Blackmagic Forum

Peter Chamberlain wrote:What do you see in the timeline menu for auto selector?

Am I looking in the right spot? This is what I see in the keyboard shortcuts:



And in the dropdown menu:



Let me know if I am looking in the wrong place.

for the timeline speed, the most annoying thing we have to deal is the movie format (24.00 fps) and tv (23.978657584....).

I cannot have both in a project, I cannot copy and paste clips, I cannot use a edl from one to another and so on: it si the same exact number of frames, speed and so on, the audio will be slowed dows (or speed up) to match the picture.

I hope tat one day the movie theaters will just project 23.976 FFS.

Nathan Morgan wrote:

Peter Chamberlain wrote:What do you see in the timeline menu for auto selector?

Am I looking in the right spot? This is what I see in the keyboard shortcuts:

Screen Shot 2018-06-18 at 8.51.17 PM.png

And in the dropdown menu:

Screen Shot 2018-06-18 at 8.51.33 PM.png

Let me know if I am looking in the wrong place.

the dropdown.. the menu.. looks like the shortcut is option cmd f9... could you have your f keys highjacked by the OS and you need to disable the OS access to those keys?

Peter Chamberlain wrote:

Nathan Morgan wrote:

Peter Chamberlain wrote:What do you see in the timeline menu for auto selector?

Am I looking in the right spot? This is what I see in the keyboard shortcuts:

Screen Shot 2018-06-18 at 8.51.17 PM.png

And in the dropdown menu:

Screen Shot 2018-06-18 at 8.51.33 PM.png

Let me know if I am looking in the wrong place.

the dropdown.. the menu.. looks like the shortcut is option cmd f9... could you have your f keys highjacked by the OS and you need to disable the OS access to those keys?

I think I am starting to see the confusion here. I am starting to think I may not have been clear in my original post. I was hoping for a single key command that would select/deselect all tracks for both audio AND video.

Because the linked selection command supersedes the auto select selection when I am trimming audio I am finding myself having to toggle audio on/off and video on/off before selecting my tracks that I am wanting to modify.

So to clarify my original post in addition to a single keystroke that toggled a select/deselect for all tracks both audio and video it would also be great if in addition to or instead of that we could get individual shortcuts to select all tracks (both audio and video) and deselect all tracks (audio and video) that was not a toggle. (Avid does this quite well with a Ctrl-A + Ctrl -Shift-A combo)

Please let me know if I am still not getting it, but hoping that makes more sense.

Nathan Morgan wrote:
While I do not think it wise to be able to arbitrarily be able to change timeline frame rate (for the reasons that Peter has pointed out above) The are a couple of conversions that we do on a regular basis in TV that would definitely be helpful to be included in DaVinci. The biggest one being a show that is editing in 23.98 but airing in 29.97i.

No, you wouldn't want to constantly be changing it, but it's not unusual to need to change the delivery format during a project. There's no reason to only offer a handful of conversions, either. Resolve should be basing all of the edit and keyframe information in seconds or some fraction of seconds. Some applications use float time, and float64 would be high enough precision for almost any use case, but an alternative could also be to use some tiny integer fraction of time like 1/705600000 seconds, which would allow integer conversions between many standard framerates.

I'm not sure what the downside of allowing conversions would be.

Chad Capeland wrote:

Nathan Morgan wrote:
While I do not think it wise to be able to arbitrarily be able to change timeline frame rate (for the reasons that Peter has pointed out above) The are a couple of conversions that we do on a regular basis in TV that would definitely be helpful to be included in DaVinci. The biggest one being a show that is editing in 23.98 but airing in 29.97i.

No, you wouldn't want to constantly be changing it, but it's not unusual to need to change the delivery format during a project. There's no reason to only offer a handful of conversions, either. Resolve should be basing all of the edit and keyframe information in seconds or some fraction of seconds. Some applications use float time, and float64 would be high enough precision for almost any use case, but an alternative could also be to use some tiny integer fraction of time like 1/705600000 seconds, which would allow integer conversions between many standard framerates.

I'm not sure what the downside of allowing conversions would be.

