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  • #31
    Originally posted by Frank Glencairn View Post
    If you are unorganized, and shot random shit, without having a story in the first place :-)
    Not really, for example you have 4 camera angles on one scene. You could lay them all after each other and puzzle and read it like a comic book and maybe find even faster the golden shot sequence.

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    • #32
      Originally posted by Frank Glencairn View Post
      If you are unorganized, and shot random shit, without having a story in the first place :-)
      Not necessarily. It's definitely not something I absolutely need, but I do see where it can be useful at times. For example, I do like that you can visually group takes without necessarily putting them in bins.

      Something that can do that automatically based off metadata would be way better though. In the Media Pool, you could provide a view that automatically uses Scene, Shot, and Take metadata to group things to find them quicker but it could also structure the roughest of rough cuts this way.

      Like could you imagine shooting with a Blackmagic Camera, then upon starting a project, Resolve can comb through that metadata, create a project based on the project name associated with each clip, then create a Master Timeline that consists of timelines for each scene. Inside each of those scene timelines you have the shots placed in order, with takes grouped to be used with the Take Selector.

      If you have confidence in Resolves ability to link clips with external audio based on audio or timecode then it could even place shots from multiple cameras on different tracks full synced with each other. Or if you marked takes as Good, you can check an option to have them placed lower in the Take Selector or to have the bad takes just in the Media Pool.

      This way, if you're carefully with setting metadata correctly in-camera, you can let Resolve do the procedural stuff for you, and you to get to the actual creative stuff quicker. It could be done as simply as "Create New Project Based on Metadata" and then picking your options.
      Last edited by Myownfriend; 04-06-2019, 11:48 AM.

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      • #33
        Wishlist:
        • Fusion settings panel consolidated with the rest of the settings
        • Fusion audio analyzer
        • Make particles less prone to breaking and/or easier to fix
        •*Snap-to-point is still super aggressive to the point it's obnoxious to use most of the time, ability to turn off playhead-snapping while leaving object-snapping on
        • A simple way to quickly patch a track to the default input in Fairlight
        • Better Alpha channel communication between Edit and Fusion
        • I should not need to jump through seven different hoops of compound clips to create a "single clip" that Resolve will properly export with an Alpha channel
        • Export animated .gif with transparency
        • Shuffle Insert when dragging from media pool/preview
        • A line tool with arrow heads

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        • #34
          New track-based option for Fusion instead of nodes. I know nodes are great, but man, after spending a lifetime on AE and Motion, nodes really suck. Just to do a simple green screen key is a mission... at least for me.

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          • #35
            I would like to see some per timeline frame rate options instead of global, able to change the frame rate after editing on the timeline and being able to copy paste between timelines with different frame rates. Of course with the edit adjusted automatically for the new frame rate. The need for this is real as a project can contain different deliverables and simply duplicating the project and changing the frame rate is not an option - you can't change the frame rate and copy pasting the edit doesn't work. Not to mention the infinite times of starting a new project and ending up editing the whole thing in a different frame rate then not being able to change. Happened most when I started, I learnt to be careful about it but many new users keep bringing this up. It's like a trap waiting to happen to every new user and even to a bit careless or time pressed experienced users. There is a "hack" of deleting everything on the project, changing the global frame rate and hitting UNDO several times. Sometimes it works, sometimes it messes everything up. Other NLE do it just fine (Premiere comes to mind) and it would be neat to have it in Resolve as well.

            The layout customisation could use an improvement as well. It all was great with coloring etc. and the fixed panels but when it comes to editing, having several timelines on different windows and being able to place things as you like would be really nice. Currently we can have two timelines open which it was a wonderful addition but the way they are 'stuck' it feels a bit suffocating. And about monitoring, sure, there is the excuse of "Resolve is a coloring software, if you want color accuracy you should use an external monitor using a card" (which I have) but as Resolve expands into a mainstream editing software for many independent film makers that can't afford/don't care about having an output on a color accurate monitor, having the monitoring on a movable window (which can be maximised on a secondary screen) will work wonders. This is about editing after all, I couldn't care less about accurate color. Any modern monitor with a basic calibration device can be good enough for the low/mid-end deliverables for offline and Youtube/social media deliverables. Those who need further accuracy can get the professional grade monitors.
            I know both of those things sound more and more like Premiere but there are other important reasons Resolve works better than Premiere.

