DaVinci 15 | Big feature request list.

Sony ARW sequence. A few years ago when you introduced Canon CR2 sequence, timelapsers went nut. We thought the day to overthrow Adobe tyranny has come.

2 years went by and RAW support for sequences is still limited to Canon CR2. While Canon is losing market share to Sony in DSLR, more timelapse shooters turn to using Sony cameras. Yet switching to Sony means we are losing the performance candy that Resolve parallel render engine could ever give, and having to endure the slow frame-by-frame serial debayer with AE is quite a blow to creativity indeed.

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Project versioning system. Editors and sound/DI/VFX often comes back and forth due to timeline change etc. Keeping in track of all the changes made is of vital importance. Avid has a changelist function with which you can deliver the change between this timeline and its previous version. Though like everything else with avid, they all look like technology from 1995.

I say you guys go consult Linus and build a resolve version of git to manage the changes of projects.

Queue clips for Stabilization analysis. 

 The perspective stabilizer is great, but insanely slow - seems like its single threaded, it uses lots of gpu vram, but little gpu processing, and only a single cpu core.    To get around this I'd like to be able to mark clips for analysis, and be able to batch them at night or when we break for lunch.  or some way to do analysis in the background? or on a networked render station?


Optical Flow
Motion Range setting on a per clip basis

Data Burn-in
Save/Export Burnin settings

Performance:
Add support for Processor Groups to support more than 64 threads

Once again, copy/paste timecode.

Stills with burn in!!!!

Queue clips for Stabilization analysis. 

Yes, please.

Show title-safe and action-safe guides on all pages. I noticed it’s on the Color page when checked “On” but not on the Edit page. Not sure about Media, Fairlight, or Deliver.


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Show title-safe and action-safe guides on all pages. I noticed it’s on the Color page when checked “On” but not on the Edit page. Not sure about Media, Fairlight, or Deliver.

Works ok for me, but safe title overlays are only output through the BMD Mini Monitor when on the Color Page.

Yes, that’s what I meant—it doesn’t output to the Decklink while on the Edit page.


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Yes, that’s what I meant—it doesn’t output to the Decklink while on the Edit page.
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It also works on the Deliver Page. It would be VERY useful on the Edit Page.

I have a feature request which may not be a big thing but it annoys me and maybe others too.

That smal black box that appears on the timeline in the edit-tab when moving or trimming a clip, the information in it is important and I use it all the time but often I need to se what's behind. If I want to move the clip so I aligned it right etc.

I suggest making the box transparent so you can see through the box what's behind.
Whouldn't that be nice?

This is the box I'm talking about:

Resolve_box.jpg (13.46 KiB) Viewed 60233 times

Include hover scrubbing on the clips in the "Conflict Resolution" window, the window used when resolving reel conflicts. Thumbnails are helpful, but hover scrubbing would be exceptional.

Yes, that’s what I meant—it doesn’t output to the Decklink while on the Edit page.
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It also works on the Deliver Page. It would be VERY useful on the Edit Page.

+1

Here : Safe Area on : Out Decklink 4K on Color and Deliver Tab only

PC screen :
Edit Tab OK
Color Tab OK
Deliver Tab OK

Edit Tab is the page where we can create titles. With out Safe area out monitor., it's better.

Stills with burn in!!!!

+1

Include some kind of visual divider line between the Offset control and the other controls on all pages. This would be helpful just to more intuitively show that the Offset control is a different kind of thing, and is shared across all three pages. Maybe even slide that that Log/Primaries Wheels/Primaries Bars drop-down over to the left so that it's over top of the Highlight/Gain control to show that selecting Log, Primaries Wheels, or Primaries Bars doesn't affect the Offset wheels or bars.

Media Preview should use the Timeline output blanking.
it would help, to see the preview clips eg. in 2.35:1 when the whole film will be 2.35:1

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

The 3D LUT applied to the viewer in color page should also be applied on the edit page.

On the Media page, while collaboration is enabled, it would be great to be able to have multiple bins open: 2-up horizontal, 2-up vertical, and 4-up. It seems that currently, in 14.3, when collaboration is enabled, only 1-up is allowed.

Native sound support for Linux

HiDpi scaling on Linux

audio offset in milliseconds for video monitoring. input lag on some displays is brutal

I have a feature request which may not be a big thing but it annoys me and maybe others too.

That smal black box that appears on the timeline in the edit-tab when moving or trimming a clip, the information in it is important and I use it all the time but often I need to se what's behind. If I want to move the clip so I aligned it right etc.

I suggest making the box transparent so you can see through the box what's behind.
Whouldn't that be nice?

This is the box I'm talking about:

Resolve_box.jpg

So much this ^

Bit of a daily frustration tbh.