Seems like many are really looking for a way to render in different frame rates rather than needing complex options to define new timeline rates?

Peter Chamberlain wrote:
Seems like many are really looking for a way to render in different frame rates rather than needing complex options to define new timeline rates?

Internally, Resolve has to do the same things, but having it be a render only setting means it can only be applied to a limited number of situations.

If it's a case where a timeline was created at one framerate and now the user wants to convert the timeline to a different framerate and continue working, that's not solvable with a render conversion.

I've worked on projects that were temporally and spatially proxied in other editing systems. Like run at 2k 30fps for rough cut and fine cut was done at 4k 60fps. Such a promotion for confirm is not as simple to do in Resolve.

Peter Chamberlain wrote:
Seems like many are really looking for a way to render in different frame rates rather than needing complex options to define new timeline rates?

In thinking about this I realized that a majority of the reason that we don't edit at delivery frame rate is due to the fact that in current workflows Avid does not allow you to use multicam clips that have a different frame rate then the project frame rate. Since Resolves multicam allows mixed rate there is a world where you could just edit everything at the delivery framerate (29.97). Though again the ability to have resolve do a proper 3:2 pulldown on the 23.98 clips in the sequence would be key to enabling this.

It would be great if we had the ability to do track mattes in the edit page. I am currently working on a show that has supplied me with transition mattes and I am running into 2 problems.

1) While I know it is possible to use them in the color and fusion pages (I am still pretty new to the fusion page and expect this to get less difficult as my knowledge progresses) it is not easy or intuitive especially when trying to adjust the timing.

2) I normally turn on bypass grade to speed things up when I am in the edit page this also turns off any alpha that I am receiving from color and fusion.

Please let me know if there is a way to do this in the edit page that I am missing. Is there an OFX maybe that I have overlooked?

waltervolpatto wrote:I hope tat one day the movie theaters will just project 23.976 FFS.

The opposite would be better. There's no need to use 23.976 for broadcast anymore.

Wishlist number one: Simple audio cross dissolves in Fairlight - like the ones in the edit page, you can just add with a shortcut. Right now, audio editing is a REAL pain.

Jim Simon wrote:

waltervolpatto wrote:I hope tat one day the movie theaters will just project 23.976 FFS.

The opposite would be better. There's no need to use 23.976 for broadcast anymore.

There are tens of millions of hours of recorded material in the broadcast archives at 23.976... not going to happen.

Forgive me if this has already been requested.

When altering the Frame Rate of a Clip, you can select custom and type in a number.
Could the same feature be allowed on the Frame Rate of a Timeline? Currently, you can only select from the standard presets.

Cheers.

Ability to export in frame rates other than the project frame rate for example from a 60fps timeline to 24fps for more traditional movie feel, to 60fps for more fluid video feel, or to create a stop motion like effect in 6fps.

been working in a competing gradeing system in the last week, i really miss granular timeline sort options in Resolve;
- rec sort (we have this already)
- src/tc sort (we have this already)
- src/file name/tc sort (we do not have this)

so if there's three camera's in a scene.. in Resolve it's near useless in a supervised session on show that had 25 shooting days and it seems they managed to shoot at 6pm on almost every day to use "C mode sport", better to leave in A mode, select the scene, the then C mode sort

in the other system it sorts all of A-cam in a row, all of B-cam in a row, all of C-cam in a row with the shots from the scene in question grouped already by file name

- one button push on the surface to get the media in a workable form in that system
- click + hold shift + click at the end of the scene, go to clips, go to selected, click, go to C-mode sort and you still get the camera's mixed up order in Resolve, but at leat you don't have the other 24 days of shooting at 6pm mixed in anymore

one more i bring up every now and then..
Parent-child timeline relationships

usefull when working in reels for creating deliverable versions & last min fixes without having to update and check mutiple timelines, reduces chances for errors to happen

also useful to instantly screen a complete timeline at any point, check color across reels quickly, many reasons to use this functionality, i do miss it

Dermot Shane wrote:one more i bring up every now and then..
Parent-child timeline relationships

usefull when working in reels for creating deliverable versions & last min fixes without having to update and check mutiple timelines, reduces chances for errors to happen

also useful to instantly screen a complete timeline at any point, check color across reels quickly, many reasons to use this functionality, i do miss it

can you compound the timeline? I see other colorist doing that...

waltervolpatto wrote:There are tens of millions of hours of recorded material in the broadcast archives at 23.976

That doesn't prevent new material using 24.

