Blackmagic Forum

Posted: **Sat Jun 08, 2019 2:46 am**

Michael Fleetwood wrote:Currently "Mark Selection" marks an In/out mark on selected clips position, but it needs to recognize when a single gap is selected as well.

It does now.

Posted: **Sat Jun 08, 2019 2:48 am**

Michael Fleetwood wrote:2.) Renaming clips in the timeline.

You can do this now with Clip Attributes.

Posted: **Sat Jun 08, 2019 7:27 pm**

It would be great to have the ability to right click on a sequence tab and be able to select "find in media pool" or something similar. I'm generally organized, but I can't seem to find the sequence I'm working on in the media pool so I can duplicate it.

Thanks

Posted: **Sat Jun 08, 2019 11:17 pm**

Nick Papps wrote:It would be great to have the ability to right click on a sequence tab and be able to select "find in media pool" or something similar. I'm generally organized, but I can't seem to find the sequence I'm working on in the media pool so I can duplicate it.

Thanks

already exists in the main menu

Posted: **Sun Jun 09, 2019 2:09 am**

Nick Papps wrote:I can't seem to find the sequence I'm working on

Use the Timelines bin.

in the media pool so I can duplicate it.

Don't do that there. With the timeline open and selected, use the Duplicate command under the Edit menu.

Posted: **Sun Jun 09, 2019 2:18 am**

Use the Timelines bin.

You cannot in "collaboration" mode.

Posted: **Sun Jun 09, 2019 11:53 am**

waltervolpatto wrote:You cannot in "collaboration" mode.

Didn't know that.

Sooo...that might be the better request.

Posted: **Sun Jun 09, 2019 11:59 am**

Hello,

Is it possible to add to the film Grain OpenFX the options to control the grain size & softness of each individual channels (RGB)?
The reason is, the pattern may be correct but the noise Color isn't.
Kodak grain for example have a tendency to have a more Green/Blue tint overall with fewer red.

This option exists in Nuke and allow precise grain match.

Posted: **Sun Jun 09, 2019 3:39 pm**

This option exists in Nuke and allow precise grain match.

one way I suggest to implement is to change the [blend] mode from a single slider to a split [RGB] sliders in any OFX/NR place where it is: in this way you can modulate easier the amount for each one of the channel. It is not quite as having the RGB generator split, but it can mimic a very similar result.

Posted: **Sun Jun 09, 2019 4:30 pm**

Just going to re-post this here since it seems like it will get more attention here.
_________________________

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 Problems

FX Nodes

When 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 Stabilizer

These 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 sizing
Just as the previous examples only apply to the input media, Output sizing only applies to the finalized timeline.

The Solution

By 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#p510046

FX

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 Thoughts

I 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.

Posted: **Sun Jun 09, 2019 6:09 pm**

For the cut page, I would add a storyboard interface to use for manipulating the timeline after you have built it, Or building a timeline depending on the type of project,

I know that to some this could seem amateurish but I beg to differ. The idea of moving around clips of adding and deleting is much faster and easier than the normal way of manipulating a timeline. I remember that avid had the hamburger view, purple had it also. I used cinegy extreme which also had it. Today only Cyberlink has it. It's very powerful and also a great way to view different cutting options

For an interface like cut, it would be like adding warp speed.

Ricardo Marty

Posted: **Sun Jun 09, 2019 6:14 pm**

Mark Grgurev wrote:Just going to re-post this here since it seems like it will get more attention here.
_________________________
You should post this on the forum again. If you change the title you would probably get more views and responses. I never saw it in the forum.

Ricardo Marty

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 Problems

FX Nodes

When 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 Stabilizer

These 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 sizing
Just as the previous examples only apply to the input media, Output sizing only applies to the finalized timeline.

The Solution

By 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#p510046

FX
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 Thoughts

I 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.

Posted: **Sun Jun 09, 2019 6:15 pm**

I have a couple of requests that I think should be simple to implement:

Add a queue and a Job Handler (like you have for Cloning media) for some long running tasks like Generating Optimized Media and Exporting the project archive.

Also, can we have a quick way to lock and unlock nodes? I like to lock the nodes (and timelines also) when I am not working on them so that I don't accidentally change them. A keyboard shortcut would be great.

Posted: **Sun Jun 09, 2019 6:50 pm**

ricardo marty wrote:You should post this on the forum again. If you change the title you would probably get more views and responses. I never saw it in the forum.

Ricardo Marty

I would but I had only just posted 3 ago so I don't want to spam the forum with it.