On the Media page, when 2-up vertical, 2-up horizontal, or 4-up displays are enabled, it would be great to be able to sync video to audio by timecode without having to put all of the audio clips into the same bin as the video clips.

Currently, you can select several video clips from one bin while simultaneously selecting several audio clips from a different bin, but the "auto-sync" functions are grayed out unless the items are in the same bin.

I am evaluating Resolve 14 and Final Cut Pro X. I just did some basic stuff in iMovie.

I do not see Resolve showing if imported media has been used on the timeline when the clips are shown as icons.

FCPX and iMovie can visualize the length of the imported media clips and highlight what segments of a clip are being used on the timeline buy highlighting the section with an orange line.

It makes going thru many non organized clips a breeze,

If I import many clips the Apple apps also can sort them automatically by date,

I am wondering if these features are present in Davinci Resolve or not available.

It its useful to see immediately if a clip is 20 seconds or 2 minutes long, It makes sorting the good footage a lot faster in FCPX, But I'd love to find a way to be as efficient in Resolve.

thank you.
stefano

all pages, but really color... abilty to chose to lower levels on overlays like tracking, masks, etc on the display mon/proj

when working on really bright HDR display it gets hard to see anything except the overlay....

A better link with Fusion, just give Fusion Connect :

1) the possibilities of handles
2) Direct file link instead of export dpx or tiff etc etc

RESOLVE 15
*Autosave (Restore autosaved project)
*Autosave (when the project collapses, start where you left it open again.)
*Autosave Settings (Backup autosave cache)

RESOLVE 15 EDITING
*Multi Timeline Tab
*Multi-Project Workflows
*Audio Synchronize Clips

RESOLVE 15 COLOR
*LUTs Panel (Mouse Scroll Changing)
*LUTs Preview (Thumbnail)
*Gamut Scope (I can see what color space we are working with.)
*Multi Monitor (Full Screen Playback GUI Monitor)

RESOLVE 15

*Autosave (when the project collapses, start where you left it open again.)

We have that now in 14 with Live Save. It works, too.

Can we get multi-threaded and/or GPU accelerated stabilization during analysis, please. The current coding is painfully slow.

Optical Flow
Motion Range setting on a per clip basis

Yes, I totally agree.

„Shortcuts for turning on and off diferent scopes -shortcuts for turnning on/off Y RGB on scopes etc.“

Was mentioned here before. I second that.

For example, it would be easier to use a smaler monitor only for the scopes, if we had shortcuts for the different modes.

the individual timeline should carry the information of the size/depth/type and such: not the project general settings.

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

15 for 15

Let me preface this list by saying that I love DaVinci Resolve not only for color but as a full-featured NLE. Blackmagic often addresses my concerns and feature requests before I ever get around to posting them (I’m convinced that they were reading my mind during the development of v14.), but here are a few more things I would love to see:

General:

Automatic notification of new available updates (and ability to initiate such updates from within Resolve)

Media page:

Ability to relink a clip with a source clip that doesn’t have the exact same filename

Edit page:

Steal Premiere Pro’s grave accent trick (aka tilde key). I’ve dropped Adobe Creative Cloud without a moment’s regret, but Adobe sure got this one thing right. It turns a useless key that happens to be squatting on prime keyboard real estate into a feature that is hard to live without once you’ve gotten accustomed to it. It can seriously be the difference between needing a dual display or not!

Open multiple timelines in tabs

Timelines with different frame rates within the same project and ability to adjust the frame rates of existing timelines

Hover over clip to see clip duration

Paste on top

Add some detail to the Undo menu item in the Edit menu so you don’t have to pop open the history to see what step you’re about to undo

About half the time I click on a clip in the timeline to select it, the clip immediately shifts by 1 frame (regardless of snapping status or how careful I am about not moving the mouse at all). The worst part is that there isn’t any indication of this shift if you are zoomed out too far. Does anyone else experience this frequently? In fact, I rarely ever even click on a clip directly anymore unless I want to move it. I lasso it from a blank area of the timeline, which is cumbersome.

Color page:

In the viewers, give us the option to use the Magic Mouse scroll as, um, scroll (vertical and horizontal) instead of zoom. Zooming with the Magic Mouse touch surface is way too unwieldy to be useful, but navigating a zoomed image is something the Magic Mouse does brilliantly. (A little-known feature is that you can already do this by holding down Option, but I would much rather have the option of making it the default behavior.)

In the thumbnail row, every multicam clip has the same, unhelpful label: “Multicam”. The label should include the selected angle.

Currently, to select a property field with the mouse, you really need to click dead center in the box, and even that doesn’t seem to work to select the field all the time. The entire interior of the box should be the target.

