Resolve Feature Requests

[Peter Moretti]

This is more of a bug fix, but if you have a Compound clip in the timeline (of say a retimed shot) and you try to change the project settings from project to clip, it crashes the entire program.

David

Hi David, I'm not sure I follow when you say "change the project settings from project to clip." I don't see a place on Project Settings (Shift 9) to change between project and clip. I know on the color page you can switch between timeline and clip, but compound clips aren't crashing that on my end.

 

[Peter Moretti]

SEARCH ALL METEDATA FIELDS IN MEDIA POOL

SEARCH ALL METEDATA FIELDS IN MEDIA POOL

Search All Metadata Fields in Media Pool

The search window in the Media Pool (launched by clicking the magnifying glass) cannot search all metadata fields. The dropdown list is a subset of the metadata. And choosing All Fields only searches that dropdown list subset; it does not actually search all metadata fields.

For example, today we spent a good amount of time tagging Environment with "Int" or "Ext". But Environment is not searchable. The workaround was to create a Smart Bin because we knew that Environment was used. But perhaps a different field was used either intentionally or by mistake. There's no way to easily search the Media Pool and know for sure.

So all metadata fields should be visible to the Media Pool's Search feature.

 

[Peter Moretti]

MAKE MENU AND KEYBOARD COMMANDS ACT AS TOGGLES

MAKE MENU AND KEYBOARD COMMANDS ACT AS TOGGLES

Make Menu and Keyboard Commands for Activating Windows Act as Toggles

Yes, here is the shortcut window:

This is for View -> Active Window Selection in the Edit Page only, as far as I know. I agree: ⌘6 does bring up the Effects bin, but ⌘5 does not bring up the Media Pool. In fact, the pull-down menu doesn't work either, so it's definitely broke/busted. I would further suggest to BMD that these should be toggles to turn them off or on. ...

Dual screen mode has several bugs that tripped me up, and that led me to abandon it. Maybe it'll be fixed in v13 (which could be out at NAB in three months).

 

[David Battistella]

Hi David, I'm not sure I follow when you say "change the project settings from project to clip." I don't see a place on Project Settings (Shift 9) to change between project and clip. I know on the color page you can switch between timeline and clip, but compound clips aren't crashing that on my end.

IN an individual shot in the time timeline, when you are coloring, you can go into that shot and change the ISO or other values of the individual shot. When I do this on a compound clip, the entire program crashes.



David

 

[Peter Moretti]

Option to Keep Playhead from Automatically Moving to End of Clip Added to Timeline

Option to Keep Playhead from Automatically Moving to End of Clip Added to Timeline

When adding a clip to the timeline, the playhead automatically moves to the end of the clip that's just been added.

This can be pretty annoying, as I usually want to start evaluating the clip I just added from its beginning, not its end. The exception of course is when stringing out clips to the timeline for a rough cut. Then having the playhead automatically move to the end of the last clip added makes sense. But in many other circumstances, this behavior gets cumbersome.

It would be helpful to have a toggleable (and keyboard shortcut assignable) option to keep the playhead in place instead of automatically moving the end of the just added clip.

Thanks!

 

[Peter Moretti]

Option to Have Scopes Reference a Selected Pane in Split Screen and Image Wipe Views

Option to Have Scopes Reference a Selected Pane in Split Screen and Image Wipe Views

In Split Screen and Image Wipe views, the scopes show an amalgamation of all the image tiles. In many, but not all, situations this makes the scopes (esp. the vector) pretty much useless because they are combining all of the versions together.

It would be nice to have the option to select an image tile when in Split Screen or Image Wipe view and have the scopes reference only that image.

Thanks so much!!

 

[Marc Wielage]

It would be nice to have the option to select an image tile when in Split Screen or Image Wipe view and have the scopes reference only that image.

I don't think this can be done, and I don't think it's a feature possible on any color-correction software I'm aware of.

There's a couple of workarounds I would suggest:

1) if you need to see a scope on just one part of an image, create a temporary power window to obscure the other part of the shot and pop that on. Now the scopes (and screen) will only display one side of the image.

2) I generally don't do side-by-side for scene matching, and instead I A/B the image (live vs. still) so that they're full-frame.

Bear in mind the scope shows everything the monitor shows and vice-versa. It's always been this way. This may be a case where you have to alter your work methods to follow how the software functions instead of wishing for the opposite.