This is the original thread if you'd like to post in it:
viewtopic.php?f=21&t=92731

Posted: **Sun Jun 09, 2019 6:52 pm**

Mark Grgurev wrote:
ricardo marty wrote:You should post this on the forum again. If you change the title you would probably get more views and responses. I never saw it in the forum.

Ricardo Marty

I would but I had only just posted 3 ago so I don't want to spam the forum with it.

This is the original thread if you'd like to post in it:
viewtopic.php?f=21&t=92731

I i think you can erase them.

Posted: **Mon Jun 10, 2019 9:25 am**

Mark Grgurev wrote:

What I like about your idea is that it puts the color page more in line with the fusion page and I am all for consistency. Ultimately it could lead development in a direction where the fusion and color page could be merged.
The color page could become a single "resolve node" within fusion. If it is well done, changing from fusion to the color page would only be a different layout setting where the normal user does not even notice what has changed behind the curtains. For the people who dick deeper, will find new flexibility where they can use all the fusion nodes within the resolve node-graph and where fusion users could use resolve as a single node that they can put in their node graph wherever they want. Besides, it would bring the far superior spline editor to the color page

Posted: **Mon Jun 10, 2019 2:24 pm**

Please Please Please Me (Beatles '63) can Davinci 17 support consumer MTS audio import so I don't have to keep using 3rd party SW.

Patrick Forestell

Posted: **Mon Jun 10, 2019 3:55 pm**

What I visualize as part of the interface, Would be a timeline view in picons in a separate window these picons can be shuffled around and it would automatically update the timeline. You can add or delete in the picon window by dragging it from the bin or delete. and would reflect in the timeline immediately. Of course, this could work after the timeline has been assembled. Great for events content, rough cuts, short form projects sequential or not and, for viewing alternative and stills projects.......

The storyboard interface is for manipulating the timeline after you have built it, Or building a timeline depending on the type of project,

I know that to some this could seem amateurish but I beg to differ. The idea of moving around clips o adding and deleting is much faster and easier than the normal way of manipulating a timeline. I remember that avid had the hamburger view, adobe premiere and purple (DPS) had it also. I used cinegy extreme which also had it. Today only Cyberlink has it. It's very powerful and also a great way to view different cutting options

For an interface like cut, it would be like adding warp speed.

something like this. (please start at 0:14)

For the cut page, I would add a storyboard interface to use for manipulating the timeline after you have built it, Or building a timeline depending on the type of project,

Ricardo Marty

Posted: **Tue Jun 11, 2019 7:47 am**

My only request: Drag and Drop Dynamic Transitions

There are very no dynamic transitions in Resolve and they look so good for video making.

Quick Example:

This can be achieved in Fusion, but it can take quite some time if your not used to work in it. Also it´s hard to test different cuts since you have to create a Fusion Connect Clip.

Posted: **Tue Jun 11, 2019 3:00 pm**

Pedro de Barros wrote:My only request: Drag and Drop Dynamic Transitions

There are very no dynamic transitions in Resolve and they look so good for video making.

This can be achieved in Fusion, but it can take quite some time if your not used to work in it. Also it´s hard to test different cuts since you have to create a Fusion Connect Clip.

Take a look at this thread and see if this is close to what your talking about.

viewtopic.php?f=22&t=92617

There are some people using 16 to make drag and drop transitions. The short story is you can use the adjustment layer as a BG for your fusion clip in 16 (that I've been playing with in the beta), and anything you do in fusion will effect whats underneath it, even if you move it. I had a little problem where fusion cached a node, then I had to replace the loader (media in), but then it worked. Try it out! It's not an elegant solution for true drag and drop yet, but its a step in that direction.

Posted: **Tue Jun 11, 2019 3:31 pm**

The ability to link a Media Out from a Fusion Clip to a Source on a non-fusion clip on the Color page.

Ability to do compositing on the color page. Add Media ins perhaps.

Option to choose if you want the UI bright or dark.

ProRes on windows.

To be able to map the hotkeys on the fairlight and fusion tab. Or atleast display them.

Posted: **Tue Jun 11, 2019 4:41 pm**

Optimized Media to run in the background, and be able to link from other projects / transferred to other computers that are using the same footage.

Posted: **Tue Jun 11, 2019 5:43 pm**

Pedro de Barros wrote:My only request: Drag and Drop Dynamic Transitions

There are very no dynamic transitions in Resolve and they look so good for video making.

This can be achieved in Fusion, but it can take quite some time if your not used to work in it. Also it´s hard to test different cuts since you have to create a Fusion Connect Clip.