            Then there are some little annoyances here and there. For example, sometimes I want to review a video and add notes to it using markers. I will add a long comment that I want to view on mouse over. Problem is the pop up dissapears just a second after mouse over leaving me stressed and keep doing mouse over again and again. I don't want to open the whole popup as it locks the interface. I just want to mouse over and read my notes. Current solution is to open the extra section that shows all the markers but that's not intuitive, takes extra time and extra space on the screen.
            I could go on with many of such little things. I see Resolve keeps improving rapidly though. Have been using it for colouring since 2014 and exclusively for editing since late 2017 and I'm extremely happy with it.

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            • #36
              I tend to agree - being able to have different timelines with different resolutions and framerates in the one project would be really handy in certain scenarios.

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              • #37
                Frame rates per timeline.

                Click on thumbnail and have live media preview remember exact spot instead of having to use the I key.

                Ability to click and drag on thumbnail to get instant in and out points like FCPX

                Transition, transitions, transitions.

                Plural eyes integration.

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                • #38
                  Originally posted by shijan View Post

                  Resolve use separate area for audio tracks (kind of same rudimentary from early days classic fcp/premiere design), which makes it less usable for free timeline traveling and putting clips randomly whatever you want.
                  By the way it is another option i would like to see in new version of Resolve - option to disable fixed bottom timeline area for audio track and be able free move audio+video clip on timeline as single object similar as in Vegas app.
                  Actually that's my default setting. Video and audio is always a single object (until I unlink them, if needed)
                  Blog: http://frankglencairn.wordpress.com/

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                  • #39
                    If they don’t unlock the ui and allow a second full screen monitor feed, it’s a huge missed opportunity. Again. The dust on my resolve dongle is getting thicker with every premiere update.

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                    • #40
                      Originally posted by Will Vazquez View Post
                      New track-based option for Fusion instead of nodes. I know nodes are great, but man, after spending a lifetime on AE and Motion, nodes really suck. Just to do a simple green screen key is a mission... at least for me.
                      100% agree. Timeline/tracks are intuitive to use, node based like Fusion right now needs clean logic thinking, many creative people are having a hard time with that, I know I do. It's definitely a hurdle I just can't overcome.

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                      • #41
                        Originally posted by Will Vazquez View Post
                        New track-based option for Fusion instead of nodes. I know nodes are great, but man, after spending a lifetime on AE and Motion, nodes really suck. Just to do a simple green screen key is a mission... at least for me.
                        It's not very difficult

                        Code:
                        [Footage] --> [Keyer] --> f:[Merge]
                                                       b:
                                                       ^
                                                       |
                                                 [Footage2]
                        The keyer is an effect that you place on Footage. Then you just have to Merge them. Connect Footage1 to the foreground input, Footage2 to the background input.

                        That being said, the differences between layer-based compositing and Node-based aren't exactly minor so you can't just provide an option to switch between the two.

                        Originally posted by stip View Post
                        100% agree. Timeline/tracks are intuitive to use, node based like Fusion right now needs clean logic thinking, many creative people are having a hard time with that, I know I do. It's definitely a hurdle I just can't overcome.
                        I understand that nodes and merges might seem unnatural for compositing but they're actually a lot of more consistent and sensible in how they work than layers. I would even argue that layer-based compositing feels hacky compared to node-based. Here's an example of what I'm talking about.

                        Here's an example of something someone might set up in AE.
                        Code:
                        Timeline
                           Null1
                            x:1
                            y:3
                           RedSolid  | 3D layer
                             x:0
                             y:10
                             z:0
                           BlueSolid  | 3D layer
                             x:0
                             y:10
                             z:-50
                           Null3  | Parent: Null2
                            x:23
                            y:15
                           Null2  | Parent: Null1
                            x:6
                            y:4
                           Solid  | Parent: Null3
                             x:0
                             y:10
                        Notice that we have Null objects at the top of the layer stack so that we can apply multiple transforms to Solid. Nulls are weird because you generally think of each layer of the timeline as assets yet these aren't assets, they're just transform containers. AE even treats them like assets as you can put effects on a null object but they don't do anything. In order a Null to have any effect on the scene, it needs to be the parent of something else. Notice that, in this case, the ordering of the layers doesn't tell you what's parented to what.

