Blackmagic Forum

An audio indicator when an output is complete like AE does would be very nice.

output blanking: allow to define a blanking as x/y plus a [round to near pixel] option.

if I'm doing a DCP standard blanking, it HAS to be 2048x858 exactly: not 2.40, not 2.39, not 2.35. This has been wrong since 2005 (first long format DCP ever created, "serenity")

so, instead to let me express a fixed ratio or an arbitrary ratio number, let us use the pixels. if i have to define an arbitrary ratio (i.e. 2.20/1) I will use numbers like

2.20x1

and it still works.

Safe area...
1) have the safe area follow the blanking. Please....
2) define an arbitrary safe area using pixels 2048x858
3) define an arbitrary safe area using pixel and offset (to identify safe areas where the image is smaller that the whole display) case in point, I was doing review of a movie called CRAWL. the images for vfx are 2216x1364. on that I have to extract 2048x858 from the center., but I have to play the whole frame for the review. i have no practical way to create an outline to show where the actual frame line is
4) I never remember why in the edit page i cannot show the safe area in the main display...
5) I cannot in the gui to select 2.39... the only one that will have sense...
6) in the color page, if the safe area is on, i play something and i turn it off from the menu, it stay on until I move by a frame.

waltervolpatto wrote:if I'm doing a DCP standard blanking, it HAS to be 2048x858 exactl....

On that note, allow Cineform to process this resolution (I have been told it is NOT a Cineform limitation).

I would like to request allow defining multiple destinations (one, two or more) to be viewed in parallel routing to different Declink cards and output color spaces in the timeline node screen, like so:

Cary Knoop wrote:

waltervolpatto wrote:if I'm doing a DCP standard blanking, it HAS to be 2048x858 exactl....

On that note, allow Cineform to process this resolution (I have been told it is NOT a Cineform limitation).

I would like to request allow defining multiple destinations (one, two or more) to be viewed in parallel routing to different Declink cards and output color spaces in the timeline node screen, like so:

multi-output-resolve.jpg

I like the idea..!

waltervolpatto wrote:can we have more color for flags and markers?

+1

waltervolpatto wrote:in the motion flow analysis for noise reducer or for speed effect, there is the problem of analyzing tails (if existing).

case in point is a VFX show where each VFX is delivered with a slate of sort as first frame and the client want to use the shot form frame 2 (first frame of image). if you do a temporal noise reducer or a speedwarp, resolve will try to use the first frame that is garbage. same thing when you use an edl to cut a committed timeline.

so, a tool that can use tails to do something, should have a button/checkbox that allow use to only use visible frames (no tails).

Yes please!!

waltervolpatto wrote:can we have more color for flags and markers?

I would find this useful for clips/tracks. I like to color my audio tracks according to audio type.

Green for Groom.
Orange for Officiant
Purple for Podium
Brown for Board
Navy for Nat

I've got nothing for Music. There's no M colors. How about Magenta, Mustard or Mauve.

How about Cyan, Crimson or Canary for Camera audio?

Maybe Fawn, Flame or Fuchsia for Foley clips?

waltervolpatto wrote:output blanking: allow to define a blanking as x/y plus a [round to near pixel] option.

Wouldn't it be better to create a timeline with the required dimensions, instead of using blanking? This has the advantage of keeping effects and transitions to the proper aspect as well.

Cary Knoop wrote:On that note, allow Cineform to process this resolution (I have been told it is NOT a Cineform limitation).

I would like this as well. But I'm curious who told you this? I thought it was a limitation of the codec, requiring dimensions properly divisible.

Jim Simon wrote:I would like this as well. But I'm curious who told you this? I thought it was a limitation of the codec, requiring dimensions properly divisible.

Nope, there are other NLE's which can process this aspect ratio without a problem.

Jim Simon wrote:

Cary Knoop wrote:On that note, allow Cineform to process this resolution (I have been told it is NOT a Cineform limitation).

