Blackmagic Forum

Posted: **Tue Aug 28, 2018 8:57 am**

MLanghausen wrote: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.

Timeline menu > Selection Follows Playhead

MLanghausen wrote:2. Color Page - double click node to rename node

Color menu > Nodes > Label Selected Node or, Right-click on a node > Node-label

MLanghausen wrote: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.

Type the new name and hit Tab to move to the next entry

Posted: **Tue Aug 28, 2018 1:35 pm**

For number one, there is "selection follow played" that will do what you need.

Posted: **Tue Aug 28, 2018 1:52 pm**

waltervolpatto wrote:For number one, there is "selection follow played" that will do what you need.

Yes. But currently this option is useless because of so many lags in playback when "selection follows playhead" is on. Many people already adressed that problem

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Posted: **Wed Aug 29, 2018 12:25 am**

re; the internal tear-off scopes:
- can we have as many views as we chose?
- can we scale each scope, so one can zoom into the bottom of a waveform when gradeing in HDR
- can we arrange the scopes in a line please, useful across a 21x9 screen, and maybe display six diffrent views, and black off the bottom of the screen
- can we have mutiple instances of one view, for example, displaying two vectorscopes, one set to 2x, one set to normal -or- when working in HDR, one waveform set to zoom in on the bottom 20%, one normal.

thanks, i'm freelanceing at a facility that only has internal scopes and i'm working in HDR, all of these would be appreacated

an all of these would make for an awesome upgrade to Ultrascope too

Posted: **Wed Aug 29, 2018 12:45 am**

so i made an error i make once every few years, had main storage offline, and saved a DRP with still and luts,
it''s a feature with 2100 cuts, around 5,000 stills... Resolve pops up a dialouge asking me to bypass the missing still, and keeps asking about 5,000 times (or untill i force quit the software, turn the disk back on, and do it all over again correctly)

could there be a "do this to all" option so i only have to press bypass once?

Posted: **Wed Aug 29, 2018 4:49 pm**

The ability to loudness normalize individual clips and tracks.
The ability to off-line audio effects on individual clips and tracks
Increase the number of effects that can be applied to audio tracks
CRF encoding options for h.264 & h.265
Make viewer windows float-able like the scopes are so they can be dragged to 2nd, 3rd, or even 4th screens.

Posted: **Thu Aug 30, 2018 12:19 am**

I'd like to see the concept of a mastering color space setting be added to RCM.

By this I mean let's say your output is PQ 2020, but you want to limit the color space to 1000 nits P3 D65, you would set your mastering space to that and it would constrain you to those values within the larger space.

You could also use it to alter your target white point. Your output could be set to DCI P3, but your mastering space set to P3 D65 would keep the white point at D65 inside of a DCI white.

Posted: **Fri Aug 31, 2018 10:53 pm**

In track height option it will be very usefull if height for every track can be individualy adjusted. While editing, often one track need to be more visible than other - to easily spot some detal or whatever. Right now all tracks have the same height and too much space is used with no reason.

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Posted: **Sat Sep 01, 2018 1:49 am**

georgekg wrote:In track height option it will be very usefull if height for every track can be individualy adjusted. While editing, often one track need to be more visible than other - to easily spot some detal or whatever. Right now all tracks have the same height and too much space is used with no reason.

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Track heights can all be sized individually by dragging the top divider of the track (I actually didn't know this for the longest time either and mistakenly requested it as a feature as well!!)

You can find more info on it on page 363 of the 15 manual.

Posted: **Sat Sep 01, 2018 1:53 am**

I would love it if there was a way to view the alpha channel in the Edit & Media page I know you can do it in the color page but a way to quickly view a clips alpha would be great. The best would be if there was a checkbox in the inspector (Show alpha and a second checkbox for invert alpha)

Also the ability to add a track matte in the edit page would be great!

Posted: **Sat Sep 01, 2018 2:07 am**

Not sure if this one's been asked yet, this list is so long and I haven't kept up... but I'd like qualifiers in ACES auto-transformed / remapped to a more appropriate colorspace / gamma (sRGB or just about anything not log).

