Blackmagic Forum

Still the same features I've been requested since v12, that make my Edits quite painfull

1) When we select and split a clip on timeline, both parts are selected ; So I have to unselect both and re-select the one I want to move.
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).

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

I have more, bus these two ones are really slowing down my everyday work.

Thank You BlackMagic

a way to quickly add many timelines to the render que with an existing preset. Something like shift select multiple timelines in edit page > right click > add to render que > select render preset

When using the Timeline Mode in the Gallery it would be nice if there was a was to access and apply Pre and Post Group Grades.

Even better when I am in a Pre-Group on the color page it would be awesome if it would apply the Pre-group from the timeline gallery (assuming the selected clip had a corresponding pre-group grade)

in the [clip color] selection we have lots of nice colors, I will add 3 more:

1) RED. yes I know that you use for missing clips, but it is the BEST color to identify clips with issues.
2) black (to hide clips)
3) white (to highlight clips)

-w

improve the gui zoom when change mode:

if I have a clip zoomed in, lets say 100% in the color page and I go in the [alt/f] mode, the image stay at the same 100%: I find more usefull if the image scale to fit the same portion in the bigger canvas ( as for the [fit] behaviour.

add also [fill] as choice.

More Useful Fusion Timeline

Once you hop over to fusion the "Timeline" inside the Fusion page is not that useful. You can temporarily move the in and out positions... but there is no video that shows up in the viewer and it is not affecting the media as this is set by the edit timeline. So if you hop to the edit page and then back it resets the i/o.

I think it makes perfect sense for the i/o to be set by the edit page! I would like to see a few tweaks to the Fusion Timeline.

1. Lock the i/o so that they can not be moved and show a persistent representation of what is set in the edit page.

2. Add a new feature to define "handles" this could be a default and also visual with a second set of i/o this would define a range before and after the i/o to be played back and computed inside fusion. This way you could track and build the comp with handles. the editor could slip the clip and still see the finished comp.

3. Add an ability to show the timeline zoomed into the i/o + handle range.

4. Add the ability to show the frames adjusted to have 0 start at the in point rather than the frame number of the clip. This could be a toggle encase you wanted to reference the edit point.

It would be convenient to be able to use (and save) keyframes in a shared node.
Obviously, if the shared node is used on a clip shorter than the original: we lost the keyframe surplus.

I am loving the shift scroll to increase/decrease the track height in the Fairlight page. Can we get that in the Edit Page as well?

Ability to copy/paste compound nodes. Annoying to save stills just to move Compound to another shot.

Ability to come in Timeline mode while specific clips are sorted out by Flags/etc. I know the timeline mode gets disabled, but could that be changed?

Waveforms disappear when entering fullscreen mode.

Nikolay Smirnov wrote:Ability to copy/paste compound nodes. Annoying to save stills just to move Compound to another shot.

Try : grab Still
Next :
Select the desired clips (one, CTRL + CLIC)

Right clic Grab still
If only a compound nodes => Append node graphe
If 'Grabbed' as 'nomal' node and compound nodes :
Display node graphe, Select the desired nodes and Apply color or all ...

Jean Claude wrote:

Nikolay Smirnov wrote:Ability to copy/paste compound nodes. Annoying to save stills just to move Compound to another shot.

Try : grab Still
Next :
Select the desired clips (one, CTRL + CLIC)

Right clic Grab still
If only a compound nodes => Append node graphe
If 'Grabbed' as 'nomal' node and compound nodes :
Display node graphe, Select the desired nodes and Apply color or all ...

My point was to move away from grabing stills at all. I can copy/paste other nodes, why not the compounds?

Nikolay Smirnov wrote:

Jean Claude wrote:

Nikolay Smirnov wrote:Ability to copy/paste compound nodes. Annoying to save stills just to move Compound to another shot.

Try : grab Still
Next :
Select the desired clips (one, CTRL + CLIC)

Right clic Grab still
If only a compound nodes => Append node graphe
If 'Grabbed' as 'nomal' node and compound nodes :
Display node graphe, Select the desired nodes and Apply color or all ...

My point was to move away from grabing stills at all. I can copy/paste other nodes, why not the compounds?

While i do copy and paste all day and I'm annoyed by the weird choice in how compound works (and shared), i would not change behavior.