I would like this as well. But I'm curious who told you this? I thought it was a limitation of the codec, requiring dimensions properly divisible.

Hello Jim,

Only 1 restriction :

Cineform SDK :

Code: Select all

// The image width and height must be a multiple of two
assert((width % 2) == 0 && (height % 2) == 0);


How about some build in stomp templates like this one

Jim Simon wrote:

waltervolpatto wrote:output blanking: allow to define a blanking as x/y plus a [round to near pixel] option.

Wouldn't it be better to create a timeline with the required dimensions, instead of using blanking? This has the advantage of keeping effects and transitions to the proper aspect as well.

Yes, however, not always is an option.

For "crawl", we had an original cropped camera data size of 2216x1364 (roughly, I don't remember the right pixel), with 2048x858 theatrical extraction and 2048x1152 1.78 TV extraction, plus an archival for archival required by the studio (paramount) at "source" resolution ) the 2216x1364) colored no lut applied.

As you can see I have to keep the original resolution as I go and present correct blanking as I go...

I don't know if you can do this on Resolve but can you change the speed of your Transitions? Meaning if i want to for example zoom in or out a text or anything else then can i change the speed without making the clip shorter. if you can't do that then that would be a nice addition.

waltervolpatto wrote:

Jim Simon wrote:

waltervolpatto wrote:output blanking: allow to define a blanking as x/y plus a [round to near pixel] option.

Wouldn't it be better to create a timeline with the required dimensions, instead of using blanking? This has the advantage of keeping effects and transitions to the proper aspect as well.

Yes, however, not always is an option.

For "crawl", we had an original cropped camera data size of 2216x1364 (roughly, I don't remember the right pixel), with 2048x858 theatrical extraction and 2048x1152 1.78 TV extraction, plus an archival for archival required by the studio (paramount) at "source" resolution ) the 2216x1364) colored no lut applied.

As you can see I have to keep the original resolution as I go and present correct blanking as I go...

Can you not create presets in Output Sizing in the Color page (i.e. not the menu) to do what you need? You can specify exact pixels there.

Yes you can, why were have the blanking menu altogether then?
As a quick way to blank, it should have at least the most common geometry (DCP).

On top, if you generate a blanking preset in the timeline sizing and apply it, you will not see that: pixels will weirdly stay at 0.

Here is another one.

Save time code inputs in the bank (for lack of better words).

When you're on the timeline and you +200 to move 2 seconds further down the timeline it would be great if you could just keep hitting enter and moving along at that interval.

It's a tad bit tiring to keep hitting +200 ENT +200 ENT +200 ENT

Allow proper nesting of timelines using timeline nodes.

Currently Resolve ignores the timeline nodes from a nested timeline.

Full support for interlaced footage, pls.
Without this, Resolve it is not suitable to work on tv. (edit)

Kenzo wrote:Full support for interlaced footage, pls.
Without this, Resolve it is not suitable to work on tv. (edit)

how does it not fully support interlaced footage?

Tom Early wrote:how does it not fully support interlaced footage?

In interlace project, all animated zoom in, zoom out are progressive, transitions are progressive, titles have one filed only, etc.

It would be helpful to be able to set the working color space of OFX and transitions in the edit page. I think best case scenario it would be a global setting for the whole timeline with per effect/transition overrides.

I am trying to use DaVinci to do finishing work and having all transitions process in the timeline color space has proved to be somewhat problematic particularly with RCM workflows and OTT deliveries.

Windows(10) Version: Look for fonts in the registry, not in C-windows fonts, please!

We can't use Extensis Suitcase for Font management as long as this is the fact, and as further Resolve get's into production, the more it is necessary to be able to use specific (project / clients) fonts. And I don't want to install all the fonts on our system. Thats late 80's style

Is it possible to add the creation of a shot Report in the mediaPool in PDF or other. A kind of report that would release a Thumbnail and selected differents metadatas ( Source TC, Length, Tape name, Clip Name, Camera, Scene, Take ...).

