2 monitor layout

Hi guys,

using dual monitor layout and find it very confusing when using keyframes as they are on theother screen from vision display.
Is there anyway to swap keyframes panel with colour wheel and curves panels so it is under the edit screen?

The tweaks you can do to the UI layout are very minimal and I don't believe this is one of them.

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This is one reason I won't use the 2-monitor layout.

My way of compensating is I use a 27" 2550x1440 single display, and I get enough screen display that I have more detail on everything that matters on the Color page. I have to admit, there are some advantages to having the Edit page on a 2-display setup, and the next time I have to do that, I may temporarily try that out. But for color, 1 screen for GUI works best for me. (I have a separate display for external waveforms, and a separate calibrated hero display for picture.)

Second this, I love our super-wide curved LG screens with their looong timelines.

we use DR for finishing, not editing so this is our current layout using 3 x 24" monitors. Scopes full screen, 10bit SDI Monitor, single GUI monitor. (+ the small Menu monitor runs off it's own GPU)

In DR, the scopes run full screen on Media and Color pages only so it would be nice if the audio mixer (Fairlight?) could be run full screen on the Edit page...

we use DR for finishing, not editing so this is our current layout using 3 x 24" monitors. Scopes full screen, 10bit SDI Monitor, single GUI monitor. (+ the small Menu monitor runs off it's own GPU)

That is basically what I do as well, but I have a larger 55" client-sized for the hero display, and a smaller 20" display just for scopes (external Scopebox).

I agree that it would be good if we could split off the various panels from Fairlight, which is identical to how I run Pro Tools: I park the main Editing GUI on one display, then drag the Mixing GUI over to a second display on the left. This can work very well for sound.

I also run a 55" display too for 'client' viewing. It's a 2015 Sony 9000 series 4K TV running directly off the Resolve 4K timeline via a Decklink 4K Pro SDI out. I put a BMD SDI to HDMI 2.0 converter right at the set which is offset at an angle co clients cannot compare the colour of both monitors at the same time.

The 24" IPS monitor is my 'reference' as it is calibrated to Rec.709 with internal 3D Luts but the Sony 55" was 'probed' and came up pretty well once all the 'factory' settings were switched off and the white BIAS was adjusted. There is potential now with BMD's latest 12G Terenex converter to add a LUT in the chain for a more accurate calibration.