I will prefer to add a behavior (or a setting?) That allow to copy also the compound (or the shared node) in a click.

Two features I'd like to see on Fairlight:

1.) Ability to copy/paste VST effects from one clip to another.

2.) Ability to lock individual clips in place.

ropbo wrote:1.) Ability to copy/paste VST effects from one clip to another.

This is possible in version 15 via the Paste Attributes command.

Copy the audio clip with the Fairlight EQ (source) via the Command + C shortcut, and then paste to the target (destination) clip via the Option + C shortcut.

The Paste Attribute window opens, with Audio Attribute options to copy Gain (Volume in Resolve parlance), Equaliser, and Plugins from the source to the destination clips.

WALL OF TEXT AHEAD.

I went thru the posts I did in the resolve 15 wish list and pruned the one that are irrelevant or duplicated.
so, here is a list of them... starting with the ones that has been implemented!

Done – Many Thanks!
1. 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.

2. Ability to version up several clips at once would be nice! also, select a bunch of clips abs switch from version 1 to 2 worth one click

3. Disable selected node to work with a selection of nodes. Maybe I want to disable 5/12 nodes and not want to double click each one and press CMD-D

4. A lut browser inside the gallery page so we can easily preview or add luts to nodes. Who the hell still uses endless right click menus?

5. Dust busting should be allowed on any single frame type, not just dpx 10bit. I have not tried yet, but MANY THANKS.


Not done, still desired

1. settings, [output scaling preset] - add [ [x] match video output settings ]. it will be great if we have a shortcut to quickly match the timeline to the video resolution.

2. [grab still] have an option to grab it [with or without] the [burn in] window.

3. I have a project that is at 24.000, and after some work, i have to deliver a 23.976 one.
It is a royal pain not be able to change FPS for a project, but there is another matter that can help.
I jus needed to be able to play the audio with the project as it stands currently, but even if the project is at 24.000 the audio is at 23.976.
if I import the audio it is flagged wrongly at 24.000.
I would like to import the audio at the correct speed 23.976, then in the timeline ask resolve to play at 24.000 with the correct repitch.

4. [commit compound] having a compound clip is fun, but sometimes I need to commit to it, and have or as fresh new material, so, a [commit compound] that will render fresh material and swap it in the timeline. Or more generally the ability o select x clips/compound/fusion clips, render a real clip and swap it.
Also, if you do a flat pass and you have a compounds, the machine is very confused on what to export…

5. smart filter: more granularity, for example an option to select clips that have shapes, or luts or DCTL, or simply select an arbitrary number of shapes and create a smnart filter. smart filters: an option for any shot that is/is not grouped.
Dolby analysis [true/ false] Is really difficult to chase the shots that don't have analysis
"clip node sizing true/ false"

6. Smart filter (more general) - order by alphabetical order

7. groups (more general) – when rename, present the previous name, often we just need to actually modify the name, not retype it

8. new clip menu on the left side (v15): if you try to access any of the submenu, the operation is awkward, [clip] move cursor down to group, then the next submenu shows on the left side…

9. resolve 15, dropping a LUT on a node, [cntrl + Z] does not clear it.

10. Ability to resize any window or tab

11. Ability to add an extra [color space transformation] choices in export for multiple deliverables. As well as adding a LUT or a DCTL in export but in the delivery page, PER export. Not globally connected to the setting page.

12. be able to save render queue elements as txt and be able to import them back: for multiple deliver projects, we can have hundreds of them

13. For all the colour space transformation ofx, i need an extra parameters when we go from a colour space Gamma encoded like P3dci to H2084 that reveal the mapping: [Input nits] - [output nits].
Let me give you a current example: I did a 108nits Dolby pass in p3d65pq for Dolby theatrical distribution and i need to make an imax 75nits version. Imax projector has a P3dci color space.
The first thing i want to do is to get the max nits in PQ that we decided to target with the client (it was 85) and map that to the (0-1) range of the Imax laser system: the target is P3- gamma 2.6 with the max white luminance of 75 nits.

