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FINALLY....Just tried DR 17 Build 23 today and you can FINALLY copy an entire color grade and all nodes from one clip to another. This was long a source of frustration for me. Every other way to copy a color grade simply was not as intuitive especially the creating a still method. 

DR17 is really coming along nicely, it does have a few frustrating bugs but most users probably wouldn't run into them. Also, Fusion performance is still dismal for any real Fusion work but it has improved slightly.

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Here is my entire wish list for DaVinci Resolve 17....it's a long one:   - Make the Fusion tab as stable as the edit tab...ok that's all 

Monday bm will release resolve 17. Exited to see what they will announce.

Resolve has quite a number of things that you can keyframe, but a trick for key framing anything is to duplicate the clip, put it on a layer on top of itself, and grade it slightly differently, then u

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25 minutes ago, herein2020 said:

FINALLY....Just tried DR 17 Build 23 today and you can FINALLY copy an entire color grade and all nodes from one clip to another. This was long a source of frustration for me. Every other way to copy a color grade simply was not as intuitive especially the creating a still method. 

DR17 is really coming along nicely, it does have a few frustrating bugs but most users probably wouldn't run into them. Also, Fusion performance is still dismal for any real Fusion work but it has improved slightly.

Finally, they've added this.  I've been waiting for my current projects to finish before upgrading.  This has me excited to do so.  Its silly things like this that are often the biggest frustration with DaVinci.

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5 hours ago, herein2020 said:

FINALLY....Just tried DR 17 Build 23 today and you can FINALLY copy an entire color grade and all nodes from one clip to another. This was long a source of frustration for me. Every other way to copy a color grade simply was not as intuitive especially the creating a still method. 

DR17 is really coming along nicely, it does have a few frustrating bugs but most users probably wouldn't run into them. Also, Fusion performance is still dismal for any real Fusion work but it has improved slightly.

If I understand correctly what you're describing it's always been possible (certainly in V16) to copy a complete colour grade and nodes from one clip to another:

On the "Color" page make sure clips are showing. Click and highlight the clip (or multiple clips) that you want to copy the grade to, right click on the clip that has the grade you want to copy and then select "Apply Grade".

If I've misunderstood then apologies.

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2 hours ago, Happy Daze said:

If I understand correctly what you're describing it's always been possible (certainly in V16) to copy a complete colour grade and nodes from one clip to another:

On the "Color" page make sure clips are showing. Click and highlight the clip (or multiple clips) that you want to copy the grade to, right click on the clip that has the grade you want to copy and then select "Apply Grade".

If I've misunderstood then apologies.

Yes that is correct that has always been possible in DR16, you can also use remote grades, create a gallery image and apply the grade from there, hit SHIFT + = to copy a grade from a previous clip, store a color grade in a memory slot, etc....NONE of those ways are intuitive nor do they work the way EVERY other program works which is a simple CTRL A  > CTRL C > CTRL V to copy anything to anything.

Only with DR17 and even then only with the latest build can you finally simply go into the color grade node tree, select all nodes, CTRL C, go to the clip where you want to apply the grade and CTRL V. With every previous build you could only use this method to copy the first node which made no sense.

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7 hours ago, herein2020 said:

Yes that is correct that has always been possible in DR16, you can also use remote grades, create a gallery image and apply the grade from there, hit SHIFT + = to copy a grade from a previous clip, store a color grade in a memory slot, etc....NONE of those ways are intuitive nor do they work the way EVERY other program works which is a simple CTRL A  > CTRL C > CTRL V to copy anything to anything.

Only with DR17 and even then only with the latest build can you finally simply go into the color grade node tree, select all nodes, CTRL C, go to the clip where you want to apply the grade and CTRL V. With every previous build you could only use this method to copy the first node which made no sense.

Interesting, thanks for the heads up.

You probably know this. but on the edit page you can copy a clip on the timeline CTRL C and then paste attributes ALT V - which amongst other selectable attributes can include colour correction.

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7 hours ago, Happy Daze said:

Interesting, thanks for the heads up.

You probably know this. but on the edit page you can copy a clip on the timeline CTRL C and then paste attributes ALT V - which amongst other selectable attributes can include colour correction.

Yes I am aware of that method as well, I guess I should have been more specific in my original post on the functionality that they added. With the attributes option you have to select the ones you want and you cannot select individual nodes that way. The most intuitive way to me has always been to simply select the nodes and copy / paste; sometimes you also only want say 3 out of the 5 nodes or something like that. Everywhere else in the OS you just select what you want and copy and paste it; in DR it has always been some other method which was less intuitive and less customizable.

I do wish on the edit page you could just right click > copy color grade then ctrl-V to paste it to the next clip or at least let the shift + = keyboard shortcut work on the edit page because I like to color grade each clip as I place it on the timeline; in DR's world you put everything on the timeline first then color grade later which is why it is a different page; but for me I shoot in such terrible lighting conditions I like to see if I can fix the clip with a color grade before going to the next clip so that I can replace it if it is not salvageable. 

The new feature combined with adjustment clips (like Premier's adjustment layers) will be a huge time saver and is long overdue.

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20 hours ago, herein2020 said:

Yes that is correct that has always been possible in DR16, you can also use remote grades, create a gallery image and apply the grade from there, hit SHIFT + = to copy a grade from a previous clip, store a color grade in a memory slot, etc....NONE of those ways are intuitive nor do they work the way EVERY other program works which is a simple CTRL A  > CTRL C > CTRL V to copy anything to anything.