                        The other thing that you might want to assume is that higher layers are on top of lower layers in a composition. However you'll notice there are also two 3D layers. BlueSolid is the layer below RedSolid but BlueSolid's z axis is set so that it's actually in front of RedSolid.

                        Now lets look at a slight modification of this

                        Code:
                        Timeline
                           Null1
                            x:1
                            y:3
                           RedSolid  | 3D layer
                             x:0
                             y:10
                             z:0
                           Null3  | Parent: Null2
                            x:23
                            y:15
                           Null2  | Parent: Null1
                            x:6
                            y:4
                           Solid  | Parent: Null3
                             x:0
                             y:10
                           BlueSolid  | 3D layer
                             x:0
                             y:10
                             z:-50
                        Okay so now BlueSolid is at the bottom of the layer list. What happens here? Well BlueSolid is actually behind everything now as it's being converted to 2D before Solid is composited on top of it. Then Red Solid is composited on top of that.

                        That means that there are sort of meta-layers that get created every time you go from 2D to 3D. So if, in the original example, RedSolid and BlueSolid are secretly being grouped and placed into a secret 2D layer. Can you apply effects to this secret 2D layer or transform that whole 3D group? No, neither is accessible. You have to pre-compose those 3D layers which gives you

                        Code:
                        Effects : Composition2
                           Curves
                        
                        Timeline: Composition1
                           Null1
                            x:1
                            y:3
                           >Composition2
                           Null3  | Parent: Null2
                            x:23
                            y:15
                           Null2  | Parent: Null1
                            x:6
                            y:4
                           Solid  | Parent: Null3
                             x:0
                             y:10
                        
                        Timeline: Composition2
                           RedSolid  | 3D layer
                             x:0
                             y:10
                             z:0
                           BlueSolid  | 3D layer
                              x:0
                              y:10
                              z:-50
                        This is kind of annoying because now we'll have two timelines and we can't see everything in just one.

                        Nodes make this whole process simpler.
                        Code:
                        [Solid]--->[Transform1]--->[Transform2]--->[Transform3]--->b:[Merge]
                          x:0          x:23            x:6              x:1            f:
                          y:10         y:15            y:4              y:3            ^
                                                                                       |
                        [RedSolid]--->[Merge3D]-->[Renderer3D]--->[Curves]-------------|
                          x:0            ^ 
                          y:10           |
                          z:0            |
                                    [BlueSolid]
                                   	x:0
                             		y:10
                             		z:-50
                        First you'll notice that nulls aren't needed in node-based compositors because you just connect multiple transform nodes. The transforms are still parented to each other but it's extremely clear how they're parented at a glance. Null objects are really just kind of a hack to get around how layer-based compositors see transforms as properties instead of operations.

                        You'll also see that RedSolid and BlueSolid are connected to a Merge3D node. This node drops all concept of layering and allows you to group as many 3D objects as you want. You can also connect 3D objects to multiple Merge3D nodes so that you can make separate groups of 3D objects that can share members. And yes, you can apply transforms to these groups.

                        The Renderer3D node clearly states where your 3D object group becomes a 2D layers and this layer can then have effects applied directly to it without any extra steps.

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                        • #42
                          8K is the big thing, looking at photos on Instagram. Will be interesting to see if they bring more to the table than 8K support.
                          There's a whole lot of 8K broadcast equipment presented on banners as well.

                          https://www.instagram.com/p/Bv-Iw8OgDA5/



                          https://www.instagram.com/p/Bv-N1jtgFs9/

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                          • #43
                            added a "Cut" Page

                            https://www.blackmagicdesign.com

                            From the NAB 2019 Technical Product Overview video, starting from 1:18:00.

                            Basically a non-traditional, simplified editing page to use on smaller monitors and cut all the time consuming micro management. "Double Timeline" looks pretty awesome to get rid of zooming in and out constantly. Some other very nice features.
                            Last edited by stip; 04-08-2019, 09:54 AM.

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                            • #44
                              Also has content aware fill but arguably my favourite new feature is the elastic waveforms which I see being able to do thins way beyond the ADR matching.

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                              • #45
                                Face analyzer works quite well. This'll be extremely handy!

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