[Mel Matsuoka]

[Sascha Haber] “Another thing is that if you press play in C-Mode, Resolve stills plays back in A-Mode.
The makes it a little hard to judge similar shots back to back “

Yes, this is a huge gripe of mine regarding C-sort mode! While it’s great to know that Reel+TC sort has been “conceptually” added to R9, not having real C-sort playback is a bummer of a workflow, esp. when working on long-form work.

+1 to making this a feature request!

[Mel Matsuoka]

I have an EclipseCX Midnight, and it the numeric keypad does not work for this purpose, at least for me. It does work for keying in and navigating based on shot number, but i cant figure out how to enter specific timecodes with it, which is what i’m looking for in this particular instance.

[Mel Matsuoka]

[Sascha Haber] “Did you try the big panel ?”

Seems like a rather extravagant solution to an otherwise simple problem, don’t you think?

[Mel Matsuoka]

Adding my +1 for this feature.

Right now I’m resorting to spray-painting the upper left corner of my monitor with black Krylon, so clients cant see the Viewer. Having this feature as a software option would be most welcome.

[Mel Matsuoka]

There’s a number of dongle-security products out there, such as the “Dongle Lockbox“. My inclination is to believe that these products will only deter casual, opportunistic dongle theft, and won’t be much protection against someone who already knows that you have a dongle, and comes equipped with the minor tools necessary to liberate it from your machine.

I suppose a more secure way to do it would be to install an internal USB PCIe card in your machine (assuming you have a tower), and install the USB dongle internally.

I’ve always wondered how software vendors secured their dongles in environments such as a tradeshow like NAB. Seems like the only way to secure them would be to physically secure the entire computer itself.

[Mel Matsuoka]

n-thing this idea!

Every release, beta or not, should have explicit listings of certified driver versions for the Desktop Video, RED Rocket and CUDA drivers in the README file.

[Mel Matsuoka]

I Love You.

[Mel Matsuoka]

This one gets me ALL the time.

I wish there was some way of having better visual feedback that you are in Highlight mode, especially when you don’t have any qualifiers or windows active.

In fact, I can’t think of a good reason for Highlight mode to even be allowed to be enabled when you *don’t* have a secondary turned on. In case there is, though, perhaps this could be an option in the preference panel?

[Mel Matsuoka]

Please, no!

The reason why Resolve is so awesome is because it’s not trying to be a finishing tool.

Smoke already exists, and is the best in breed for what it’s intended focus is. I’d rather purchase a tool that was designed and optimized from the ground up for a specific task, rather than having an amalgam of different “cool things” that don’t do any one thing particularly well (i.e Final Cut Pro and 3rd party plugins) If you need to grade stills, Lightroom exists and excels for exactly that focus, and is better than Resolve could ever reasonably hope to be, considering that it’s designed for realtime film/video grading.

I think a more reasonable request would be for Adobe to support control-surfaces within Lightroom. Then again, I have a hard time seeing how this would work, considering how deep and precise Lightroom’s controls are compared to any video grading app. Color correcting stills is a different type of workflow that I imagine would be very frustrating to perform using a control surface.

I agree it would certainly be convenient to be able to import camera Raw stills into Resolve. But it would also be “convenient” for it to load in native projectfiles from Apple Motion like Final Cut does. I just don’t think it’s particularly reasonable for Resolve to dedicate any sort of effort to try and make it happen, considering how esoteric such workflows are.

Of course, I could be proven wrong about all this in 2 weeks at NAB 🙂

[Mel Matsuoka]

I know this will never happen, but in my dreams, Resolve would have some sort of implementation of the “localized segmentation” roto technology that Adobe is using for their Rotobrush feature in After Effects.

It’s funny that when I’m neck-deep in a Resolve session, I tend to completely forget that any other software tool exists on my workstation. It’s only after spending WAY too much time trying to finesse a challenging HSL key in Resolve do I end up remembering that I can probably pull a much more accurate “key” way faster by bringing the shot into After Effects and using the Rotobrush tool to render out a matte for the element in question.

A simple planar-tracker would also be a huge timesaver as well.

But I definitely agree that the matte/key options in Resolve need a lot of improvement. I’ve always loved Colorista for its “feather bias” feature alone (even though as a whole the plugin is clunky as hell to use), and having this in Resolve would be awesome.

I wish you could post-blur the edges of external mattes as well, but that’s probably asking too much of a grading package to do 🙂