I'm not suggesting a replacement, but an addition. Blu-ray can do either. Broadcast should as well.

waltervolpatto wrote:
can you compound the timeline? I see other colorist doing that...

get you part way there, the parent-child thing come in REALLY handy at the last min, with QC notes on three of six reels, some QC notes only applying to HD deliverables, revised VFX shots flying in late in one of the reels with no QC notes, and twenty odd versions to export yesterday

at a minimum you can have all the versions lined up, drop in the VFX or QC note shots into each reel and all twenty or so deliverables will update accuratly and instantly, then one can go to the HD reels and replace what ever has been failed for Resolve's crappy scaling causeing alaising with the shot scaled in Flame or DS and all the other QC notes/revisions are safe and sound...

this is one reason why i still use DS for versioning, export a DPX seq from Resolve and create versions with it's parent-child relationship

the other reason is the insane / unreliable audio mapping in Resolve since v14 messed it up <sigh>

Request: Audio Clip mixer!!!

in the edit page, there is the "lock" that freezer all the timeline clips and such, then there is the "position lock" that let swap shots, and do the extra things on it (like transform...)

can we go a bit further?

on the [position lock] button, can we add a right click option that allow to block

Only X
Only Y
Both (normal behavior)

we have a lot of operation in final assembly that need a clip to be copied up a layer or moved up/down (usually different revisions of vfx) and it is invariably just up/down. It is dangerous having full X/Y movement because it is easy to slip a clip by a frame and not realize it. Lock only X will be godsend

when I do [grab still] have an option to have it WITH the burn in actually burned is (might be a setting general option)

when I export stills from the gallery, please retain the name of the still itself (or the timecode if that was the name) now all it is lost when export.

waltervolpatto wrote:when I do [grab still] have an option to have it WITH the burn in actually burned is (might be a setting general option)

when I export stills from the gallery, please retain the name of the still itself (or the timecode if that was the name) now all it is lost when export.

+1

Davinci 15 is great and 16 will be even better, thanks, however here some things that still stop me using it in production where you have large amount of clips from different cameras:
1. Colored Duplicate Frame Marker on a timeline.
2. Show Through Edits on a Timeline- such a small things but so helpful.
3. Multi-camera sound syncing - better results and options for multiple cameras and clips.
4. Clip color in a bin (in a clip view mode).
5. PNG export.
Thanks.

I would like to see keyboard shortcuts for much more of the application's functionality.
The beauty and point of customizable keyboard shortcuts should be that every menu accessible function should be able to be mapped to a shortcut...

The one I'm missing like crazy right now is assigning clip colors. Right clicking on a clip, going to Clip Color in the contextual menu, and then selecting the color in the sub menu - is CLUNKY as all hell when you're going through many clips.

Thanks to DaVinci, 15 is very good, 16 will be even better， some suggestions for 16.
1. On the editing panel, add a easing when making a displacement animation.
2. Gaussian blur, this openfx effect can't hit keyframes.
3. On the clip panel, add a pen tool to draw a mask on the clip.
4. On the clip panel, you can hide the toolbars so that the toolbars are vertical.
5. On the editing panel, add a background to automatically generate optimized media for the footage. And you can switch the optimized media of a material separately. The optimized media name contains the original name of the material, and the optimized media can be set to be a separate video.
6, can automatically generate high quality cache files for decoding difficult materials to optimize the decoding of the material.
7. In the media pool of the editing panel, the thumbnail of the media can always exist, so that when the folder is switched, the thumbnails are reloaded, which is very annoying.
8, on the editing panel, when the performance of the graphics card is insufficient, automatically switch to cpu to process the material, to solve the problem that the graphics card is always insufficient, so that the low-profile computer can also edit the movie normally.
9, when collecting material, the material that can not be collected will stop, add a report that can collect the material to give the material without successful collection instead of stop collecting.
10. Add items with a frame rate that cannot be merged.
11, add can modify the frame rate of the project.
12, improve the refresh speed of the audio waveform, can be like the process of Fairlight.
13, in the editing panel, improve the zoom time axis can be very smooth refresh when there is a lot of material.
14, on the windows system, rendering h.264 encoding can choose fixed bit rate rendering. The aac audio bit rate can be increased to 320 kb/s or 512 kb/s.
15. Use Da Vinci to add foreign language subtitles to the movie. The setting parameters of the subtitle parameters are too few, and the stroke effect often does not work.
16, allows the software to automatically recognize the recording device and start recording.