Right now the problem is that using qualifiers in ACES means you're pulling keys in log (cc, cct) which generally results in lousy keys. Back when I was a compositor we'd always transform out of log for pretty much everything in the comp pipeline (other than log color correction) then back to log before the output. This could be automatically accomplished by remapping the values the keyer uses, the same way as constructing an ACES to sRGB > key > sRGB to ACES set of nodes would, without cluttering up the interface and requiring users to take multiple extra steps, saving lots of time.

Thanks!

Posted: **Sat Sep 01, 2018 6:00 am**

John Tissavary wrote:Not sure if this one's been asked yet, this list is so long and I haven't kept up... but I'd like qualifiers in ACES auto-transformed / remapped to a more appropriate colorspace / gamma (sRGB or just about anything not log).

Right now the problem is that using qualifiers in ACES means you're pulling keys in log (cc, cct) which generally results in lousy keys. Back when I was a compositor we'd always transform out of log for pretty much everything in the comp pipeline (other than log color correction) then back to log before the output. This could be automatically accomplished by remapping the values the keyer uses, the same way as constructing an ACES to sRGB > key > sRGB to ACES set of nodes would, without cluttering up the interface and requiring users to take multiple extra steps, saving lots of time.

Thanks!

I suggested something similar earlier. Ideally it'd work in RCM as well and because the system would know exactly what the color space contains mathematically the qualifier would specifically tuned to each color space to give smooth, even distribution of tones for selection.

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Posted: **Sun Sep 02, 2018 12:18 am**

In the color page, add RGBA single view mode to quickly insulate And see a single channel in output.

Posted: **Sun Sep 02, 2018 3:04 am**

RGB values on screen/picker update interactivly

i'm working on commericals these days, need to match the RGB values from the agency art dir, i can leave the picker on the screen area and adjust with the surface, but need to click the mouse to get the rgb values to update

would be super helpful to have this update as the values change....

Posted: **Sun Sep 02, 2018 3:58 pm**

Dermot Shane wrote:RGB values on screen/picker update interactivly

i'm working on commericals these days, need to match the RGB values from the agency art dir, i can leave the picker on the screen area and adjust with the surface, but need to click the mouse to get the rgb values to update

would be super helpful to have this update as the values change....

Also i like nuke picker where i can draw a little square and Will interactively show the average of the color inside both in [0-1] or 10 bit

Posted: **Sun Sep 02, 2018 5:47 pm**

yea, DS has both a box to average and interactive updates for it's picker, as i do more complecated stuff in Resolve/fusion i keep running into small things that make the day slower

i've tried a few commericals in Resolve in the last week, and overall i'm faster in DS even tho Resolve is a massivly faster base to start from, it's the smaller things that slow one down, like tweak, click, cry to get a red in a logo to sit on 232/32/17 takes forever in Resolve only because of the lack of interactivity

painfull with clients in the room who are used to haveing me get this done in seconds, not 10 min....

Posted: **Mon Sep 03, 2018 1:06 pm**

SMPTE TSP 2121:2018 IMF Application DPP (ProRes) support

https://www.digitalproductionpartnershi ... ification/
https://cdn.digitalproductionpartnershi ... elines.pdf

Posted: **Mon Sep 03, 2018 4:41 pm**

I would love a better UI for Masking in color, the current lines underline by shadows looks kinda confusing when the gap between inside and outside is very thin
Something like a Color Scheme for Inside / Main / Outside lines would be great.
Deeper controls are welcome such as two side Bezier control.
Less sensibility on point while selecting would be great too. I accidentally push points quite often when I just in fact want to select them.

In the edit page, maybe I've missed a feature but I can't find a way to do a "Zoom to fit" like in Fusion for Splines on shots. This makes some keyframes hard to move since 90% of the space is empty and they are focused on a very thin area.

Also, maybe I've again missed something but, moving in orthogonal (Up / Down or Left / Right) points/splines/keyframes would be an awesome feature. I sometime just want to retime my keyframe or reposition my roto point by only a few inch in one direction only and I find myself unable to do so, offsetting slightly the position.
Snapping keyframes like it exist in after effects to other keyframes position instead of having to zoom indefinitely in would be awesome.