There is no way mathematically to do that, yes you can go PQ to P3DCI, but resolve will map 48 nits to (0-1) thinking that is what we want, then i have to somehow gain to fit the excess.
Same in the other direction: let's say that i start worth the final SDR P3DCI 48 nits, not necessarily i want to map that brightness to start with in PQ: in this case we mapped in the Dolby 108 nits the starting (0-1) to 65 nits, then open the highlight and did the creative grade.
So, to go to and from PQ/hdr, we need to be able to specify which original intended nits we start from and where in the pq curve it lands, and vicde- versa.
Please, if you select a known standard, you can suggest the normal values to start, like p3dci/g2.6-48nits will map to p3d65PQ-48 nits as default of you don't change the settings.

14. delivery page: once the delivery has been prepared, having an extra option that sound like
[Render markers only (with length, or single frame)]
[render clip Colors (checkmark for colors)].
If i have to do 20 patches of various length on a finish reel, i don't want to export the whole product again, i want to export singles shots/ in - out/ single frames.
And i don't want to make 20 new batch exports either (prone to errors)

15. The ability to type a frame number, not just timecode
The ability to type a frame number in the source timecode, if that clip has it, jump at that frame

16. FIFO / render ahead plauback cache.

does not matter how much power you have in the machine, there will be alwas that moment where you have to play and those 4 shots will not play in realtime for just a bit, and there is no time to wait for the cache.
The best implementation I saw of a FIFO buffer playout, is in the SGO mistika:
you press play
the machine start to render as fast as it could frames (as if you have the machine in delivery mode and you just export: it goes as fast as you can) put everything in a buffer first In, First out, as large as the memory can hold (usually for our machine ws 750 frames in 2K
after 8 frames are rendered, it start to play the first, then the second at 24fps and soon.
if your playout cache render is faster than 24fps, it will fill the ram, if it is lower, it will deplete.
all the little glitch that you might get at the cutpopints (when they are too tight often you ger a hiccups even if you're overpowered) an dthose pesky sots will play smooth for a while.
then the ability to tell the machine how many frames to wait (filling the cache) before you have to play: range 1-48
third, after a set time of inactivity, stat to fill the cache for playback unless you have real cache to attend.

17. Ability to have multiple-resolution, multi-framerate timelines for single projects is a must. It seems very 2009 to require a project to be a single framerate from the get-to. It's pretty normal these days to produce edits that require multiple aspect ratios, resolutions and frame rates -- especially for social media use.

18. Ability to set the characteristic of the timeline PER TIMELINE and not being connected to the [settings]. I want t timeline to be HD-crop fit, that’s it, right click in the timeline and lock it, overriding the setting page

19. [Stereo 3d sync]
If i right click on a folder in the media page, it should populate the (choose folders) worth that one by default.

20. Dolby shot after analysis: instead of use [0-1] value, express also the numbers in nits.

21. Big panel, put number on the knobs, so we don’t have to glance to the gui
also, map [copy n paste] on the left ball first and second button please!

22. When a piece come as long format and you use an edl to cut it, you cannot anymore do temporal noise reduction because it grabs the frame before and after the cut that is s completely different scene.
A button in the temporal NR that allow to extend the calculation on tails (like now) or stop within the boundaries of the cuts.

23. I know that ofx are excluded/ ignored when making a lut, but an exception must be made when the color space transform is used:
Include the color space transform ofx in the computation used to make a LUT from a shot.

24. it would be good to be able to select/copy/paste/type in the timecode fields.

25. It would be great if we have Auxiliary timecodes for the timeline (often we have the real timecode, like 02:00:00:00, but also we need to refer to a long play timecode like 01:15:25:27 and that math is hard… if you change timecode of the timeline, then the offline does not sync and so on.

26. In the media page, make a clip [reference offline] with a choice, instead of only be able to do in import

27. The contrast function make a S curve. That's great!
But if you go in the negative direction it will do a single gain/ lift.
That is incorrect: you have already a mode where a contrast will do lift/ gain, if you choose to use a S curve, is should work both ways as such that if you do a contrast of 2.000, and in the next node contrast 0.500 you must get unity.