another one i use in other software and miss in Resolve is PTZR mapped to the surface's rings and balls, includeing the edit page...

see Baselight for an example of excelent implementation of this concept, not that it's the only one, it's a pretty universal concept really, just the Filmlight crew do it very well

and yet another one i use in other software and miss in Resolve, scaleing of color tools responce to match working color sspace

see Nucoda for an example of excelent implementation of this concept, not that it's the only one, it's also a pretty universal concept, just in this case the Nucoda crew do it very well

Dermot Shane wrote:and yet another one i use in other software and miss in Resolve, scaleing of color tools responce to match working color sspace

see Nucoda for an example of excelent implementation of this concept, not that it's the only one, it's also a pretty universal concept, just in this case the Nucoda crew do it very well

? care to elaborate more?

Would be great if in the bin list you could move multiple bins at once. I know you can do it in the main media window, but it would be nice to do it in the Bin List as well.

waltervolpatto wrote:
? care to elaborate more?

sure!

in Nucoda there's a menu that changes the scaleing of the tool's responce to artist input, Baselight does this automagicly, Resolve doe not do this atall, Nucoda allows one to select in great detail, a tool by tool, layer by layer

Where this comes in handy is two places, when working in ACES in Resolve the tools controling highlights and shadows are an uphill battle as the regions they affect are so vast in AP1, even more so in AP0

in Baselight the artist experience is pretty much the same no matter the working color space as the tool responce scales to match

Nucoda takes it a step further, it auto selects based working colorspace, but gives the artist control of their tools as needed, when in ACES and using a 709 IDT for some footage with a mystery log encodeing, i just select "video log" from the pulldown to work with this footage with a similar feel to haveing linear raw beside it

This screen cap shows the pulldown underneath Pivot and Soft,

this is a similar page to Baselight's "FilmGrade", one advantage there is the soften slider controls the amount of S curve in pivot, i know Baselight caught up with that one, Resolve has not, and still does not have hue offsets inside contrast in 2018....

five years ago when i started useing ACES, and long before Resolve supported it, Nucoda was a well developed tool set already... it shows to this day, and Resolve is well behind the ball on this file;

Dermot, I wonder: is this at all similar to changing the working color space of the timeline when using RCM?

Seth Goldin wrote:Dermot, I wonder: is this at all similar to changing the working color space of the timeline when using RCM?

not really, it about the responce of the tool in a given color space, in Resolve set your color managemnt to ACEScct, and take a shot / any shot with a wide dynamic range, correct IDT and all and adjust curves, bring highlights down... you'll be dragging that control for a long time before anything happens, nothing like useing the same tool on the same image in display refered

do the same in Nucoda or Baselight and the curve tool will affect the image much the same as working in display refered

that's about the scaleing of the controls for good artist responce in other software, and lacking in Resolve

A little help:
In [playback - delete render cache] there should be a 4th mode:

Delete all cache except active timeline.

Keyboard shortcuts for OFX would be VERY helpful.

Feature request: Improvements to DaVinci's subtitle functionality

I'm delighted to see a new Subtitling tool in DaVinci. We're stuck on an FCP7 workflow (which also means we're forever stuck on 10.12) and we'd love to switch to DaVinci (we desperately want to avoid FCPX). However, there are some things that it's lacking regarding its subtitle functionality:

1 - Zone-based positioning -
DaVinci currently can only do pixel-based positioning of subtitles, and does not support zone-based positioning. Pixel-based positioning is fine if hard-burning the subtitles, but if eventually exporting to a subtitle text file, that positioning gets stripped out. Zone-based positioning pertains to any of the nine basic zones (top-left/center/right, middle-left/center/right, bottom-left/center/right).