---

Definitely that Nuke picker needed. It's a great feature when you want to do keying.

Posted: **Tue Sep 04, 2018 1:21 am**

Whites and highlights should be separate as in premiere. Gives more control.

Posted: **Tue Sep 04, 2018 3:29 am**

small cosmetic: if I tap [use timeline name] in the delivery page and then [use custom] I wish the software will copy 'n paste the timeline name...

Posted: **Tue Sep 04, 2018 3:46 am**

Please, separate image scaling option for video monitoring from output scaling. It's the mess.

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Posted: **Tue Sep 04, 2018 5:58 am**

Alex Potemkin wrote:Please, separate image scaling option for video monitoring from output scaling. It's the mess.

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?
can you explain a bit, it seems to be seperate options for me,
video monitoring is in pref's
output scaleing is in the deliver page

Posted: **Tue Sep 04, 2018 6:21 am**

Dermot Shane wrote:
Alex Potemkin wrote:Please, separate image scaling option for video monitoring from output scaling. It's the mess.

Sent from my SM-G955U using Tapatalk

?
can you explain a bit, it seems to be seperate options for me,
video monitoring is in pref's
output scaleing is in the deliver page

You grading 4K project, with a HD grading monitor connected via UltraStudio. So, you have to set video monitoring for HD. But it will appear on the grading display as cropped ugly 4K - so, you have to set image scaling output for HD, too. But it will affect grabbing (grabbed screenshots will be HD) and everything else which depending on image scaling.

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Posted: **Tue Sep 04, 2018 6:28 am**

here are my wishlist
some can be done actually in v15 or some 15.5

general

- support other console than BMD one on linux

- conform by timecode only : really handy for vfx. nuke studio have this lovely feature

- fix the media manager : on copy, it's actually really random. it should continue on error and report a log of errors instead of just stop and do nothing

- anti aliasing on graphics and text

Fusion

- renderfarm compatibility : as it integrate fusion, distribute the render is a must have

-create a fusion clip from nothing : actually we have to create a compound clip to do this. time consuming for nothing

color
- resolve still miss a better curve tool. it's not precise enough (in comparaison of baselight, for example)
the non resizable window is really a problem... a pop up one, just like in old version, could do the job but i really think that curves deserve some work

- color wheel that respond to color mode : if we use LAB, represent the LAB on color wheel interface

- multicolor mask input : actually it turn all in black and white, no matter the color. for mask from VFX. it can be handy to support RGBA as independent channel for external mask

Deliver
- bring back the possibility to turn on and off a timeline from deliver page. was handy to ouput multiple versions

Posted: **Tue Sep 04, 2018 8:40 am**

I'd love a shortcut for toggling autokeyframe on/off for the selected node. Also a shortcut for adding a keyframe, but only for the selected node not for all nodes.

It costs me a lot of time to scroll down to the right node in the keyframe editor and toggle it on/off. In commercials where you need a lot of windows to fade in or out over time it would save me quite some time..

Posted: **Tue Sep 04, 2018 1:29 pm**

Yogendra Singh wrote:Whites and highlights should be separate as in premiere. Gives more control.

You have other controls in Resolve to adjust what Premiere considers as 'whites'. With much more control than what Premiere would ever dream to have.

Posted: **Tue Sep 04, 2018 2:48 pm**

Please, return back (and exchange) subclips naming.

It worked in previous versions but not anymore. Now, created subclips appeared in MediaManager (and everywhere) with the same names as original clip. It's the mess to have tens of clips with the same name!

The ideal situation would be conventional subclips naming like:
(original-clip-name)-subclip-(##).

Please!

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Posted: **Tue Sep 04, 2018 3:05 pm**

Miltos Pilalitos wrote:You have other controls in Resolve to adjust what Premiere considers as 'whites'. With much more control than what Premiere would ever dream to have.

Help me under stand pls. details pls.

Posted: **Wed Sep 05, 2018 5:41 am**

It would be great if after you add media into the media pool when using the "Add Folders and Subfolders into Media Pool (Create Bins)" the media pool selection stayed at the root level of where you added the bins.

