Blackmagic Forum

More procedural, object-oriented approach to editing... ?

As David (Cineform creator) has confirmed that SDK is free (has been for a year or so) I would like to see proper/updated Cineform implementation with RAW controls, resolution switch linked to Cineform decoder, so people can work with 4K files on laptops (like you do in Premiere with Cineform files) and stop wasting time for proxy/optimised media creation.

Posted this in another thread but I want the advanced Panel to jog shuttle in the preview window.

The jog/ shuttle works so much better now it's a shame it can't be used for editing. Also make i/o from the the panel, etc. Work with editing, etc.

Not sure if its been covered already, but I would love to be able to adjust NR attack by IRE (or whatever luma measurement you so choose) from within the NR panel, as a quick and dirty alternative to doing it with qualifiers.

An audio request.

The ability to change a stereo track into two mono tracks, AFTER it's been edited on the timeline. In other words, unlink the stereo interleave, so it's now two discreet mono tracks.

Resolve is the first NLE I've used that couldn't do that.

Spencer_Meyer wrote:

Giordano Lu wrote:Just looked at the images of new audio features, and ... I didnt see.. CROSSFADES !!!
Not talking about applying a transition onto a cut (to make the cross fades)
Talking about something like Vegas (still my favorite audio editor ever), in which I can simply overlap one clip onto another and automatically the crossfades show up. I can do literally magic with this .

You can do Shift+Option and drag (edit point or whole clip) to overlap audio (or video), this automatically adds transition.

In Vegas when you overlap them, you can actually see both waveforms one on the top of other. This is very useful for fine-syncs, but I agree the current feature already something close.

I'm not sure whether this has been addressed in v14 beta but I use Resolve with four monitors. (# 4 is purely for System management)

Monitor #2 (centre) is driven SDI from the Decklink card and monitors #1 and #3 either side are used for GUI on a 'single' monitor Resolve GUI setup. This allows for the scopes page to run full screen on #1 monitor for the Media and Color pages only.

On the Edit page, the Scopes monitor #1 remains blank which seems silly so why not allow the Audio Mixer panel to run full screen on this monitor when in the Edit page? (like it used to way back in what, Resolve v10 or so...)

David Parrott wrote:Not sure if its been covered already, but I would love to be able to adjust NR attack by IRE (or whatever luma measurement you so choose) from within the NR panel, as a quick and dirty alternative to doing it with qualifiers.

That is a good idea. Maybe a switch to select highs / mids / lows.

Andrew Kolakowski wrote:As David (Cineform creator) has confirmed that SDK is free (has been for a year or so) I would like to see proper/updated Cineform implementation with RAW controls, ,,,

i'm not a big fan of cineform in particular (in the meanwhile there are much better innovative and exotic alternatives around), but i second your request for public APIs, so that third party developers can add features (file format support, external control by various input devices etc.) for resolve.

This at the moment looks like "theoretical codec" rather than a real product.

Cineform presents great balance between quality/speed/features. Add wavelet based nature (so ability to be decoded at lower resolutions)+ RAW mode and I don't see any other existing codec out there which would suit better as intermediate codec. It's also fairly well supported with free SDK for all OSes as well as being SMPTE standardised.

I would like DaVinci Resolve 15 to have a frame serving feature.

+ 1 to Alex Uzan's request(s).

** In particular, the nested sequence doesn't retain opacity and/or blending mode.**

With respect,

I would like resolve allow to customize title and save them as preset for ALL project (font, position, color curve etc.) . actually If you drag and drop title in media pool, and create new projects, your settings disappear.

Jean Rivoire wrote:I would like resolve allow to customize title and save them as preset for ALL project (font, position, color curve etc.) . actually If you drag and drop title in media pool, and create new projects, your settings disappear.

You can save it to a Power Bin which are shared across all projects.

Please, please, please.... the ability to normalise audio.

Rohit Gupta wrote:

Jean Rivoire wrote:I would like resolve allow to customize title and save them as preset for ALL project (font, position, color curve etc.) . actually If you drag and drop title in media pool, and create new projects, your settings disappear.

