Just going to re-post this here since it seems like it will get more attention here.
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I've been using the Resolve's Color tab for 2 years now and I've loved it. It's UI is way better suited to complex grades then Lumetri panel for example, but it does have some confusing behavior. It's not exactly the greatest at exposing features and inferring how and when they work.
When I first started using Resolve, I made the assumption that the palette area represented all the tools for the currently selected node. Over time, I realized that wasn't the case and even today I'm finding examples features I didn't know where available to me or features that work differently than I expected.
The ProblemsFX NodesWhen one of these is selected, you can make adjustments to the color wheels, curves, qualifiers, etc. but none of them do anything. The only palette that's really applicable is the FX Tracker which is effectively hidden under a tab and at the bottom of a dropdown menu. The actual settings for the effect are in the settings tab in the OFX menu.
This can lead to two issues.
1. Anytime someone uses a mix of FX nodes and Corrector nodes, there's inevitably a time when they start making curves adjustments assuming a Corrector node is selected only to see that no changes are happening. That's when they'll notice they have an FX node selected.
2. When you have an effect is added to a Corrector Node the only indicator is on the node itself and it isn't specific to the type of effect. If the effect makes changes to colors, someone could look to get rid of that color change without necessarily realizing that it's being done by the effect unless they have the OFX panel open.
Highlighted is all of the palette area that is useless when you have an FX node selected.
Camera RAW, Input Sizing, Edit Sizing, and StabilizerThese four palletes only apply to the input media. They do not apply per-node yet they're among all of the node-specific settings.
Output sizingJust as the previous examples only apply to the input media, Output sizing only applies to the finalized timeline.
The SolutionBy making the pallete area contextual based on the currently selected node, it will solve a lot of the aforementioned problems and open up the interface up to some new features.
Let's look at what settings would be availble per node type.
Source Node- Code: Select all
Clip Settings
Camera Raw
Info
Input LUT
Scaling
Input Sizing
Edit Sizing
Reference and Tracking
Scopes
Stabilizer
Here we have all of the settings that apply to the Input media now with the ability to change the Input LUT.
Since this is a required node, being able to set an Input LUT here saves someone from having to make a corrector node just to do this.
By having these settings grouped with the Input Node, you could even have different settings per input node as well as a setting for pointing additonal Source Nodes to clips in the Media Pool. In the past, people have done keying and sky replacement in the Color page but it's always required that the foreground and background are on different tracks in the Edit page. By allowing additional source nodes to point to Media Pool clips, these compositions can be completely self-contained.
I understand that Fusion exists for doing stuff like that but it's probably better to just make it easier for people to do it in the Color page then have them do it anyway and just complicate their edit.
Layer & Parallel Mixer- Code: Select all
Input List
Add/ Remove / Composiite Mode
Reference
Scopes
The idea of combining these into general Color Mixer node may be controversial because of the difference in how they handle layer order but I would imagine that the functionality of a Parallel Mixer could be achieved with Parallel Composiite mode.
Regardless of whether they're combined, the additional screen real estate available to features of this/these nodes can allow for some interesting functionality. For example, a Layer Mixer can be made to have different Compositing modes per layer which would allow it serve the job of multiple Layer Mixers connected together.
Key Mixer- Code: Select all
Input List
Add/ Remove / Invert
Reference
Key/Alpha Channel
In writing this post, I only just realized that Key pallette already shows an Input list complete with the ability to invert masks and change gain and offset values so this wouldn't be adding anything. It would still save a few clicks though since the Key pallette would already be visible once you select the Key Mixer.
Splitter- Code: Select all
Channels List
Invert
Reference
Scopes
This isn't that complicated of a node. It would just show you representations of each channel but it would now give you the ability to Invert a channel. It's a small feature but if all you intend to do is invert two of the channels then this will allow you to do that and pipe it into a Combiner without Corrector node between.
Combiner- Code: Select all
Channels List
Invert
RGB Mixer
Reference
Scopes
Same as before except it would add the Color Mixer palette. This a require node IF a Splitter node was used so inclusion of the RGB Mixer is something that could concievable save somebody from having to create another Corrector node afterwards to do the same thing.
Output Node- Code: Select all
Info
System info
Clip Info
Output Montitor
Output LUT
Reference
Scopes
Here we have the other required Node. In this case, it's adds the ability to add an Output LUT but by creating additional Output nodes, someone can have these routed to different monitors.
Someone actually requested this feature in the Davinci Resolve 17 Feature Request Thread. In there case they suggested using this as a way to do different grades for HDR and SDR.
viewtopic.php?f=21&t=88857&start=250#p510046FX- Code: Select all
FX Settings
FX settings
Tracker
FX Tracker
Reference
Scopes
This would actually replace the Settings tab in the OFX panel altogether and put all of the FX settings in one spot.
Corrector- Code: Select all
Basic Correction
Color Match
Color Wheels
Primary Wheels
Primary Bars
Log
RGB Mixer
Curves
Custom
Hue vs Hue
Hue vs Sat
Hue vs Lum
Lum vs Sat
Sat vs Sat
Noise Reduction
Keying, Sharpness, and Sizing
Qualifiers
HSL
RGB
Lum
Window
Window
Blur
Blur
Sharpen
Mist
Sizing
Node
Reference
Tracker
Window Tracker
Reference, 3D, and Keyframing
3D
Scopes
Key
Keyframes
And finally, the corrector node. The Corrector node just gets some clean up and re-orginization.
The non-node specific palette's would be removed. Which, for reference, are Camera RAW, Info, Stabilizer, FX Tracker, Input Sizing, Edit Sizing, and Output Sizing.
The remaining palettes are just regrouped. The mindset behind the new grouping is more or less straightforward with the exception of the third group.
The idea behind grouping 3D and Key with Scopes and Keyframes is that you may want to see your key while creating power windows and qualifiers. And the 3D is there.... because I don't know whats in it and I just imagine you wouldn't need to see your scopes while messing with it. I could be wrong though.
One last thing you might notice is the lack of FX Tracker in the Corrector Node. That's because I'm suggesting that the ability to associate an effect with a node be removed. If people really want to keep that feature, the FX settings could be added somewhere in list of 27 palettes already in the Corrector. But by removing that feature and requiring that they be their own nodes, it allows the implementation of the Shift+Space behavior that's present in Fusion and prevents the need to open up the Effects list at all.
Closing ThoughtsI really believe that this change would do a lot to remove clutter from the interface and improve usability of smaller monitors and overall. It's both a big and small change. It's big in that it would really help new users wrap their head around the software but small in that it's a straight forward enough change that experience Resolve users would be able to adjust quickly.
I'm curious to hear what the community thinks of this and if anybody had suggests to improve on this.