm**

Within "System," "User," or "Project" settings, it would be great to be able to toggle the default behavior for when a Key Output from one node is fed into the Key Input for another. Right now, the key is automatically inverted as a kind of shortcut for adding an "outside" node, but it'd be great to toggle the behavior to consistently invert or consistently not invert.
Similarly, it'd be great to have a shortcut to add an "inside" node--just like an outside node, but not inverted.

Posted: **Fri Mar 02, 2018 9:18 am**

Thomas Dove wrote:...
Resolve also used some items only shipped in w10.

I find it hard to understand this as an argument not to support Win7. There must be a ton of stuff in the Windows 10 version of Resolve that is not in the MacOS or Linux versions; but it does not stop these versions working. Having done some cross-platform development, I would suggest that the functional differences between those items needed for Win7<->Win10 is tiny compared with the functional differences between the items needed for MacOS<->Linux<->Win10.
Maybe I am wrong, but it seems to me that supporting Win7 [at least only one version 64b Prof] would require relatively little effort on the part of BMD, for the gain to be had.

...

Having been on this forum for awhile, I've noticed that new OS releases on the Mac side break features in Resolve with some regularity. And, FWIU, Resolve on Linux is lacking some features and not all Linux kernels are supported.

So it hasn't been easy to maintain even three platforms.

Throw in the fact that Intel and AMD chips aren't truly binary compatible, that there's OpenCL, CUDA and Metal and all of these things need to be supported, and it must just get mind numbing.

Posted: **Fri Mar 02, 2018 4:22 pm**

today's thought....
in another system the caches are able to be written as DPX, you can set target folder for each type of cache.... set that system to the equlivant of output cache in the BG , and when you made your last tweak the CTM is ready, no exporting, no rendering anything, just use the output cache folder to make deliverables....

assumeing one is not using Resolve to create deliverables due to the suboptimal gfx/titles and disfunctional audio routeing

Posted: **Fri Mar 02, 2018 8:57 pm**

In the Render Queue, we can see the Project name and Timeline name. Under that we see the export destination.

I've love to add the Export name to that list. Like so:

Smith Wedding | Ceremony | YouTube Version
G:\Smith Wedding\Uploads

Smith Wedding | Ceremony | BD Version
G:\Smith Wedding\Masters

Posted: **Fri Mar 02, 2018 9:02 pm**

Margus Voll wrote:Horizontal separation of tracks like we see here in forum as first track would separate visually from second and so on.

I'm nod doing edit and somehow i loose reference of track placement to track name if there is not very clear visual aid to it.

Should be simple to do.

This is what i mean:

https://www.dropbox.com/s/hhueu1tcwm3ej ... s.png?dl=0

I like that

Posted: **Sat Mar 03, 2018 2:11 am**

A request for the look/style of the built in vectorscope.

So, I was in Premiere comparing my scopes from Lumetri to the scopes readings from Resolve, and while I was happy to see they were just about identical, I couldn't help but notice that the vectorscope inside Premiere CC was incredibly easy to read and understand, over the vectorscope built in Resolve.

I'm not saying to copy exactly what they've done, but maybe adopt just the two things that really made a difference to me accurately reading my color values.

I've attached an image of the vectorscope found in Premiere. Basically, instead of a black background, they actually show the different hues spread across the scope. There is a better representation of what color lands where. It's subtle enough that it doesn't interfere with the value readings. Perhaps make this even an option to turn on and off, and also to adjust the opacity of the hues as they appear in the background.

The second thing is there is a distinct line that connects the values of the colors. In Resolve, I have been eyeballing these saturation limitations so as to not extend saturation of any specific color. Obviously it's done me right for however long I've been using Resolve, but it's very nice to actually see that line that connects each hue.

If either of these are already accessible in Resolve, my apologies, I may have missed that option. Or if anyone has mentioned this already.

Posted: **Sat Mar 03, 2018 2:42 pm**

I really enjoy grade on DaVinci RESOLVE but in my POV, there are a few functionality missing to push DaVinci RESOLVE 15 to higher professional usage :

PREFERENCES
- System -> Media Storage Locations : ability to add a second Mapped Mount
- User -> Color -> General Settings : Add a check box with « previous scene switches to visible track » OR make it working directly in a « next AND previous scene switches to visible track »
- User General Setting -> Open Resolve -> List with MEDIA POOL, EDIT, COLOR, FAIRLIGHT or DELIVER
- User General Setting -> floating timecode window
- User General Setting -> New or Classic stabilizer by default
- Export Presets

PROJECT SETTINGS
- Add "match video output setting" as checkbox
- Cache and optimized media in different Working Folders
- Export Presets

CONFORMATION
Extract file location from EDL comment

MEDIA POOL
- Send Optimized media rendering in the render queue as background process
- Advanced parsing functions to make reel name with aggregation of 3 different folder names in file path. Example : Folder « PROD » contains folder « VFX », which contains folder "reel-01", which contains folder "4096x3112", which contain my exr files. I want to have as reel name in resolve « PROD_VFX_reel-01", or « VFX_reel-01"
- Custom names for Color (Clips, Flags and Markers) and add White, Black and Red for clips
- scene detect will use the reel name set in the project settings
- extract metadatas from Quantar sound files like Shot Scene Take and Good Take
- Metadata window : display all non-empty fields
- extract more metadatas if possible to avoid specific programs from Sony, Canon, RED, Arri …
- Customize metadata content of reports : Export (CSV, HTML, PDF) with Thumbnails and selected metadatas or Preferences -> User -> Metadata Presets
- Move and Relink caches and/or optimized media
- Duplicate smart bin
- Smart Bin : option for Clips with LUT, DCTL