Example:
If I am in the Master Bin and right click on a folder "Footage" which contains a folder "Clips" (/Footage/Clips)
and add it to the media pool using the command "Add Folders and Subfolders into Media Pool (Create Bins)" the selection after I add the folders will switch to the "Clips" bin. Now if I want to add more media to the media pool I have to re-select the Master bin. Otherwise new footage will also get added to the "Clips" bin.

Posted: **Thu Sep 06, 2018 9:54 pm**

In tracking a window, u would like a [inside/ outside] so the tracking features can be set to follow the other side (outside) of a shape.

Think about tracking a window where outside there are things going on, it is easier to track the room (outside of the shape) then color the window, otherwise the tacking is trying to track what happens outside of the window.

For a pan, when the window is near the border, it is easier to just ask for the outside to be tracked and it will naturally flow outside of the frame and as a bonus, if the feature we track is coming back, it will follow back and restart the tracking

Tracking sky, sea objects with no much definition, it will be easier to track something else outside of the shape.

Posted: **Thu Sep 06, 2018 11:35 pm**

The ability to merge multiple projects together retaining media, edits, color corrections, etc.

Posted: **Fri Sep 07, 2018 3:20 am**

atodzia wrote:The ability to merge multiple projects together retaining media, edits, color corrections, etc.

you can copy timelines complete with media, edits, color between projects if that helps

i use this on series work, haveing a master project, and making seperate projects for episodes, copying the final timeline for each episode into the master project for archiveing

Posted: **Fri Sep 07, 2018 2:56 pm**

Dermot Shane wrote:
atodzia wrote:The ability to merge multiple projects together retaining media, edits, color corrections, etc.

you can copy timelines complete with media, edits, color between projects if that helps

i use this on series work, haveing a master project, and making seperate projects for episodes, copying the final timeline for each episode into the master project for archiveing

Can you point me to a video or explanation on how to do this? I tried, by opening 4 projects using Dynamic Project Switching, and when I copied the timeline it copied it as a merged timeline with no edits or color grading.

Posted: **Sun Sep 09, 2018 12:50 pm**

William Eguienta wrote:here are my wishlist
some can be done actually in v15 or some 15.5

color
- resolve still miss a better curve tool. it's not precise enough (in comparaison of baselight, for example)
the non resizable window is really a problem...a pop up one, just like in old version, could do the job but i really think that curves deserve some work

+1

Posted: **Sun Sep 09, 2018 6:41 pm**

waltervolpatto wrote:In tracking a window, u would like a [inside/ outside] so the tracking features can be set to follow the other side (outside) of a shape.

Think about tracking a window where outside there are things going on, it is easier to track the room (outside of the shape) then color the window, otherwise the tacking is trying to track what happens outside of the window.

For a pan, when the window is near the border, it is easier to just ask for the outside to be tracked and it will naturally flow outside of the frame and as a bonus, if the feature we track is coming back, it will follow back and restart the tracking

Tracking sky, sea objects with no much definition, it will be easier to track something else outside of the shape.

+1!

Posted: **Mon Sep 10, 2018 1:39 am**

The ability to save things into a pre-defined directory structure under the user directory:

i.e. \Documents\<User Name>\Blackmagic Design\Resolve <Ver.>\...

and have it show up in the LUT Browser, Fusion Templates, Transitions, Titles, Scripts, etc. etc.

This will allow easy distribution and installation of Fusion Templates, etc.

The current method of installation and management for 3rd party content seems very unintuitive, or not considered at all.

Users shouldn't have to dig through %ProgramData% to install a LUT, for example. Put it in the Public Documents directory if you want it available for all users on a system. That's still a far superior solution to the current status quo.

Posted: **Tue Sep 11, 2018 1:02 pm**

Maybe it was already mentioned elsewhere in this looong thread....

I'ld like to have the functionality to insert copied clips into the track of a timeline where the mouse-arrow shows up when clicking "Ctrl-V". (Or right-click -> insert)

This would help to define the "landing-track" of the clip to insert and prevent from overwriting clips at the position where the pointer stands in the moment of inserting.