The image rotation in Edit Sizing mode turns counter-clockwise as numbers get higher; Rotation in all other sizing modes turns clockwise! This is an obscure quirk, but it can become a (minor) irritation if you realize you need to move all of your rotation settings from Edit Sizing to Node Sizing to avoid interfering with an object removal that affects nearly every shot in your hour-long project (just a hypothetical example).

Deliver page:

If there is a file with the same filename in the target directory, don’t just overwrite it. Add a frickin’ “-2” or something!

Additional outputs should include all of the same options as the first output, and all export settings should get saved with the project.

See that button for “less options”? It should read “fewer options”. This grammatical error greatly reduces my ability to deliver on time.

I click on a clip in the timeline to select it, the clip immediately shifts by 1 frame. Does anyone else experience this frequently?

Not something that ever happens for me.

But...how would you suggest BMD fix the situation for you? (You never said.)

The image rotation in Edit Sizing mode turns counter-clockwise as numbers get higher

Yeah, that's weird. Moving the mouse right (higher numbers) should roll the frame to the right. And vice versa.

About half the time I click on a clip in the timeline to select it, the clip immediately shifts by 1 frame.

Are you on the latest version, 14.3? This used to happen with earlier versions, but haven't seen it for quite a while.

But...how would you suggest BMD fix the situation for you? (You never said.)

By making it not do that?

Are you on the latest version, 14.3? This used to happen with earlier versions, but haven't seen it for quite a while.

Interesting. But yeah, I am on 14.3. It was a problem for me in 12.5 as well. I can’t remember if it was an issue in 12.

Fix Phantom .Cine raw support

- White Balance adjustment missing
- EI adjustment missing
- GPU decode missing or not working
- Debayer quality poor, Converting to DNG or EXR using CV results in a sharper/cleaner image


PS. Nobody else will say it, but Peter - feel free to start charging money for upgrades if it will get more programmers onboard for fixing some of the problems listed here.

By making it not do that?

But it's not doing that for everyone. This one seems more like operator error than something BM can fix.

If there is a file with the same filename in the target directory, don’t just overwrite it. Add a frickin’ “-2” or something!

Please, no.

Almost invariably for long formats we export the final then (because of production reasons) we have to patch the frame ranges, or export new vfx or brew end credit.

We need and must overwrite.

The image rotation in Edit Sizing mode turns counter-clockwise as numbers get higher

Yeah, that's weird. Moving the mouse right (higher numbers) should roll the frame to the right. And vice versa.

This is a holdover from the way Resolve labeled image transforms as "pan / tilt / zoom / roll" etc (instead of simple "Translate X,Y, Scale, Rotate" etc). The idea is that what you're rotating is the camera, not the image, so when you move the number to the right the camera is rolling clockwise from the point of view of the operator.

I agree with you completely, it should be the other way around at this point, but I'm pretty sure that was the initial logic years ago.

Can we pleeeeease apply some Elmer's to the Advanced Settings section of the Render Settings panel. I'd really love to open that only once, instead of every - single - time I open the project.

We need and must overwrite.

I prefer it works that way myself.

But certainly an option could be added to the pop-up dialog. Currently we have Don't Render and Render.

That could be modified to Cancel, Rename, Overwrite. (With the last being the default, I would argue.)

That should satisfy all needs.

But certainly an option could be added to the pop-up dialog. Currently we have Cancel and Render. That could be modified to Cancel, Rename, Overwrite.

I was about to suggest that, Jim, but you beat me to it. I do understand the benefits of overwrite in some workflows.

There’s a specific circumstance I run into a lot where it is a real nuisance though. It’s very easy to forget to change the filename when adding multiple jobs to the queue with different export settings. It’s pretty irritating when you wait for an entire render job to complete only to see it get immediately overwritten by the next job without any kind of warning.

In some cases, the issue can be avoided by creating an additional output (which does provide a helpful warning about conflicting filenames in the same folder), but the additional output options are limited.

Also, and this is a feature that others have suggested, it would be nice if export settings such as filename and additional outputs were actually saved with the project. The filename always resets to Untitled, which is unfortunate, and additional outputs are lost every time a project is closed as far as I can tell.

Edit: I now see that Jim, you were in fact one of those “others” regarding the stickiness of the advanced export settings, in addition to filename, etc. Yes, please.

Color
Clip menu
Add option for
Color time property
Dolby analysis [true/ false]

Is really difficult to chase the shots that don't have analysis

In Lightroom mode (color page) leave the [clip] menu accessible please

Re: Fairlight: We're patient and this is a great direction. However:

*Please* add Win ASIO driver and Mac OS core audio support - DAWs and Pro Audio interfaces have been established for donkey's years. I understand that Blackmagic may want to support its own audio interfaces /surfaces, however, the pro audio market is already enormous and the infrastructure already out there. IMHO, ASIO would provide BM with such greater reach. Open it up, let people use their existing audio infrastructure & get on with it.