You can save it to a Power Bin which are shared across all projects.

I've downgraded to 12.5 due to an issue in audio export on 14b2 but thanks for your feedback. Powerbins is not available on this version.
Do you still have 14beta1. dmg?

I am loving Davinci more and more since this beta release, excited to see when it is ready to roll.

My main request is just that the editing page be really smoothed out. There are so many good features, but the snapping, scrolling, dragging, all feels so buggy. Really hoping these are beta bugs instead of how editing will actually feel. In any case it's miles ahead of the last version. blah blah blah....

OK, I may be alone here but :

one thing I really miss is hover mouse scrolling. Going through tons of footage this is the wrist saver and way to edit with great speed.

Love having audio as a dedicated page. It's such a great way to edit without being distracted by visuals...

Really needs an enable/disable track from the Audio edit page. Or call it mute, but just an immediate key command way to disable a clip's audio.

I've fallen in love with BMD since resolve 12. but one thing is really annoying is the lot of bug when BMD release a new version of Resolve.
I think for the next release, not specifically only for 14, is to just correct all the bugs we can find in this forum. we can understand if you can't add new features but please, correct the bugs. It's really a pain when you have to work every day with a tool that quit without explanation.

Even on stable version (12.x.x) there are bugs. Please take 6 months to correct all the bugs available here.

I think it's already been mentioned, but simply:

If Resolve 14 integrates Fairlight, let Resolve 15 integrate Fusion.

Also, would be nice to have Ultimatte tools available in the Edit and Color tabs.

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

+1 on this!

This is a big one for those us working in animation and VFX. It is a critical function to be able to replace a shot with a new version. Having to name materials based on the initial edit for relinking is a deep pain and doesn't allow for version tracking.

Justin Stephenson wrote:

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

+1 on this!

This is a big one for those us working in animation and VFX. It is a critical function to be able to replace a shot with a new version. Having to name materials based on the initial edit for relinking is a deep pain and doesn't allow for version tracking.

Does "Force conform with selected media pool clip" not do this already?

Justin Stephenson wrote:

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

+1 on this!

This is a big one for those us working in animation and VFX. It is a critical function to be able to replace a shot with a new version. Having to name materials based on the initial edit for relinking is a deep pain and doesn't allow for version tracking.

using take selector?

Sent from my SM-N920T using Tapatalk

Ah. Take Selector. Had not considered this - stuck in Avid/Premiere thinking. I will give it a spin. Thanks, Walter.

Micha Clazing wrote:I think it's already been mentioned, but simply: If Resolve 14 integrates Fairlight, let Resolve 15 integrate Fusion. Also, would be nice to have Ultimatte tools available in the Edit and Color tabs.

I'm still against this because of the sheer complexity of the program and the radically-different user interface. Fusion alone has a 1500-page manual (reference and user), and the Resolve manual is already 1200 pages. Why not throw a page layout program, a word processor, and a spreadsheet in there as well? We could call it "Resolve 1-2-3"!

I think there's more value in having a suite of separate programs that can all run simultaneously and easily hand off pieces of data to each other seamlessly and quickly. For this reason, I would've much rather had Fairlight as a separate piece of software that just runs alongside Resolve (or down the hall with another operator), and then immediately can connect and exchange files or timelines as needed. To me, there's a great risk in building massive software with bloated code and the potential for more bugs. Just my opinion.

I would not have a problem if Resolve provided better keying and better tracking using pieces of Fusion's engine. That's fine by me.

Marc Wielage wrote:I'm still against this because of the sheer complexity of the program and the radically-different user interface. Fusion alone has a 1500-page manual (reference and user), and the Resolve manual is already 1200 pages. Why not throw a page layout program, a word processor, and a spreadsheet in there as well? We could call it "Resolve 1-2-3"!

The point is that all of these tools ultimately need to perform the same functions. That is why Resolve included an Edit tab way before Blackmagic had any aspirations to turn it into a competitive NLE-- you need to be able to perform basic timeline manipulation in order to grade something. Throw in transitions and split screens and suddenly you need to be able to composite as well.