28. We have lift/gamma/gain mode, LOG mode, and I would like a CDL mode by itself…

29. in resolve 14, we have more beautiful colors...
1) can we give them custom names? for example, [apricot] does not mean anything, but if I can change the name in the project to show [speed effects] it will be more useful!
2) why the order is color wise in the clip menu, but in the [edit index-show clip with color] it is alphabetical?
3) ADD RED to the clip color choice.
I know that red is reserved for missing clips, but once the missings are resolved i wish i can flag with color clips that are "bad" like vfx missing, bad comps, temp clips, wrong edits and such.
Red is such a powerful color and is a shame wr can't use it

30. alphabetical order in any menu, selection, diplay… it is not 1989 anymore

31. color page, Re-haul of the numbers:
Saturation: 100 as default is an example
Rgb mixer give 4 decimals abs the ability to type
gamma at default should be 1
Lift should be 0 and gain 100...
Change limits: saturation goes only to 200%, make it at least 400%

32. gallery still export: retain names.
please, now that we can use timecode for the gallery label, when we export we need an option to [use label as name] so we can keep that....

33. A keyboard shortcut to zoom at clip level: something like cntr/alt/z than zoom to the clip/clips currently selected/ or that is under the play head if nothing is selected

34. Scene detect – ability to do in on a clip already in the media page and the ability to select a segment in the current timeline and open the scene detect and cut it on the fly.
also, when in the scene detect, [JKL] should work as usual in the timeline
[IO] for marking should aslo work. (it does not)

35. In edit, when doing keyframing, for example fo speed, the ability to typoe numbers, not just drag the points. If I feel creative, dragging a point it is fine, but if I need to match an offline I need to be able to type.

36. Color, rehaul of the keyframe editor. Copy ‘n paste the fusion one…. Do something…
also, if I zoom in, it should be centered in the current position of the playhead…

37. Pixel fixer ofx… make it obey dynamics: if I get a shot that has been manipulate by a vfx artist (adding camera shake for example) it is utterly useless the OFX unless I can chase the goddam pixel….
search and destroy: if I define an area, look before and after temporally to see if the dead pixel move and track it (again, is for shoots that move…..)
Pixel fix does not obey edit size, input size, stabilizations… making the OFX almost useless…

38. Timeline blanking should have a custom tab in the menu and in the sizing page where we can express the blanking with two numbers like 2048/858.

39. color: lock [color] in a way that cannot be changed. two practical example are:
1- pan and scan for different delliverables
2- stereo pass once color has been done
3- main color lock (optional) when I’m doing dolby/HDR10+ trims

40. lock timelines in media page against delete (cannot be deleted, must be manually unlocked first)

41. Most of the times i need noise reducer, it is unevenly distributed in the R, G, B channels, usually the blue channel need double or more denoise to match the other two.
In resolve there is no elegant way to set the strength for individual channels. So, the blend mode should have RGB sliders ganged for the normal operation but if I ungeng them I can at least blend them back with different strenglt.

42. OFX, blend slider should be RGB separately….

43. Change the way the search is done in the media pool:
if I select something, search only in selection
if nothing is selected: search in the whole media pool.
Currently if nothing is selected, it is ineffective...

44. Now we have Super Scale and I tested it on a few occasions. Actually, it doesn't help much with inferior heritage sources like the manual suggests. SD, even 'small' HD in 1280 or stretched HD recorded with fewer horizontal pixels don't look great, since SD is often interlaced anyway and most of the early HD cameras applied massive in-camera sharpening.

But it's really great for what Alexis suggests in his tutorial: punching in to some high-quality source clips beyond their original resolution, be it HD or UHD. I have a current project where I need to do that a lot to create some fake 'zooms' and 'cuts' (which works well now that positional keyframes got more accessible). It's even better than Boris' Magic Sharpen, but also quite processor intensive. So I'd like to suggest a small feature for convenience here, since it can only be activated for individual clips unter their attributes. Could we please have a global switch to deactivate it while working and activate it again before final render?

Actually, it works so well that I apply it every time I need to punch in. So, when I think about it, developers could even make this a kind of automatic, like "Apply Super Scale when zooming into a clip beyond it's original resolution" and have a switch for that in the Deliver department. What do you think?

Reynaud Venter wrote:

ropbo wrote:1.) Ability to copy/paste VST effects from one clip to another.

This is possible in version 15 via the Paste Attributes command.

Copy the audio clip with the Fairlight EQ (source) via the Command + C shortcut, and then paste to the target (destination) clip via the Option + C shortcut.

The Paste Attribute window opens, with Audio Attribute options to copy Gain (Volume in Resolve parlance), Equaliser, and Plugins from the source to the destination clips.