Maybe you are looking for these"

https://www.messiah-resolve.com/

Ricardo Marty

Posted: **Tue Jun 11, 2019 9:22 pm**

Jim Simon wrote:
Nick Papps wrote:I can't seem to find the sequence I'm working on

Use the Timelines bin.

No good if you have a load of timelines, he should use Timeline/Find Current Timeline In Media Pool

Jim Simon wrote:
Nick Papps wrote:in the media pool so I can duplicate it.

Don't do that there. With the timeline open and selected, use the Duplicate command under the Edit menu.

he can do it wherever he likes, as he should be able to, you don't need it to be the active timeline and you don't need to use the duplicate command, cmd/cntrl-c/v works too.

Posted: **Wed Jun 12, 2019 7:41 am**

Synth wrote:Davinci Resolve is defenetly going for expansion of editing tools. Cut page is a big step in that direction. If new tools really developing based on time consumption of editor, the most awating feature for me is "favorites/rejected" like in FCPX. It is huge timesaver and workflow enhancer. In the first stage of sorting Sources editors usually adding in/out and drop segments to timeline and when sorting is done, editor move those clips in the timeline - big mess! It is not efficient and not streamlined. In case if converting in/outs to Favorites (No subclips! No duration markers!) and the filter them in a Bin allows editor to start clean timeline with fully sorted Sources, without messing up timeline before. Every clip with Favorite segment in it shows as "subclip" in a bin but without actually creation of one. This is, in my opinion, is super addition to Cut page features. So, please, make similiar to FCPX segmenting workflow and I am 100% in Resolve from that moment.

------

I Agree!!! For me it only lacks that function for Davince to be perfect!

I'm also migrating from FCPX to Davinci and I use Davince's Subclip tool to mark the favorite clips from each clip as in Final Cut. Very important to create a native filter on the clip preview screen to filter the subclips or favorites, so we can use as favorites and view them quickly. Currently I need to create a Smart bin to filter the favorite clips using the subclip. We lose time with this workaroud! They should facilitate this because it is a very important process in the edition the selection of the best scenes for the edition. This makes us gain a lot of time and creative quality.

Posted: **Wed Jun 12, 2019 8:25 pm**

I'd love to stop typing in unnecessary characters.

1000 should always take me to the 10 second mark in a timeline, no matter where the playhead is.

Posted: **Thu Jun 13, 2019 1:04 am**

DVD/Blu Ray Authoring

What about DVD/Blu Ray authoring for the delivery page?

Posted: **Thu Jun 13, 2019 10:15 am**

1. Can we please have Embedded AAF for audio that is fully compatible with Avid Media Composer and Pro Tools etc

2. Can we have an option to export elements with Alpha Channels, I know there is something currently but is not fully integrated with Resolve.

Thanks

Posted: **Thu Jun 13, 2019 1:25 pm**

As already mentioned above, the AAF exports for audio have to be hugely improved, so that a pro tools editor can conform on the source files. In the Pro Tools export tab, the handles should appear in the audio sub-tab, not the video. And we should be able to choose handles, full media, or no media if we just want to export the metadatas in a few seconds.
And also sound related, I'd like to see the ability to choose which tracks of a bwf I want to sync with video (usually audio mixes in 1 and 2), with the ability to call back all tracks if needed. Avid does that, and it's more than useful.
Every sound editor I met told me "please don't edit with resolve !!", it's a pity.

Posted: **Thu Jun 13, 2019 4:07 pm**

It'd be GREAT to be able to move audio and video tracks up and down by drag and drop, as opposed to the menu!

Posted: **Thu Jun 13, 2019 4:24 pm**

I would like for fusion to have a layered look for the nodes. Im just talking of adding a view and workflow. not eliminating the node viewer.

A stacked node view would resemble the PS and AE layered view and help people transitioning from AE to Fusion and work the way they've always worked if they chose. Putting the nodes on top of another with the name of the effect will result in a similar workflow as the layered type. In this view, a person would also be able to do the VFX. The traditional view will also be available and work the same as always. This should be a configurable view so the operator can choose his preferred method of working.

Thank You,

Ricardo Marty

Posted: **Thu Jun 13, 2019 7:08 pm**

I love the new viewable histogram in the background of the curves...maybe we could have something like this for the Pivot tool? It could take out the guess work of figuring out where exactly in the image you're placing your pivot point. Baselight has a visual representation of the pivot point, and I think it would make the pivot tool overall more functional in Resolve.

On that note, a visual representation for high/low range (referring to the Log controls here) would also be great. Maybe even a highlight option in the viewer!