VFX tools like Fusion or After Effects are essentially supersets of an NLE, they can (and have to) be able to edit timelines, do colour manipulation, compositing and much more. An application like Resolve really is just an interface to cherry pick features from that superset and make it easy to use for an operator who isn't doing full on 3D VFX compositing but who only needs to grade.

I've long held the opinion that Adobe should just kill the Premiere codebase for this very reason; just make Premiere a separate GUI that just uses the After Effects engine under the hood. That would also be a good thing for After Effects because it would actually force AFX developers to make it capable of playing back a timeline in real time, something it hasn't been able to because of legacy baggage it lugs around. But Adobe wouldn't listen anyway, so why even bother.

Marc Wielage wrote:I think there's more value in having a suite of separate programs that can all run simultaneously and easily hand off pieces of data to each other seamlessly and quickly. For this reason, I would've much rather had Fairlight as a separate piece of software that just runs alongside Resolve (or down the hall with another operator), and then immediately can connect and exchange files or timelines as needed.

It's an attractive idea but it doesn't work. Just look at the horror that is Adobe Dynamic Link which is mind-bogglingly slow and always crashes when there are tight deadlines involved. I always use intermediate lossless or DNx renders because they're infinitely faster and stable. Round-tripping timelines between Premiere and Audition is also clunky as hell. You always lose information in the process, because the engines are different and they interpret the data slightly differently. Resolve's Fairlight integration works so well exactly because the audio in the Edit tab is now just a simplified view into the Fairlight engine. Any volume, pan or transition you add in Edit gets perfectly mirrored in Fairlight and vice-versa. Add the collaborative network features, bin and timeline locking and chat and suddenly your whole team is spending more time working on a project and less time importing, exporting, round-tripping and making sure nothing gets lost in the process.

I'd like to be able to create multiple multicam clips with one click. Like 'Multiclip sequence' feature in FCP7: when you select several clips, the app automatically recognizes from the timecode breaks if there's one or more multiclips. Really need this!

settings, [output scaling preset]
add [ [x] match video output settings ]

because the issue when the timeline does not match the video output, it will be great if we have a shortcut to quickly match the timeline to the video resolution.

Sent from my SM-N920T using Tapatalk

Marc Wielage wrote: I think there's more value in having a suite of separate programs that can all run simultaneously and easily hand off pieces of data to each other seamlessly and quickly. For this reason, I would've much rather had Fairlight as a separate piece of software that just runs alongside Resolve (or down the hall with another operator), and then immediately can connect and exchange files or timelines as needed. To me, there's a great risk in building massive software with bloated code and the potential for more bugs. Just my opinion.

way back in the begining of DS, before MicroSoft bought them it was going to be sold as seperate apps, edit/ paint / comp + an optional master "suite" with everything rolled together, that changed into a "hero box" concept long before v1 went out the door tho

Unlink the source monitor from project playback rate. The current configuration makes it impossible to three point edit material that has a different framerate than the project. It's rough when you're dropping 1080i material into a 24p timeline and vice versa. The audio is garbled too.

Premiere does this fine, it just doesn't output the source monitor to the decklink card if the framerate/resolution differs.

This is the only thing holding me back from using Resolve as my primary NLE, especially since you can't pancake your timeline to get around it.

I still want a big floating timecode window I can put where I like for clients taking notes. Before someone suggests it, no I don't want it burnt into my output, just over my GUI so my output on the reference monitor is a nice clean image.

Midi implementation for Midi Controllers such as Behringer BCR2000.

when take a image reference, have the option to include the burning.

Sent from my SM-N920T using Tapatalk

Apple pro ress output for windows
And keep fairlight out of resolve as fusion...

waltervolpatto wrote:when take a image reference, have the option to include the burning.