That didn't work for me. Using version 15. Tried it with Izotope plugins and FairlightFX plugins. I see the option to paste attributes, I checked plugins but nothing happens. Only thing that's copied is the Clip Equalizer settings.

Auto-duck music to voice track. Mark A1 as Music, A2 as voice. Right-click and select "Auto-duck", preferences could include duck level.

Pedro Dias wrote:Auto-duck music to voice track. Mark A1 as Music, A2 as voice. Right-click and select "Auto-duck", preferences could include duck level.

Yes, plus one for that. That is the huge leap forward in latest version of Premiere pro

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I would be surprised if this wasn't already in queue or being worked on, but it would be great if when in the fusion page the cursor icon would change to the double arrow over an input box that is draggable.

This happens in all of the other pages, it would be great to have it in the fusion page as well.

I'd love to have the option of automatically setting the Clip Name (under Clip Attributes) according to certain parameters.

Here's what I mean. BMD cameras record Camera_Reel Number_Date_Time_Clip Number as both the File Name and the Clip Name. This is seen as below.

A_2_2018-08-18_1728_C0005

In various parts of the user interface, that Clip Name is just too long, and it conveys information frequently unneeded while editing. I'd love a checkbox to turn off each section of that Clip Name. For my needs, I'd turn off the date and time, to get this:

A_2_C0005

Above is a much more useful display while editing. Other editors might not need the Camera and Reel Number, and would just end up with this:

C0005

Some might want the date and time only:

2018-08-18_1728

The point is this kind of en masse customization in the Clip Name properties would be a very useful addition to Resolve. (Preferably in 15. I imagine 16 is a ways off yet.)

Jim Simon wrote:I'd love to have the option of automatically setting the Clip Name (under Clip Attributes) according to certain parameters.

Here's what I mean. BMD cameras record Camera_Reel Number_Date_Time_Clip Number as both the File Name and the Clip Name. This is seen as below.

A_2_2018-08-18_1728_C0005

In various parts of the user interface, that Clip Name is just too long, and it conveys information frequently unneeded while editing. I'd love a checkbox to turn off each section of that Clip Name. For my needs, I'd turn off the date and time, to get this:

A_2_C0005

Above is a much more useful display while editing. Other editors might not need the Camera and Reel Number, and would just end up with this:

C0005

Some might want the date and time only:

2018-08-18_1728

The point is this kind of en masse customization in the Clip Name properties would be a very useful addition to Resolve. (Preferably in 15. I imagine 16 is a ways off yet.)

FYI you can already do this, provided that the info is already in the clip metadata, just use %"Metadata Name" to add and remove information from your clip name.

I know I am probably doing a bad job of explaining it, but the new manual has a good explanation of it (Chapter 144 pg 2590)

( In 14.3, i haven't tried in 15 yet)
If in color I'm in the [info mode] or i explicitly ask for [view clip details], I'm expecting to be able to select the text, copy and paste elsewhere (like in a email)

aborady wrote:I love DR as a colorist and i wanna completely switch from premiere and after effects to Dr and fusion right now simpley i can't till davinci really think to implement the simplest things like:


-Moving timelines between projects
-copying clips from a timeline on a project to another timeline on another project
- undocking panels (have anyone tried to work on one screen and playing a timeline against offline refrence and opening the inspector unfortunately the offline refrence will go away ) thats so annoying
-and the most logical simple thing setting a timeline resolution and framerate independent per timeline not project based be able to change the framerate at any point
- a complicated one will be opening multiple projects at the same time i know this will be implemented Davinci 25

Untill these features are implemented unfortunately i cant call it my editing software

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+1 for dock-able panels. This is probably the thing I miss the most coming from PPro.

It would also be nice to be able to explicitly define which screens Resolve uses. I realize that you can specify a "primary display", but those of us using the dual-screen layout don't get much say over which screen is the second one.

Ability to relocate the inspector to the second monitor.

This way it can be open all the time when making a number of adjustments without impacting the viewer / timeline size.

aborady wrote:-Moving timelines between projects
-copying clips from a timeline on a project to another timeline on another project

viewtopic.php?f=21&t=43256
viewtopic.php?f=21&t=59033

- undocking panels (have anyone tried to work on one screen and playing a timeline against offline refrence and opening the inspector unfortunately the offline refrence will go away ) thats so annoying

I think that depends on the display resolution as it needs room to keep them both open - did you try closing the browser on the left to make more space?