I would love a mappable hotkey / advanced panel button for:
- enter and exit compound nodes
- ripple node changes to current group

as well as a keyboard hotkey for cue next/previous for jumping in between keyframes for window-tracking. This would be useful because it's fairly common for an assistant colorist to track windows into handles on a system without a panel.

Finally, I really miss a few conform features from Resolve 14 that were removed in 15 onward:
-the ability to manually type-in timecode when changing a source clip's timecode in the clip attributes
-the ability to manually type-in the offset frame value for offline reference clips
-the automatic appearance of clip conflict warning badges (now you have to manually summon those warning badges by highlighting all clips in timeline and deselecting 'Conform Lock Enable')

Thank you for the great product!

Posted: **Thu Jun 13, 2019 8:30 pm**

Offset trimming of video and audio - an editing capability that has been part of Avid editing for quite a while. It speeds up the workflow. Specifically, when one pulls or pushes the trim on video, the audio moves in the opposite direction OR vice-versa.

Posted: **Thu Jun 13, 2019 11:19 pm**

My list:
Pause button during render
More resizable panels (just let us to move it how we want)
ProRes export - Windows

What do you think?

Posted: **Fri Jun 14, 2019 3:04 am**

ricardo marty wrote:I would like for fusion to have a layered look for the nodes. Im just talking of adding a view and workflow. not eliminating the node viewer.

A stacked node view would resemble the PS and AE layered view and help people transitioning from AE to Fusion and work the way they've always worked if they chose. Putting the nodes on top of another with the name of the effect will result in a similar workflow as the layered type. In this view, a person would also be able to do the VFX. The traditional view will also be available and work the same as always. This should be a configurable view so the operator can choose his preferred method of working.

Thank You,

Ricardo Marty

Thats not the way nodes work, and do things like this just break the entire purpose of node universe itself!
Nodes is a whole complete different way to do things ....
Just take a look on this video :

Posted: **Fri Jun 14, 2019 3:30 am**

[/quote]
Thats not the way nodes work, and do things like this just break the entire purpose of node universe itself!
Nodes is a whole complete different way to do things ....
Just take a look on this video :

Thank you Ricardo Marty[/quote]
Thats not the way nodes work, and do things like this just break the entire purpose of node universe itself!
Nodes is a whole complete different way to do things ....
Just take a look on this video :

[/quote]

Thank you, I know how nodes work Im not asking to change them in any way or form. What Im asking is for an alternative view and workflow in a layered form type.

If we can see the nodes horizontally they can be seen vertically and the line can be made into buttons. The layers could be the same shape as the nodes.
in other words, nodes on top of other nodes and maybe buttons to establish the action.
I think this will open fusion to many ( only for the in resolve fusion version.)

Ricardo Marty

Posted: **Fri Jun 14, 2019 7:02 am**

Render and Replace, like Premiere Pro CC.

Posted: **Fri Jun 14, 2019 10:56 am**

ricardo marty wrote:Thank you, I know how nodes work Im not asking to change them in any way or form. What Im asking is for an alternative view and workflow in a layered form type.

If we can see the nodes horizontally they can be seen vertically and the line can be made into buttons. The layers could be the same shape as the nodes.
in other words, nodes on top of other nodes and maybe buttons to establish the action.
I think this will open fusion to many ( only for the in resolve fusion version.)

Ricardo Marty

Adding an alternative layered view to Fusion isn't a minor change and probably isn't possible. The only reason that After Effects is able to come close to what you can do with node-based compositing is because it adds concepts like pre-comps, null objects, hidden auto-merging and rendering of 3D layers and each layer has dropdowns for to set a matte and a parent.

Adding an alternate interface is, by itself, a larger change but there is also relationships between objects that you set up with node that simply can't be represented with layers.

Here's one of the simpler examples. After Effects groups 3D objects if their layers are next to each other like so:

Code: Select all: 3D Layer 3D Layer 3D Layer 3D Layer 3D Layer

If you were to put a 2D layer in the middle of those 3D layers, it would separate those 3D layer groups.

Code: Select all: ----------- 3D Layer 3D Layer ----------- 2D Layer ----------- 3D Layer 3D Layer 3D Layer

Of course those separations are hidden. You would have to make each group a 3D pre-comp in order to manuever them as a group.

Now what if you wanted a copy of one of those 3D objects in both groups?

With nodes that's as simple as

Code: Select all: Group 1[Merge3D] Group 2[Merge3D] | \ / | [Object 1] [Object 2] [Object 3]

If you wanted to do that with layers you'd have to duplicate the layer.