Sent from my SM-N920T using Tapatalk

+1

DS had master/submaster relationship between timelines, so the stiched master was always updated as the reels changed, and the reels changed as the stiched master changed

It's easy enough to do half of this in Resolve currently by manualy force conforming the reels to the master timeline each time, a one way trip tho

Where Resolve falls down is making tweaks to the master timeline while doing a final screening with producers but needing to deliver reels to QC.... nay changes have to be hunted down and manualy conformed to the reels, or reels broken out over again or, or, or,

There's no fast automagic answer, and the timeframe between producer signoff and reels to QC is very short already..

on that same subject... Nucoda writes caches as DPX, you can choose master timline timecode, and output cache, it caches in the bg while you are working... once the last cache is written the show is complete and needs no further outputing, and that's about 30 seconds after the producer's say "good to go" - i have the master for QC ready to be transfered to a shuttle drive

guess what i was doing yesterday.... and rendering an output overnight to be checked today... if iwas on Nucoda for this film i would have had the disk to QC yesterday afternoon, and had the machine free to source cache another show overnight... literaly Resolve can be a day to a few days slower getting 7 reels out the door

1. Multiple timeline:
It would be better if multiple timeline can be opened together, so clips can be copy over easily and compare the edits easily.

2. Bin creation from selected clip in timeline:
In Final Cut Pro, the Bin creation is bi-way. Bin can be created with selected clips on timeline, especailly when try to narrow down the clip selections from a section of an edit.

3. Custom Zoom buttons
When editing a long timeline, it is really annoying to zoom in certain part of it and zoom out and zoom in another part of it again and again. It is better to have a few custom Zoom buttons (like Pro-Tools), to let user to save the current cursor location and zoom level, so the user can jump around the timeline much easier.

4. SOLO button for audio track
It should be better to have a "Solo" button for the audio tracks, use "mute all tracks except one" is not the right way to "solo a track", especially when there were groups of tracks to were mute before I want to solo a few tracks. Then there is no way for me to remember which tracks were mute before after "solo".

5. Copy text attributes to change groups of text clips
In order to change fonts, reposition text for multiple clips as in subtitles, it would be better to have a copy text attributes feature with selection of individual items.

6. Midi controllers supporting with mapping
Allow user to map different midi controllers to any buttons of Resolve, especially in Fairlight audio and Editing

7. It will be great if Fairlight can support Avid S3 panel, since I use Pro Tools and don't want to have stack of panels on my desk - I know it is only a dream to ask BM to support Avid.

My single wish for D15 (or even D14.5 )....

Allow me to put the Inspector panel on my 2nd monitor.
It's a pain to have constantly open and close this panel - and every time you open it your viewers shrink, right at the moment you want the best view possible.

This was a complaint in previous releases and I was a little surprised to see it move unfixed to R14. It really is quite bad from a UX perspective.

Rob Smith wrote:My single wish for D15 (or even D14.5 )....Allow me to put the Inspector panel on my 2nd monitor.

It's not my single wish, but the need to open and close the Inspector is one of those design features which forces constant disruption of the work. I'm not sure what the solution is, but something ought to change....

DAVINCI 14, 15 | Big feature request list.

1- In Edit page / Inspector module, I need the control of Easy IN & OUT for POSITION control, like ZOOM control, between keyframes. I can’t manage a simple travelling pans with photos and add some easy in or out points in my keyframes. Very very frustrating !! It is the basic concept of all good online systems !!!
2- In Edit page or Color page, I need control for all sources containing alpha channel. I need control not just for RGB, but control of RGBK. For the moment, I can’t put a simple drop shadow from Boris FX ( BCC drop shadow ), because Resolve not recognized the alpha channel. I can’t draw a shape and do some garbage mask inside my source containing alpha channel, because Resolve not recognized the alpha channel. Very very frustrating. It is a must with all online system today !!!
3- Implement the option of static grain ( grain not in movement ) inside your Resolve FX Film Grain. I can use this effect to add some texture inside some photos.
4- In Edit page / Inspector module and as a node in Color page, I need a Stroke and Drop Shadow effect. I can put drop shadow on source containing alpha channel and on a simple image. It is a must for all online systems !!

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

9) Optimizing in background.