EDIT PAGE
- Option to have playhead at specific TC when switching timelines
- export source timecodes in the "markers as edl" export
- EDIT INDEX, when we choose to display markers, add Reel and Sources values in columns
- marker export with reel names and sources timecodes
- EDL export marker put onto one clip in the timeline
- use the "3D Color Viewer Lookup Table" acting in the Edit page like is acts in the Color page
- In the EDIT Marker’s window : ability to have 16 edit keywords with % access for QC, VFX …
- Marker to EDL export : put the duration using IN and OUT, not in comment
- Timeline Output Blanking 1,37 and visual marker for choosen blanking
- Metadata fields linked at IN-OUT EDIT Timeline TC
- Right Clic on any clip with TAKE SELECTOR to add new clip from specific Media Pool Bin with same TC, Name and Reel name for those us working in animation, fiction with VFX, Commercials or Restore workflows.
- copy/paste in the timecode fields
- Take Selector with option to Add Clips from Bins (shot versioning, VFX or Animation pipeline)

COLOR PAGE
- Move the rotation center in power windows like in RESOLVE 8
- Option to have playhead at specific TC when switching timelines
- Color Picker with Nits Value in HDR mode
- Color Picker RGB values as physical values in ACES mode
- Add version to selected clips at once
- Shortcuts to switch between track, clip, pre & group post clip grades
- Contextual menu in Gallery to Export Grabs with labels selected in Project Settings -> Color
- Contextual menu in Gallery to Export Grabs in specific Gamut and Gamma
- Contextual menu in Gallery to Export Grabs with burns
- Contextual menu in Gallery to access lut browser
- Data Burn on a specific video track
- Use the complete range of Saturation and Luminance in HSL and RGB Qualifiers
- Use 3 or 4 decimals for all qualifiers and Matte Finesse resolutions instead 1 today
- History List with right clic on clip
- Ability to see vertical stacked Clip for History
- Ability to regenerate Gallery from embeded metadatas
- Replace corrector ## -> « Circ Win» (ie) in the Keyframe Editor Interface by the name given at the PCW in Window Palette (same for any other Power windows of course)
- Add Power Windows type in the Timeline filter list before Tracked to see clips with specific power window
- Fix window offsets with anamorphic images and size changes in Clip Attributes
- Add for node in Layer mode the ability to disconnect the node instead desactivate it and see what your grade looked like without it
- Duplicate smart filter
- Smart filter : option for Clips with LUT, DCTL, non grouped clips …
- copy/paste in the timecode fields with + or - calculations

DELIVER
- AS11 delivery
- Good QC manager
- Ability to add LUT or DCTL
- background process for batch list render and ability to change the order of Render Queue
- Render Queue Manager includind Remote Rendering
- Script Render Queue
- Save render queue elements as txt or csv to import them in other projects

ADVANCED PANEL
Please add trackpad as large as possible
New keycaps buttons to match all functionality
Full, soft-mapped QWERTY keyboard with adaptive keys (conforms to Mac, LINUX or WINDOWS convention)

And why not a specific DaVinci RESOLVE STUDIO PRO license (of course more expensive) if a studio or a company want specific post production functionality, support and Python scripting to write specific scripts, shot versioning, VFX or Animation pipeline.

At least a question : VST use a lot of ressources and we need more and more ressources with the 4K, 5K, 6K or 8K camera files just to grade it. Why Fairlight is not like FUSION, out with « connected timeline » to run in a specific station with specific hardware ? Even with Supermicro Station we have not infinity number of PCI slot. As Marc Wielage say, complexity of the program and radically-different user interface plead suite of separate programs's cause.

Regards
Jean

Posted: **Sat Mar 03, 2018 4:00 pm**

Is it possible to import and export (XML or other) the presets created in the delivery TAB to find them in case of change of uninstall / reinstallation and also to share them.

Thank you.

Posted: **Sat Mar 03, 2018 11:01 pm**

Better Metadata import please:

BWF: Circle Take should translate to Resolve "good take" or rename it to Circle Take

R3D:

Ideally everything, but at least please please add:
Sensor Name, Compression Ratio, Lens Mount, Lens Name, Aperture, Focal Length, Focus Distance, Shutter Angle

ArriRaw/MXF:
Ideally everything, but at least please please add:
Camera Model, Shutter Angle, Lens Focus Distance, Lens Focal Length, Lens Iris, Lens Model

Phantom .cine:
Camera Model, Shutter Angle, Lens Focus Distance, Lens Focal Length, Lens Iris

Primarily need to be able burn these in for VFX reference proxy files

Others would probably want the same lens metadata import from Sony/varicam/Canon , but we never use those systems

Posted: **Sat Mar 03, 2018 11:24 pm**

Representative of many audio/video post facilities, I have $4K in graphics adapters and $10K in high-end PCIe adapters, ADC/DACs, and monitors for surround work. DaVinci Resolve Studio is incredible, but our needs are very simple...

PLEASE!!!!!!

Thank you.

Posted: **Sun Mar 04, 2018 12:06 am**

Bake metadata on render pleaaaaaasssseeeeeee

Posted: **Sun Mar 04, 2018 4:31 pm**

This may seem trivial but the ability to change the colour of the playhead line and the clip highlight colour would definatley help those Red/Green colour blind members amongst us and those who have problems with reds not being seen as strong colours.

Posted: **Mon Mar 05, 2018 9:33 pm**

Because I like making time lapses with my Panasonic GH5, support for RW2, the Panasonic RAW format.

Blackmagic Forum

DaVinci 15 | Big feature request list.

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