-and the most logical simple thing setting a timeline resolution and framerate independent per timeline not project based be able to change the framerate at any point

+1, this is a rather serious omission in the current design, as many have pointed out already

- a complicated one will be opening multiple projects at the same time i know this will be implemented Davinci 25

Might be an interesting extension of the new stacked timelines feature? Or in what other context would this make sense?

I'd love a way to export and import data burn-in presets across databases.

I wish for a "simultaneous copying from different sources" checkbox for the consolidating/media management tool.

Often footages are scattered in different devices, and the destination is very fast storage. Thus it can be several times faster if copying can happen simultaneously.

For example, if the footages are scattered in 5 disks, once you hit the start button, 1 file from each disk, totally 5 files, start being copied (instead of 1 file at a time).

Nathan Morgan wrote:FYI you can already do this (Chapter 144 pg 2590)

Now that's mostly helpful. Thanks.

I just need to figure out why the Pocket is adding Clip Numbers to the File Name and default Clip Name, but not in the Metadata where it needs to be for this to work.

Import and export of bins and timelines so we can have collaboration with resolves that are not in the same location.
One track per channel audio export with more than one interleaved tracks. Almost all mastering we do is "one track per channel". This was possible with DR 12.5 but not any longer. Could we also get naming and patching of QT audio channels it would be awesome.
Softer scrolling when dragging the playhead of screen. Now it accelerates very quick and make it hard to navigate long timelines. Compare with Avid and Premiere.
"Memory" of browser location in mediapool and deliver page should be based on projects instead of remembering the last place I opened. If you switch between projects and have similar structure on your media drive it's very easy to search the wrong folder.
Extended functions of edit index with possibility to show thumbnails and exporting PDF and CSV to make lists based on your selection. Also the duration marker in timeline should show in TC and out TC in edit index for making VFX lists.
Diagonal compare wipe in the edit page. We had that back in DR 11 or earlier.
Better scaling and rendering of graphic files. I haven't tried in DR15 but DR14.3 is bad. We always have to use After effects to do end credits or scaling of graphics.

Jesper Holmström
Nordic United

dust busting ofx tool

1) the cursor need to be waaaaayy smaller cross hatch
2) once the rectangle it is starting to draw, take the cursor out altogether and leave the rectangle outlines
3) because the specks of dust are about the same small size, a second behavior should be implemented: if I just tap, a square box of x,y sizes is placed in the center: when you have hundreds of specs, it save the operator wrist...

whats wrong with the clip color/edit index?

If I have a timeline and I flag a color yellow, i can ask the edit index to show the yellow clips and I see that.

if I mark a clip in the media page yellow, it does nto show up in the edit page.

WHY? that is making the whole [show clips color] less than useful. let's say that I always color the VFX with the yellow in the media page, I want to see where they are in the timeline and at the moment is just not possible.
This behavior was present in resolve 14 and I remember mention that before.

Clip color settings on media page are shown when placing those clips on the timeline, changes to the color in the timeline are reflected but not subsequent n dis pool changes. C14 SBS 15 should be the same

Whole interface shoul be streamlined. Too much wasted space and unnecessary bold lines. Every round corners on squares should be removed. Waste of space and looks unproffesional - like some amateur editing app.

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Peter Chamberlain wrote:Clip color settings on media page are shown when placing those clips on the timeline, changes to the color in the timeline are reflected but not subsequent n dis pool changes. C14 SBS 15 should be the same

Yes, you're correct and I'm ok with that behavior. but that is not what I'm talking about.

put three clips in the timeline
mark one in the media page yellow
mark another in the edit page yellow

in the edit page, go to edit index
select [show clip color][yellow]

only the one that has been colored in the edit page will be showed, it should show both.

waltervolpatto wrote:put three clips in the timeline
mark one in the media page yellow
mark another in the edit page yellow

in the edit page, go to edit index
select [show clip color][yellow]

Like Media pool markers and unlike flags, clip color in the media pool acts as a template for any new insertions in to the timeline. Once there are instances in the timeline, changing clip color or markers in the media pool will not affect the timeline instance.