It's present on FilmLight Daylight but it's missing at Resolve to do a complete Rush management. I do not think it's complicated to add it would really be more.
(see next video at 17:30 -> )


(Sorry I do not speak English very well)

This has probably been requested a bagillion times, but Motion Blur for text/moving solids would be amazing.

giacco101 wrote:This has probably been requested a bagillion times, but Motion Blur for text/moving solids would be amazing.

Its already there on the Fusion Page esp. Have you tried using the text+.

Being able to create another viewport like Fusion stand alone has. Works well with a triple monitor set up. Also working in 3D space on a 50" panel is much better than the cut down viewport in DR 16.

Also, being able to CHOOSE how much vram your GPU has, again like Fusion allows. I have HBCC on Vega that allows the use of system ram to supplement vram.

Greg Hodgins wrote:Also, being able to CHOOSE how much vram your GPU has, again like Fusion allows. I have HBCC on Vega that allows the use of system ram to supplement vram.

mmm.. I think that will absolutely kill the performance... too many Gbits passing back and forth...

It would be great if sizing transforms in the color page (specifically node & output) were processed using the full native clip resolution and not the timeline resolution.

This would help to ensure highest image quality for situations/workflows where you would need to size the image up after the input sizing operation.

Please add an audio waveform reaction effect.

My #1 request for Resolve 17:

No new features. Just fix bugs, improve stability, and refine the features that are already there.

- Timeline Versions
- Keyframe Animation in Submixes in Fairlight

I want to be able to see my timeline Markers when I view it in the source window. I am logging footage with timeline Markers, but after that I have to edit these bits in the new timeline. So I need to put the timeline in the source window, but then I cannot see any Markers..

If that's not possible:
Shortcuts to switch the active timeline (like in premiere), so I can do copy and paste via keyboard.

And better fairlight performance, that's the only very slow panel on my Mac.

Since I am shooting both Panasonic EVA1 and Nikon Z6 to Atomos recorders . . .

Prores RAW is the big one for me. EVA1 outputs RAW 5.6K, and Nikon Z6 will soon be outputting 12bit RAW over HDMI.

Fusion:
Support for multi-channel EXR in Resolve's Fusion. It's the big thing missing for compositing from a 3D pipeline which would be great to be able to do in resolve inline with the edit instead of in the standalone Fusion app.

It will probably never come, but it would be great to move away from the database approach and to a file-based one for projects.

I'd very much like to be able to turn off either audio or video in Clip Attributes. It's a pain to have to unlink lots of clips and delete the unwanted property (usually audio).

waltervolpatto wrote:

Greg Hodgins wrote:Also, being able to CHOOSE how much vram your GPU has, again like Fusion allows. I have HBCC on Vega that allows the use of system ram to supplement vram.

mmm.. I think that will absolutely kill the performance... too many Gbits passing back and forth...

It does very well in stand alone Fusion. I have ran a 8GB card to 30GB without issue. In DR the Fusion settings still allow me to choose, though I prefer working in the stand alone version, so why not DR as a whole?

Because I had to work quickly with the director this morning I jammed a dozen H264 and H265 4K camera files into my 1080p edit of a 3-minute music video. Then I hit Render to YouTube preset to send the director a version and went to lunch, expecting it to be way done when I got back. Two hours later, Resolve had only rendered 3% (!!!!) of a 3-minute HD show. This is running 115% of CPU and 186 threads on a quad-core i7 MBP.

Two thirds of the shots were ProRes, and pretty sure they aren't the problem. But sometimes like today I don't have time to transcode everything (in After Effects), and people shoot with all kinds of cameras - an A7R2 to XAVC and a GoPro Hero7 to H265, but on this show mostly Canon .CR2 RAW files, which I do transcode.

There are a lot of thing I like about Resolve as an editor, mainly that I can work on color concurrently, but the TERRIBLE performance with H264/H265 might be a dealbreaker. Which would be a shame, because I've noticed that Resolve sees further into the white point with Sony XAVC files than Adobe products do.