Actually if you want to place a copy of a clip on top of itself you need to copy it, find an empty position on the same track in the timeline, insert the copy there and drag it back onto the source-clip.
With the above described method you'ld be able to copy a clip, place the mouse-arrow a track higher and click "Ctrl-V" and everything would be done.

Would be VERY nice to have.

Thanks

Josef

PS: It also really would be great to have that "Error 77"-thing fixed finally...

Posted: **Tue Sep 11, 2018 11:30 pm**

color, timeline area. I find myself to try dragging the timeline using the middle click/ drag just to get nothing..

Can we implement it?

Posted: **Tue Sep 11, 2018 11:36 pm**

tracker interactive mode, ad two function:

A free form shape to remove points
A free form shape to add points

Posted: **Wed Sep 12, 2018 6:33 am**

It would be great if there was a way to show waveforms for multicam clips.

A very common use for Multicam is a talking head interview and not having access to a waveform on the source monitor is very frustrating.

Posted: **Wed Sep 12, 2018 6:49 am**

The ability to hear audio when playing back at faster than real time when using dynamic trim mode.

Posted: **Wed Sep 12, 2018 9:47 am**

Hi,
We need few simple yet significant features for Resolve in order to work in complex long multi cam projects:
1. Duplicate frame markers.
2. Through edits markes
3. Multi-cam/multi clip audio order sync better features. Syncing sequential clips from camera 1: c1_001, c1_002, c1_003... with clips from camera 2: c2_001b, c2_002b, c2_003b... just doesn't work properly.
4. Background rendering.
5. Export/Import more formats like: PNG, mp3, different flavours of mp4, h264 and so on.
6. More flexible and freely to use dual timeline viewing.
7. Able to turn off and on different audio layers in multi cam edit.

Posted: **Wed Sep 12, 2018 7:31 pm**

In the noise reduction menu, blend, make the blend separate for RGB (with the option to gang them)

So we can have a more elegant workaround for denoise with different strength the different channels.

Posted: **Fri Sep 14, 2018 12:35 am**

Not sure if this is mentioned but being able to import multilayer EXR/TIFF and access the channels would really cement my decision to move over to Davinchi from Adobe Suite, and properly learn it.

This would allow for a COMPLETE package to composite 3D renders/composite/grade/audio etc Only reason I'm here is because I found out they started adding parts of their other apps into one software. Have been using Resolve lately and absolutely love the combined workflows via the tabs! (Yet doesn't quite tick the boxes yet)

Posted: **Fri Sep 14, 2018 2:43 pm**

On the Fusion tab:
- For MediaIn: Set In and Out Points to current frame.
- The option to import footage from the Media Pool and use the already set in/out points.
- Change Fusion comp length like in Fusion Standalone (without having to import the clip to the timeline and trim it there).

Posted: **Fri Sep 14, 2018 4:37 pm**

Custom retime rates and not just 75%, 50% 25% for slowing up and 100%, 200% and 400% for speeding up. So If I wanted to slow it down by 67% and speed it up by 365%

Posted: **Sun Sep 16, 2018 3:50 am**

Clayton Von Isaacs wrote:Custom retime rates and not just 75%, 50% 25% for slowing up and 100%, 200% and 400% for speeding up. So If I wanted to slow it down by 67% and speed it up by 365%

Forgive me if I am misreading your post, but I think what you are asking for is possible currently. Try checking out the Speed Effects section of the manual it goes over this is in great detail.

Posted: **Sun Sep 16, 2018 4:42 am**

Would be great if you could output the Multicam matrix to the client monitor while in Multicam mode.

Or if there is a way to do this someone please chime in and tell me!

Posted: **Sun Sep 16, 2018 5:39 am**

Be able to archive and restore a single timeline so that it can be shared with other colorist.

Posted: **Sun Sep 16, 2018 11:55 am**

I also find myself wanting the ability to scale waveforms. Often when I am editing, I don't need the track to be louder but want a better view of the waveform in the edit or even fairlight page.

This could be a variable zoom on a slider or just a checkbox for like 2x waveform scale.

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