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- Joined: Tue Apr 09, 2013 10:22 am
Sat May 17, 2025 11:05 pm
Various instructions state that "reference compositions" are the solution to this problem, but they are not; for full background on the issue, see this thread: viewtopic.php?f=22&t=221544
Arguably the biggest benefit of having a compositor integrated into your editor is that you can (or should be able to) seamlessly provide timing information to the compositor. The decisions made in the timeline tell you exactly which frames you need to bother with in your composite. This is critical information when you're dealing with tracking, keyframing, rotoscoping... anything that changes from one frame to the next.
Fusion is not a color-correction operation that you just slap onto a five-minute clip, even though you're only using 10 seconds of it. It is often used for laborious, hand-tweaked or -optimized operations that must be limited to only the footage that's actually used in the timeline.
It makes no sense to degrade, by default, all the source material coming into a composition from a timeline. If you have 6K sources in your 2K timeline, the timeline deals with them just fine. Why would I want a chunky, crap-ass greenscreen result in my timeline simply because I round-tripped one of those sources through Fusion? I mean... what's the point of the integration, then?
Fusion compositions should be scaled to timeline resolution as their last step, not their first.
Even more baffling is that there's an option in the Media In nodes in the Fusion composition, where you can choose "media pool" as the source. But it does no such thing; the clips in my media pool were 6K, but changing this setting in my comp did nothing.
So... this setting should be made to work properly, and it should be the default for all compositions.
Thanks!
Arguably the biggest benefit of having a compositor integrated into your editor is that you can (or should be able to) seamlessly provide timing information to the compositor. The decisions made in the timeline tell you exactly which frames you need to bother with in your composite. This is critical information when you're dealing with tracking, keyframing, rotoscoping... anything that changes from one frame to the next.
Fusion is not a color-correction operation that you just slap onto a five-minute clip, even though you're only using 10 seconds of it. It is often used for laborious, hand-tweaked or -optimized operations that must be limited to only the footage that's actually used in the timeline.
It makes no sense to degrade, by default, all the source material coming into a composition from a timeline. If you have 6K sources in your 2K timeline, the timeline deals with them just fine. Why would I want a chunky, crap-ass greenscreen result in my timeline simply because I round-tripped one of those sources through Fusion? I mean... what's the point of the integration, then?
Fusion compositions should be scaled to timeline resolution as their last step, not their first.
Even more baffling is that there's an option in the Media In nodes in the Fusion composition, where you can choose "media pool" as the source. But it does no such thing; the clips in my media pool were 6K, but changing this setting in my comp did nothing.
So... this setting should be made to work properly, and it should be the default for all compositions.
Thanks!