I've only ready a few of the pages of this great list of feature requests, so I'm not sure how many of these are already mentioned but here are some ideas that have come to mind:

-Sort databases by date created & date modified, hide databases

-Sort color space lists. Should be sorted by Scene referred and display referred.

-Ability to hide color spaces from the lists (ideally contextually i.e. hide scene referred spaces from the output and display referred spaces from the input) and then reveal the hidden ones with a key command if needed.

-Ability to detect and apply color space data from a clip's metadata

-Perceptual transforms for color management based upon surround viewing conditions (ie dim/dark/bright)

-It's fantastic to have the RED IPP2 tone mapping in color management, it would be great to also have access to Arri ALF-2 color science.

-If a displayed referred space is selected as the input space, and the same display referred space is selected as the output, a proper inverse transform should be applied such that with no corrections applied the input matches the ouput exactly, even with tonemapping applied. AND/OR the ability to disable timeline tone-mapping on selected shots.

-qualifiers should be color space aware when working color managed. With scene referred data, the qualifiers built for REC709 information does not provide good granularity.

-Some way to reset/control the 3d tracking of a shot without completely resetting the tracking of a shot

-max FALL, max CLL analysis and calculation

-Ability to include full HDR10 metadata in renders (for a bonus the ability to attach an SDR conversion LUT)

-Ability to view HDR out of one SDI and Tonemapped out of the other SDI when using DolbyVision or HDR10+

-Ability to apply different display LUTs to each SDI and HDMI out

-Ability to move/copy/paste tracking keyframes in time

-Ability to copy/paste node keyframe data. The keyframing window in general needs a lot of work.

-Keyframe randomizer tool. Could also maybe be an OFX plug-in, or even an expansion of the flicker addition plugin. (had a very specific use case for this on a recent job)

-Conform lock + copy grade feature. Often when receiving updates to VFX shots conform lock is the fastest way to update the cut with the new shot. Being able to quickly copy the grade over (ideally with keyframes, tracks intact) would be a time-saver.

-I will emphasize Walter's request for multiple resolutions/multiple framerates per project it is an essential feature in 2018 with the myriad of deliverable being asked.

-The ability to import an Adobe Premiere project. This is a long shot, but since Adobe seems uninterested in creating their own rich interchange format, directly reading a Premiere project could help tremendously when editors have used functions such as framerate changes, scale to framesize, etc all of which have an equivalence in Resolve, but are unfortunately discarded by the ancient FCP7 XML.

Thanks for all the fantastic work so far, look forward to future updates!

Shrinivas Ramani wrote:

waltervolpatto wrote:put three clips in the timeline
mark one in the media page yellow
mark another in the edit page yellow

in the edit page, go to edit index
select [show clip color][yellow]

Like Media pool markers and unlike flags, clip color in the media pool acts as a template for any new insertions in to the timeline. Once there are instances in the timeline, changing clip color or markers in the media pool will not affect the timeline instance.

Guys, do you read the issue before postings the manual?
And, if you have a clip in the media pool yellow, it will be yellow in the tineline. I'd you charge it to navy, it will change to navy as well: no idea what are you referring to.

I would love to be able to sync audio directly from the timeline. If I have an edit done and want to add in clip, in Premiere I place the new clip on the timeline, select it and the audio track. Right click and hit sync. done.

waltervolpatto wrote:

Shrinivas Ramani wrote:

waltervolpatto wrote:put three clips in the timeline
mark one in the media page yellow
mark another in the edit page yellow

in the edit page, go to edit index
select [show clip color][yellow]

Like Media pool markers and unlike flags, clip color in the media pool acts as a template for any new insertions in to the timeline. Once there are instances in the timeline, changing clip color or markers in the media pool will not affect the timeline instance.

Guys, do you read the issue before postings the manual?
And, if you have a clip in the media pool yellow, it will be yellow in the tineline. I'd you charge it to navy, it will change to navy as well: no idea what are you referring to.

Hi Walter, not easy..

If I understand Shrinivas
In the MEDIA tab, the notion of TimeLine does 'not exist' (that there is one or more in the project is not taken into account).

Any marker or flag is a "child" of a TL and can not exist without his mother: a TL

As the flags or Marker are linked to a TL and that in Media TAB the TL is not taken into account: No link => Can not register marker or flag

Shrinivas: I'm not that: thank you for correcting.

