Sun Aug 19, 2018 5:08 am
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...
W10-19043.1645- Supermicro MB C9X299-PGF - RAM 128GB CPU i9-10980XE 16c 4.3GHz (Oc) Water cooled
Decklink Studio 4K (12.3)
Resolve 19.0 / fusion studio 19
GPU 3090ti drivers 512.59 studio