Render out to ProRes and then use Handbrake to go to H264.
For a 3 min clip I'd have that done before you could order lunch.

EDIT:
I just went from 4K 265 to HD 264 thru resolve. 3 min timeline took 3 mins to encode to 264


So it seems it is not the software.

BTW I'm on 16b3

joeyciccoline wrote:it would be great to move away from the database approach and to a file-based one for projects.

I prefer the current design. You can always export out individual project files when needed.

Timber wrote: It's a pain to have to unlink lots of clips and delete the unwanted property (usually audio).

Why are you adding what you don't need to a timeline?

Timber wrote:the TERRIBLE performance with H264/H265 might be a dealbreaker.

I find the performance in 16 much improved. I used to need Optimized Media for my 4K GH4 files. Now I don't. Same hardware.

Micha Clazing wrote:ProRes export on Windows, and moveable/sizeable docking UI elements please.

Joshua Morin wrote:Full screen on a second monitor please!

That.

And auto-transparency when cropping in Edit would be great.

Ok here is my list:

-Improved node tree displaying. When working with fixed node tree the size can be huge deal.

-Qualify selection on ACES. This can be applied in general but the ability of choosing the qualify after the ODT in my opinion can be a hugeee improvement.

-Related, ability to break the order of nodes on secondary selections. That means being able to send back tracked windows on previous nodes or qualify on other stages of the image tree.

-Ability to select what scopes i want(tree vector) or even better profiles i can change with a shortcut.

-For heavy node tree 4k raw footage(like r3d) the render should give you the choice to render half the tree and do it again with the other half when GPU memory is full.

-Shortcuts to move around timeline/group/clip/pre-group

-Please more love to the panels specially that fx button!!!!

Thats all

When i CUT the clip its automaticly selected left clip. It would be better if the right side of the clip is selected because then I can continue to cut the clip because cursor go to the right side.

I am loving DR16 but please please please....

• A simple way to switch on a grid without having to load the "adjustment clip" and "grid" effects into the timeline. I really wish this was a on/off button with basic settings easily accessible on the edit page (or as a function on the inspector) to be used when positioning video. The current "grid" effect is good, but make that a function within inspector instead.
• Muuuuch better VST plugin management in Fairlight. The fact that there is no plugin search button, folder options, plugin favourites option etc is a little incomprehensible to me given how Fairlight's capabilities are touted. Any of the other DAW's out there can act as a model. Coming from the audio world and having built up my plugin collection I am literally scrolling through hundreds of plug ins to get to the ones I want. One hell of a waist of time
• The ability to move VST plugin's around in the list. Also a little incomphrensible to me in an environment that is aimed at post production
• Option to make the wave form bigger in the cut page. Trying to edit to low volume spoken word can be a real challenge at the mo

Thank you! Please note I really love DR16, but these are my bug bears

Fabián Matas wrote:-Qualify selection on ACES. This can be applied in general but the ability of choosing the qualify after the ODT in my opinion can be a hugeee improvement.

I'm a fan of ACES. I use it on every project. But what does that mean? What quality adjustments are you looking for?

Drakulica wrote:When i CUT the clip its automaticly selected left clip.

In 16b3, cutting a clip with the tool or shortcut selects neither side, which is the preferred behavior. Cutting and selecting are two different actions. Performing one should not automatically engage the other.

Jim Simon wrote:

Fabián Matas wrote:-Qualify selection on ACES. This can be applied in general but the ability of choosing the qualify after the ODT in my opinion can be a hugeee improvement.

I'm a fan of ACES. I use it on every project. But what does that mean? What quality adjustments are you looking for?

Sorry im not a native english speaker so sometimes my sentences are a mess. I mean use the qualifier tool after the odt so the selection should (in theory) be easier since the picture rendering(rrt) has already happened and the gamma have been applied so you have a more saturated and rich image( if you do a higlight when working with aces you can see image in ACES space is mushy and greyish, as it shoiuld be).