Code: Select all: ----------- 3D Layer 3D Layer 3D Layer [duplicate] ----------- 2D Layer ----------- 3D Layer [original] 3D Layer 3D Layer

which also means you have no ability to choose when the shape gets cloned. What if you want displace and shade the object the exact same way but just wanted to them positioned differently?

With layers, you need to add displace and texture effects to both layers.

Code: Select all: ----------- 3D Layer 3D Layer 3D Layer [duplicate] Displace Texture ----------- 2D Layer ----------- 3D Layer [original] Displace Texture 3D Layer 3D Layer

With nodes you can do this:

Code: Select all: Group 1[Merge3D] Group 2[Merge3D] | \ / | [Object 1] [Displace3D] [Object 3] | [Texture] ------ [Object 2]

This is actually a huge difference because the layer-based version textures and displaces both copies of the object meaning the computational demands go up by the amount of copies you have. The node-based example is texturing and displacing one object then duplicating the result and making the whole thing run much faster.

Posted: **Fri Jun 14, 2019 1:52 pm**

Trensharo wrote:Render and Replace, like Premiere Pro CC.

With the ability to right click and “un-render” back to the track’s original components for further adjustments.

Posted: **Sat Jun 15, 2019 1:38 am**

The edit page desperately needs an adjustable luma/ckey keyer ofx for realtime keyer of layers

Posted: **Sat Jun 15, 2019 2:00 am**

Gary Hango wrote:
Trensharo wrote:Render and Replace, like Premiere Pro CC.

With the ability to right click and “un-render” back to the track’s original components for further adjustments.

+1

Posted: **Sat Jun 15, 2019 2:06 pm**

brennanjbarsell wrote:I love the new viewable histogram in the background of the curves...maybe we could have something like this for the Pivot tool?

On that note, a visual representation for high/low range (referring to the Log controls here) would also be great.

I would find those indications quite useful.

Posted: **Sat Jun 15, 2019 2:10 pm**

ricardo marty wrote:I think this will open fusion to many ( only for the in resolve fusion version.)

I disagree with your philosophy on this one. Layers and nodes are different languages. Ultimately, I don't think it's very useful to have some kind of "translator" in between them.

The best way to learn a new language is to live with someone who won't speak anything but that language.

Posted: **Sat Jun 15, 2019 10:14 pm**

Track select tool in Edit page. As in Adobe Premiere (or FCP 7, if I recall correctly...). The Y, ctrl Y, etc. doesn't cut it.

Preferably a track select tool that lets you choose all tracks or cmd click to select individual tracks.

Posted: **Sun Jun 16, 2019 7:59 am**

I can't seem to find the list of supported video codecs for DaVinci Resolve 16. Have you added support for lossless video such as HuffyUV and/or Lagarith? I can't seriously consider purchase of the full version of your software without that support.

Sent from my STV100-1 using Tapatalk

Posted: **Sun Jun 16, 2019 10:59 am**

Eric H Bowen wrote:I can't seem to find the list of supported video codecs for DaVinci Resolve 16. Have you added support for lossless video such as HuffyUV and/or Lagarith? I can't seriously consider purchase of the full version of your software without that support.

Sent from my STV100-1 using Tapatalk

Do not think that has changed much since Resolve 15...

Sent from my SM-N960U using Tapatalk

Posted: **Sun Jun 16, 2019 2:44 pm**

in the settings for "output scaling" we need a couple of more default options:

1) match video monitoring, (this should be the default....) to match the decklink settings.
2) UHD, DCI 2K (2048x1080), DCI 4K (4096x2160)

Posted: **Sun Jun 16, 2019 9:43 pm**

I would love the ability to adjust the audio levels of clips from within the bin via the inspector. This would awesome for selecting music which is often very hot.

Posted: **Mon Jun 17, 2019 12:39 am**

Annotations: they should be improved:
1) the ability to put them on the main screen or not
2) the ability to have them in the COLOR PAGE (and put it on the main screen or not)
3) if in the color space, the ability to be captured/stored when a still is grabbed.

Posted: **Mon Jun 17, 2019 2:14 pm**

Chris P wrote:Track select tool in Edit page. As in Adobe Premiere (or FCP 7, if I recall correctly...). The Y, ctrl Y, etc. doesn't cut it.

Preferably a track select tool that lets you choose all tracks or cmd click to select individual tracks.

you can do this with alt-y, just select/deselect the right auto-selectors. without shortcuts, you can alt-click on the desired auto selector buttons to solo a track.

Blackmagic Forum

DaVinci Resolve 17 | Feature Requests list

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Right-click on sequence tab

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Color Page Redesign: Contextual Pallette Area

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