Yes, those would be really nice.
I also miss a similar way that FCPX works with meta tags to help with organizing.
14 looks to be amazing when it has reached final stability!
/Andreas

Andrew Kolakowski wrote:As David (Cineform creator) has confirmed that SDK is free (has been for a year or so) I would like to see proper/updated Cineform implementation with RAW controls, resolution switch linked to Cineform decoder, so people can work with 4K files on laptops (like you do in Premiere with Cineform files) and stop wasting time for proxy/optimised media creation.

+1 to Andrew's request. Also add Cineform transcoding to Optimized Media options for those who want to edit using Cineform and export as Cineform for a better workflow.

Al Spaeth wrote:

Andrew Kolakowski wrote:As David (Cineform creator) has confirmed that SDK is free (has been for a year or so) I would like to see proper/updated Cineform implementation with RAW controls, resolution switch linked to Cineform decoder, so people can work with 4K files on laptops (like you do in Premiere with Cineform files) and stop wasting time for proxy/optimised media creation.

+1 to Andrew's request. Also add Cineform transcoding to Optimized Media options for those who want to edit using Cineform and export as Cineform for a better workflow.

+1. Thank's

Al Spaeth wrote:

Andrew Kolakowski wrote:As David (Cineform creator) has confirmed that SDK is free (has been for a year or so) I would like to see proper/updated Cineform implementation with RAW controls, resolution switch linked to Cineform decoder, so people can work with 4K files on laptops (like you do in Premiere with Cineform files) and stop wasting time for proxy/optimised media creation.

+1 to Andrew's request. Also add Cineform transcoding to Optimized Media options for those who want to edit using Cineform and export as Cineform for a better workflow.

What's the point ?
As you don't have access to the optimized media files, DNXhR or cineform, you won't see any difference when you edit.

Alex - I edit 4k h.264 using Cineform as an intermediate. I assume Optimized Media would save me a step of using a 3rd party converter before edit, plus faster Render export using Cineform AVI for edit and output. In 12.5 Cineform edit playback appears smoother than DNx on my PC.

Features I would like:

Scopes in Edit Page.

Ability to add images/video directly to Node graph from Media Bin in order to build composites. I know it's possible to hack this with "external matte" but would be nice to have it integrated properly.

Here are my little requests, mostly Color things:

1) I've been asking for this one for 3 versions or so: It's nice to have the RGB readout of the pixels under the dropper cursor ("Show picker RGB value"), but it would be way more useful if we had some idea of (and control over) what that sample is (point sample? 10x10 average?) and if the value would update as we graded, even if the cursor isn't moving.

2) We REALLY need to be able to wipe the stills from the Mini and Micro panels.

3) It would be a huge help to be able to use Sizing controls on the panel while in the Edit page.

4) There's got to be a way to have all the values for Sat, Contrast, MD etc. ALWAYS visible either in the interface or the Mini panel LCDs. It's cumbersome to have to keep toggling that little bottom bar.

5) Offset mode on the panels is a major, wonderful game-changer. It would be nice to have some indication/reminder in the UI of whether the panel is in Offset or not.

*** I am really impressed with BlackMagic's responsiveness to user suggestions. Thanks for all the great work!! ***

Hey folks,
I would love to see the order of settings in the inspector changeable as well as savable. So that all changes can be easily applied to other clips.

Thanks

Two more:

1) In Edit view, clips that are offline need to appear red on the timeline **regardless of zoom**. It is frustrating to zoom out, looking for more clips that are offline, to discover that you can't find them unless zoomed in, which results in a lot of zooming in and out and scrolling while fixing a messy conform.

2) I really want a way to Flag individual instances of a clip. As it is, I can flag a clip, but all clips that refer to that piece of media will have the flag. If I use a marker, that is referencing a particular moment on the timeline, not the whole clip I'm grading. An example (from just the other day): I pull up the Lightbox and the client points out 5 shots that they want extra long handles on. I had to write down the shot numbers, because flagging would throw a flag up on all of the related clips and to add markers I'd have to navigate to 5 different places on the timeline and lay down markers. Is this not frustrating to other people?