 

[Martin Facci]

RAW SETTINGS UNDO/REDO

RAW SETTINGS UNDO/REDO

One thing that at least for my workflow (wich is doing a primary correction from RAW) is pretty annoying in the fact that RAW controls can't be Undo/Redo (To compare before and after)

Also if you copy a grade from another clip with different RAW setting you just can't go back and you loose all your adjustments... Makes me crazy when that happens

 

[Peter Moretti]

I don't think this can be done, and I don't think it's a feature possible on any color-correction software I'm aware of.

There's a couple of workarounds I would suggest:

1) if you need to see a scope on just one part of an image, create a temporary power window to obscure the other part of the shot and pop that on. Now the scopes (and screen) will only display one side of the image.

2) I generally don't do side-by-side for scene matching, and instead I A/B the image (live vs. still) so that they're full-frame.

Bear in mind the scope shows everything the monitor shows and vice-versa. It's always been this way. This may be a case where you have to alter your work methods to follow how the software functions instead of wishing for the opposite.

Mark, I've been thinking about what implementing what asked for would look like; here's what I've come with:

The ability to display a pop-out window that shows a larger full frame image for a selected frame tile while in Split Screen mode. When this pop-out window is active, scopes reference this window instead of all of the frame tiles at once. If implemented in Split Screen mode, I think Image Wipe mode can be left as is.

And thanks for the tips! I've been doing that for adjusting white balance, essentially use a window to isolate what you think should be truly white and grade just that. Then turn off the window and see how the whole image looks.

 

[Peter Moretti]

Undo/Redo List

Undo/Redo List

Sometimes in Resolve, it seems like nothing has happened when I've chosen Undo or Redo. Or I'm not sure what exactly is being undone or redone.

Many other programs have Undo and Redo lists. Having Undo and Redo lists allow you to:

1. Know what exactly you are undoing or redoing.

2. Easily select a state to rollback or forward to.

3. Specify a single action other than the most recent to undo or redo.

 

[Peter Moretti]

Uniquely Sort Individual Bins

Uniquely Sort Individual Bins

Right now in Resolve, if you sort one bin by an attribute, let's say file name ascending, then ALL bins are sorted by that attribute (file name ascending). And if you subsequently change any bin's sorting, let's say to TC descending, then ALL bins are now sorted by TC descending.

We really need to have the ability to uniquely sort individual bins, and have those unique sorting parameters persist for each bin.

A simple way to implement this from a user perspective would be the following:

Any bins selected prior to a sort would be affected by the sort once it's implemented. So if you want to sort all bins the same way, simply select all bins before applying the sort. And if you want to change how only three bins are sorted, then simply select those three bins before applying the sort.

This is pretty basic and much needed editing feature.

 

[Stacey Spears]

Some good suggestions, Scott.

In this case, I would create a dummy project as a template with HDR or SDR preconfigured, then when you bring in the timeline, do a global ripple in Node #1 and change it to HDR at the very start of the session.

I am curious, are people grading HDR and making SDR from it, grading in SDR and making HDR from it or grading both independently?

SDR is the bread and butter today. Creating HDR from SDR is not a good idea. It is common, just not a good idea.

I think ColorFront does an amazing job making SDR from HDR. Then a trim pass after.

We are still in the stone ages for HDR grading and monitoring. When I say monitoring I mean tools to analyze and monitor HDR.

Ythe fact of the matter, you can get three perfectly capable Nucodas with Tangent Elements for the price of one Linux Resolve. End of story...

While I think the new Resolve panels look pretty cool. If I ONLY used Resolve, it would be a no-brainer. I need something that works with Resolve, Scratch, Transkoder and possibly Nucoda, among others. I will take a serious look at the Tangent Panels, thank you Jake.

I wish Resolve would also support 3rd party SDI products. I am not a fan of BMD HW.

 

[Marc Wielage]

Sometimes in Resolve, it seems like nothing has happened when I've chosen Undo or Redo. Or I'm not sure what exactly is being undone or redone.

Resolve is smart enough that if you go back to a different clip and use Undo, it will undo within that particular clip only. So it's not just a global undo -- there are separate undos for every clip.

I am curious, are people grading HDR and making SDR from it, grading in SDR and making HDR from it or grading both independently?