Another suggestion:

Color management to be able to be assigned at the timeline level. That way you can have your 709/P3/EDR/HDR grades all reside in the same project and be able to hop between them without editing project level settings for each version.

In conjunction with this idea: the opposite of a shared node. A This Timeline Only Node. Trim Node? Useful when using remote grades, but need to make a trim on particular timeline. Could be for a trim to a different color space, could be in a cut down of a commercial where a previously graded shot no long cuts well with the new shots that it is next to.

AlanLouisGordon wrote:Color management to be able to be assigned at the timeline level. That way you can have your 709/P3/EDR/HDR grades all reside in the same project and be able to hop between them without editing project level settings for each version.

This is already possible. Look at the color space transform ResolveFX. You can pop that into a timeline-level node.

In conjunction with this idea: the opposite of a shared node. A This Timeline Only Node. Trim Node? Useful when using remote grades, but need to make a trim on particular timeline. Could be for a trim to a different color space, could be in a cut down of a commercial where a previously graded shot no long cuts well with the new shots that it is next to.

Same idea. Use a timeline-level node.


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Seth

That's a workaround as it doesn't have the desired effect of maintaining the usability of bypass as it counts as part of your grade. Ideally you'd still have use of the timeline node graph for creative effects.

The idea for the trim node would be that it would be useable on an individual clip not an entire timeline. Sometimes one shot in a timeline needs to be adjusted when doing a trim pass, but you might not want the overall grade to change, or the links between the versions to be severed.

AlanLouisGordon wrote:The idea for the trim node would be that it would be useable on an individual clip not an entire timeline. Sometimes one shot in a timeline needs to be adjusted when doing a trim pass, but you might not want the overall grade to change, or the links between the versions to be severed.

I don’t understand how this is different from a regular clip-level node...?


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Seth Goldin wrote:I don’t understand how this is different from a regular clip-level node...?

When using remote grades a change with a regular corrector node would be rippled through to every instance of that clip throughout the project.

A trim node would only affect a single clip on a single timeline.

AlanLouisGordon wrote:

Seth Goldin wrote:I don’t understand how this is different from a regular clip-level node...?

When using remote grades a change with a regular corrector node would be rippled through to every instance of that clip throughout the project.

A trim node would only affect a single clip on a single timeline.

So why not just copy to local and use local?


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The idea is to maintain a link for the main grade in case the client changes their mind at the Nth hour. (that never happens right?!)

Another possibility would be having a "local" node tree selectable from the drop down where you can switch between clip/group/timeline.

AlanLouisGordon wrote:The idea is to maintain a link for the main grade in case the client changes their mind at the Nth hour. (that never happens right?!)

Another possibility would be having a "local" node tree selectable from the drop down where you can switch between clip/group/timeline.

Ah, yes, I see. That definitely would be handy! +1!

AlanLouisGordon wrote:-qualifiers should be color space aware when working color managed. With scene referred data, the qualifiers built for REC709 information does not provide good granularity.

+1000 Would be so useful to use qualifier on log footage.

AlanLouisGordon wrote:-I will emphasize Walter's request for multiple resolutions/multiple framerates per project it is an essential feature in 2018 with the myriad of deliverable being asked.

+1000000

1. In timeline, when playbead moves from clip to clip - auto select clip so the clip properties appear in the inspector. Currently you have to manually select each clip to see inspector values.

2. Color Page - double click node to rename node

3. In media pool - when renaming, after hitting “enter” it would be nice if Resolve would move onto the next clip/folder/sequence and assume you wanted to rename the next and so on. This is how Premiere operates.

4.Project Settings: Ability to save custom “Output Scaling” presets

5. In Media Pool: Ability to assign custom “Output Scaling” presets to individual sequence by right-clicking sequence and navigating through a dropdown list.
——once a custom “Output Scaling” preset has been applied, the behavior of opening said sequence would be that of if you changed the project settings.

With 4&5 - I feel like this will simplify the workflow of exporting several aspect ratios of Final Edits and reframing before batch exporting.
If you need a similar resolution of at X Aspect Ratio at a later time, navigate to your master sequence, go to edit page and change resolution befoadding to queue.