2 - Overlapping subtitles -
DaVinci will only allow one subtitle track can be enabled at a time. This means overlapping subtitles (e.g. one top-positioned, one bottom-positioned) are not possible.

3 - What happens to one, happens to all -
Any adjustments made to any subtitle using the "Transform" function oddly ends up applying to all subtitles on the track, not just the one selected. I'm hoping that's just a bug.


(The issues below are of less importance to me since for my company's workflow it'll be easier to just export an .fcpxml and load it into Annotation Edit to generate whatever file format I need, but the below issues will very likely be of importance to someone else.)

4 - File formats -
The SRT and WebVTT subtitle formats only support millisecond-based timing rather than frame based timing, meaning that a third-party software must be used if the file needs to be converted to a frame-based timing format (and I have yet to find one that doesn't cause a random one-frame drift on random subs). It would be ideal if DaVinci could support a TTML format with frame-based timing and support for basic positioning. (Can make do without this feature if need be, since it'd probably be easier and quicker to just export an .FCPXML from DaVinci and load it into a third party software such as Annotation Edit to convert to a preferable file format)

5 - Speed of Export -
When exporting an SRT or WebVTT using the Deliver tab (and with Export Video and Export Audio unchecked), it exports unbelievably slowly. If there were a 2hr video on the timeline, it would take nearly that long just to export the subtitle text file, whereas it should be a near instantaneous thing.


Would be extremely willing to beta test and even alpha test any such features. Company-wide purchases will be made if we can get this functionality in DaVinci. Thank you!

Just a little thing:
I think the "Previous Marker" and "Next Marker" commands should select the marker the playhead is jumping to.
Let's assume I jump through my markers using keyboard shortcuts and want I want to edit a marker by pressing [Shift + M].
If I already manually selected a marker before, the old marker would be edited, not the one where the playhead is.

Julian Böhme wrote:If I already manually selected a marker before, the old marker would be edited, not the one where the playhead is.

Could you show a scenario where the behavior is ambiguous for you Julian?

I just tested a beta 6 build, and it seems to favor the selection done last Julian... so if I go:
Shift↑, Shift↑, Shift↑, click-select, Shift-M, I get the clicked marker popped up for editing.
Shift↑, Shift↑, click-select, Shift↑, Shift-M, I get the last navigated marker popped up for editing.
Granted it was a simple test with a single clip and a mix of timeline and clip markers, but the selection of the marker as I click or navigate seems to be unambiguous too.

As a newbie to Davinci 15, the most glaringly missing feature for me is being able to ease in&out on POSITION keyframes.

I have no idea why this is not possible, but it is awful for creating PIP moves, which I do a lot for my one corporate client. It is very easy with Premiere and you can save a move as a preset and apply it anytime.

Pretty please!
BTW If there is some way of doing this more easily in Fusion, please let me know, I have been trying to use Inspector for this, but this functionality seems to be missing.

Thanks,
Mark.

You can do it in fusion of course. Also with the inspector, add keyframes, open curve editor for individual clip, select keyframe, select curve type, and then copy paste attributes to another clip.

As for feature requests, I think I have asked for it before, but it would be great to have an indication of how long a project has been open/ working/ rendering etc. Ala Avid mc.

Hi Tasio. Nice name and surname you've got, BTW!
With inspector you can't apply ease in/out to position. Only manually edit spline, which is impossible to match the exact rate that the scale is changing simultaneously... With fusion you can, but responsiveness isn't great.
If I'm on a new project, I'd want to be able to apply a preset I made, so copy pasting is fine if you're in the same project and have other elements to copy from but a pain otherwise.
Thanks
Mark.

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I will like to have customisable speed change for Resolve 16. For example we can key in our own numbers like 161%, 896% and etc.

behjingqiang wrote:I will like to have customisable speed change for Resolve 16. For example we can key in our own numbers like 161%, 896% and etc.

Always been there since day one .