I think it kinda doesn't matter as long as you correctly monitor it either way. If you do an entire correction pass in SDR, have that approved by the client, then flip over to HDR and go through the entire show again as a trim pass, it can work just fine. You can make a good argument to correct first in Dolby Vision and then use their metadata to control the SDR made from this version, but I think the controls are a little "squiggly" for me. No matter which method I used, I would want to watch the whole thing from scratch in the new color space/gamma space and make sure every shot is OK.

One can draw parallels to grading in P3 for cinema vs. grading in Rec709 for TV/home video, which has been done for years and years. You still wind up doing multiple passes for different projection systems, silver screen vs. white screen, DLP vs. laser, film outs, and so on.

I do worry about the expectations of indie filmmakers, some of whom believe a $1995 consumer "HDR" display is going to give them predictable, reliable results for grading. I don't think we're there yet.

 

[Marc Wielage]

Right now in Resolve, if you sort one bin by an attribute, let's say file name ascending, then ALL bins are sorted by that attribute (file name ascending). And if you subsequently change any bin's sorting, let's say to TC descending, then ALL bins are now sorted by TC descending. We really need to have the ability to uniquely sort individual bins, and have those unique sorting parameters persist for each bin.

I agree, that would be a good idea. I've also been harping on BMD to capture and store a snapshot of every active parameter so that if you did sort (say) the Media Pool in a specific way, that sort pattern would save with the session. Last time I checked, a lot of these things go back to the original default setting the next time the file is opened.

 

[Stacey Spears]

I do worry about the expectations of indie filmmakers, some of whom believe a $1995 consumer "HDR" display is going to give them predictable, reliable results for grading. I don't think we're there yet.

To properly grade HDR, you have two choices today. Pulsar or X300. You need to review on an LG or Sony Z9D in X300 emulation mode or you will get bit by the grain you can't see on a 30". Just my opinion of course.

You read this HDR article yet? It's a must read IMO. Working on a color volume section now.

 

[Peter Moretti]

Resolve is smart enough that if you go back to a different clip and use Undo, it will undo within that particular clip only. So it's not just a global undo -- there are separate undos for every clip.

Helpful on Resolve's part, and THANKS for clarifying that. And I think it makes having a context sensitive Undo and Redo lists even more useful.

 

[Peter Moretti]

I agree, that would be a good idea. I've also been harping on BMD to capture and store a snapshot of every active parameter so that if you did sort (say) the Media Pool in a specific way, that sort pattern would save with the session. Last time I checked, a lot of these things go back to the original default setting the next time the file is opened.

I totally agree! A lot of things revert back to default. For example, showing source viewer audio waveforms, showing picker RGB values and even what page you're on all return to their beginning states when you reopen Resolve.

 

[Peter Moretti]

Abilties to Update Custom Column Layouts and Use them Across Projects and Databases

Abilties to Update Custom Column Layouts and Use them Across Projects and Databases

There are two limitations that severely limit the usability of Resolve's custom Column Layouts.

1. There is no way to modify/update a Column Layout. (If you try saving with the same name you get an invalid name error message.)

2. You can ONLY use a custom Column Layout in the project in which it was created. Editors spend a lot of time creating their bin layouts with the expectation that they can be used in other projects. It's a shame that in Resolve custom Column Layouts cannot be used in other projects and database; so they have to be recreated from scratch every time you open a different project.

 

[Marc Wielage]

You can ONLY use a custom Column Layout in the project in which it was created. Editors spend a lot of time creating their bin layouts with the expectation that they can be used in other projects. It's a shame that in Resolve custom Column Layouts cannot be used in other projects and database; so they have to be recreated from scratch every time you open a different project.

What I do for things like this is that I create a "dummy" project with precisely the layout and bins (and other settings) that I want, then when I start a new project, I open the template and do a Save As. This works fine for what I do.

 

[Peter Moretti]

Proper Soloing for Layer Mixer Nodes

Proper Soloing for Layer Mixer Nodes

Soloing a node in Resolve's the Layer Mixer is very clunky.

Using Shift H means that you can't use Shift H for its normal use (to highlight a key).

Changing the other nodes' output gain to 0 is clunky.

It would be nice to have the ability to solo one or more nodes in a Layer Mixer similar to how you can in After Effects and other layer based apps.