For now, the Resolve 14 audio prefs on the way in AND on the way out are hopeless, non-standard. Appears to have been designed by Committee (at worst) or the idea of pro-audio as imagined by video people (at best). Add a DAW guy in the design team, surely? BM threads are full of this stuff; wasting so much time and energy with something that should be so straight-forward, 'invisible' in fact: audio routing.

See DAW pro audio industry standards, eg Pro Tools, Nuendo, Cubase, Logic, Studio One etc:
See relevant audio hardware I/O standards: Avid, RME, Universal Audio, Apogee, Antelope, Focusrite etc.
The DAW picks up the Audio I/O driver and understands all of the routing immediately.

... all that talk in Resolve 14 threads about routing (say) 5.1 tracks & stems. Insane, out of date, needlessly complex. Should be:

• On the way IN (Resolve audio prefs): select the audio interface driver and have immediate access to all NAMED inputs and outputs on a grid.

• On the way OUT (Resolve is especially dreadful & non-standard here): route according to NAMED inputs and outputs as per the audio interface drivers. On a grid. (see Pro Tools I/O for example).

• On every audio track /buss /aux /group: select an input from the same named set of inputs; select an output from the same named set of outputs - as per the audio I/O hardware.

Can be that hard, surely. ASIO drivers.

pro-audio as imagined by video people (at best).

That actually is touted as an advantage of Fairlight over software like ProTools. It's specifically designed for the needs of Film and Television production, which differ from the needs of music only production.

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

So here's a quote from the old thread

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

2) Keep transparency of a compound clip.

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

4) Curves for position keyframe.

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

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

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

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

9) Optimizing in background.

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

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

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

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

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

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

Thank You BlackMagic

You have to fix those problems in next update

Alrighty, looks like a good place to spill feature requests! Okay, here goes...

I’m working on an imported documentary with a lot of archival, 29.97 on a 23.976 timeline. Noticing after the fact that OPTICAL FLOW is not great (compared to Compressor or Twixtor) for FRAME RATE CONVERSION. Having to go back and mitigate a ton of artifact problems. Request? Better frame rate conversion handling / options, including more explicit and self-adjusting 3:2 REMOVAL (again, a la Compressor).

Some of the Fusion options appearing in Resolve for more image scaling options.

Match-frame a selected clip regardless of enable-disable button selection.

I used FCP7 for years, and even have documentary clients (working on films for years often) who STILL come in with FCP7 (!) projects. I have fond memories of its openness and flexibility, I miss it. I’m including the tag “#à-la-FCP7” on the requests below indicating essential FCP7 features I’m seriously missing in Resolve. :)

Copy-Paste from / to Timecode fields #à-la-FCP7

More alpha channel / transparency support, particularly on exports. Was unsuccessful in exporting a text track with transparency. #à-la-FCP7

More flexibility with handling and grading of compounded clips -- to behave more like individual clips. Same for text and generator layers.

“Reveal in finder” direct from timeline (right-click #à-la-FCP7)

Keyboard shortcuts! a) hover-over tool tips and b) allow custom shortcutting for several items that currently you simply cannot shortcut, no way no how.

Set optional default for scopes to appear in gui lower-right instead of keyframer.

“[“ “]” or similar keyframe stepping to work in middle window tracker / stabilizer

Sequences of different frame rates within one project #à-la-FCP7. For example, sometimes I work separately with 59.97i cadenced broadcast versions derived from 23.976 feature edits. Currently a pain in Resolve.

Better autosave. Option to save a history of versions is untenable on large projects -- takes too long!!

Background exports, at least to the extent that further exports and other limited media management can be looked at, set up and worked on while outputs are happening.

This is a subtle one but makes a huge difference, at least for me: Enable / Disable, the D shortcut, should toggle whatever is selected. For instance, if an enabled and disabled clip are both selected, then hitting D switches both there states #à-la-FCP7. Really useful and fast when versioning and replacing titles, graphics, archival. Cumbersome in Resolve.

Change frame rate of clips (a la Cinema Tools), or especially useful, change timecode on clips, #à-la-FCP7 saving to meta.

AC3 export options. More Quicktime export options (such as x264).

The "optical flow" motion blur is great, though sometimes just looking for some blunt frame-blend motion blur options. Minor, but noting it here for whatever.

Otherwise, a beautiful product! Been a DRS convert ever since v14. Lightbox, smart bins, media pool, super excited.