What do you mean ?

edit : ah , i see now , you mean in the retime curves , like here



Indeed that would be handy. Now it works only for 1 segment. If you set the whole clip to 161% and only then activate retime curve and add a speedpoint to change the next segment to a fixed speed.

So ideed on the request list

Shrinivas Ramani wrote:

Julian Böhme wrote:If I already manually selected a marker before, the old marker would be edited, not the one where the playhead is.

Could you show a scenario where the behavior is ambiguous for you Julian?

I just tested a beta 6 build, and it seems to favor the selection done last Julian... so if I go:
Shift↑, Shift↑, Shift↑, click-select, Shift-M, I get the clicked marker popped up for editing.
Shift↑, Shift↑, click-select, Shift↑, Shift-M, I get the last navigated marker popped up for editing.
Granted it was a simple test with a single clip and a mix of timeline and clip markers, but the selection of the marker as I click or navigate seems to be unambiguous too.

I just found out:
It's working correctly in the timeline.
But it's not working on the source viewer.
It's working in the timeline viewer, but the marker selection is not updated in the timeline viewer.

It's probably working in the timeline viewer, because it relies on the selected marker in the timeline (which is correct), not on the mistakenly selected marker in the viewer.
Whereas in the source viewer, it can only rely on the selected marker in the viewer, which is incorrect.

I would love it if they added 3D modeling features to Fusion. Recently I had to use the Custom Vertex Tool to programmatically assign vertex colors to a sphere in a Shape 3D node for a skybox and I really would have preferred to have been able to paint vertex colors instead...especially since I couldn't have it use them as directly as a diffuse color. Then I realize that, if there WAS a vertex painting tool then people would wind up using it in conjunction with the Custom Vertex Tool to do a kind of hacky sculpting tool. So I figured why not add legitimate 3D modeling features into Fusion?

The way I would do it is by adding an Edit option to the Shape 3D node which would add tools for edge, vertex, and polygon selection tools as well tools for vertex painting and sculpting.

The Inspector would then have options for extruding, welding, bridging, beveling, and booleaning.

I would also add the option to save 3D displaced geometry as a static model similar to how the Tracker node could save it's data as a Transform node. If the displacement isn't going to be animated in anyway then why add to the clutter of the flow with a Shape 3D connected to a Displace 3D which has a FastNoise connected to that and several Polygon masks connected to that when it can be represented as one Shape 3D or "Mesh 3D" node?

speed multiplier in color

in color have a set of predefined multiplier for speed: 1/4x-1/2x-1x-2x-4x-8x.

once it is selected, the playrate is set at that multiplier.

waltervolpatto wrote:speed multiplier in color

in color have a set of predefined multiplier for speed: 1/4x-1/2x-1x-2x-4x-8x.

once it is selected, the playrate is set at that multiplier.

Not entirely what you are looking for, have you tried multiple taps on the advanced panel play button? I recall doing something there some time back.

Peter Chamberlain wrote:

waltervolpatto wrote:speed multiplier in color

in color have a set of predefined multiplier for speed: 1/4x-1/2x-1x-2x-4x-8x.

once it is selected, the playrate is set at that multiplier.

Not entirely what you are looking for, have you tried multiple taps on the advanced panel play button? I recall doing something there some time back.

Yes, that it does for the speed up, but there is no slow down unless you change the speed in the settings

Generate Optimized media needs to be BG task once started.

I don't use this a lot, with one exception ; GoPro clips. Those I always convert. It would be nice to select a bin of GoPro shots, let generate optimized media run and go into the BG.

alternately, with Fusion bolted on now the task could get handed off to network nodes to process ! that would be an ideal solution. its just a file loader & saver. you don't need a lot of nodes working due to possible network bandwidth over load - at least until we all have 10G networks - so being able to use just a couple nodes would be ideal to manage thruput vs bandwidth. right now I'm looking at 3hrs + to optimize one bin and my machine is locked out from doing useful things.

S

steve oakley wrote: the task could get handed off to network nodes to process !

Background remote rendering of the cache or optimized media is a great idea! Doesn’t even have anything to do with Fusion—we’ve already been able to do remote rendering for years.


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