Only with DR17 and even then only with the latest build can you finally simply go into the color grade node tree, select all nodes, CTRL C, go to the clip where you want to apply the grade and CTRL V. With every previous build you could only use this method to copy the first node which made no sense.

Oh, that's cool.  Only being able to copy one node at a time is occasionally frustrating.

One of the things that I am very aware of is that Resolve is the software component of an ex $100K+ hardware solution.  The heritage of hardware solutions really came from tape cutting/splicing rigs for editing and things like colour timing machines:

post-36918-0-67800200-1543582630.jpg

On such machines the workflow is determined by doing whatever the hell the hardware wants you to do, and the user-experience is that the engineers push the potential of the technology and the user learns to jump through whatever hoops are required to make the machine go.

The reason I bring this up is that these limitations are often still hidden deep in the way that something like Resolve works.

For example, a machine such as the above would be configured with the settings for the whole roll of film, then the roll would be processed.  I ran into this "configure things on the input" philosophy in Resolve when I was half-way through an edit and was looking for some function in the edit page to change settings on a clip, and the answer was that I change it in the Media Pool, because (you guessed it) the workflow is designed for you to ingest and configure / code all your media before you edit.

That's one example, but there will be many things that are constructed in a certain way that was relevant back in the day but is no longer required, but is kept, either because they haven't thought to change it, or because it's baked into the workflows of Company 3 etc.

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34 minutes ago, kye said:

Oh, that's cool.  Only being able to copy one node at a time is occasionally frustrating.

One of the things that I am very aware of is that Resolve is the software component of an ex $100K+ hardware solution.  The heritage of hardware solutions really came from tape cutting/splicing rigs for editing and things like colour timing machines:

post-36918-0-67800200-1543582630.jpg

On such machines the workflow is determined by doing whatever the hell the hardware wants you to do, and the user-experience is that the engineers push the potential of the technology and the user learns to jump through whatever hoops are required to make the machine go.

The reason I bring this up is that these limitations are often still hidden deep in the way that something like Resolve works.

For example, a machine such as the above would be configured with the settings for the whole roll of film, then the roll would be processed.  I ran into this "configure things on the input" philosophy in Resolve when I was half-way through an edit and was looking for some function in the edit page to change settings on a clip, and the answer was that I change it in the Media Pool, because (you guessed it) the workflow is designed for you to ingest and configure / code all your media before you edit.

That's one example, but there will be many things that are constructed in a certain way that was relevant back in the day but is no longer required, but is kept, either because they haven't thought to change it, or because it's baked into the workflows of Company 3 etc.

DR's history is actually quite fascinating and it is nothing short of incredible that the software coders have been able to modernize it to where it is today. It is no surprise that some features that you take for granted in every other software application took DR 17 revisions to add, there's still some weird quirks like not being able to take a screen grab from anywhere except the Color page but each version just gets better.

I really think Adobe going to the subscription model was the best thing they could have done for Blackmagic Design. All of the new revenue from new users looking for anything that's not subscription based had to have helped them hire more coders and make it more user friendly. I always feel like I've only scratched the surface of what DR can do, especially when it comes to Fusion. 

If they would just improve the performance of Fusion or at least let you right click > convert to video clip after all of the Fusion edits are done so that its not in a constant state of caching for simple things like Text+ titles it really would be the perfect NLE. I have more Fusion related performance and stability problems than anything video clip related.

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5 hours ago, herein2020 said:

If they would just improve the performance of Fusion or at least let you right click > convert to video clip after all of the Fusion edits are done so that its not in a constant state of caching for simple things like Text+ titles it really would be the perfect NLE. I have more Fusion related performance and stability problems than anything video clip related.

Are you talking about standalone Fusion or fusion inside DR 17?

I am not sure this will help but there is Render in place in Resolve 17:

 

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8 hours ago, Mark Romero 2 said:

Are you talking about standalone Fusion or fusion inside DR 17?

I am not sure this will help but there is Render in place in Resolve 17:

 

Yess.....thanks Mark, I hadn't found that one yet, that's exactly what I meant. I'm sure I wasn't the only one, but I emailed that feature request directly to the development team back in Resolve 16 one day when I got fed up with Fusion constantly caching....and they did it properly meaning you can go back to the Fusion comp later if you need to make a change, fortunately its not a one way trip.

I have that problem with multi-cam edits, certain things you can't do to a multi-cam sequence such as change the crop factor so you first have to flatten the clip but it loses the color grade and you can't switch camera angles after that, so my workaround is to copy the clip to a new layer first, flatten it then edit the copy. If I need to go back later I delete the clip and copy the underlying multi-cam clip again to the top layer; who knows....maybe they improved that in DR17 as well, I need to watch the full DR new features video or read the new features list one day.

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1 hour ago, herein2020 said:

I have that problem with multi-cam edits, certain things you can't do to a multi-cam sequence such as change the crop factor so you first have to flatten the clip but it loses the color grade and you can't switch camera angles after that, so my workaround is to copy the clip to a new layer first, flatten it then edit the copy. If I need to go back later I delete the clip and copy the underlying multi-cam clip again to the top layer; who knows....maybe they improved that in DR17 as well, I need to watch the full DR new features video or read the new features list one day.

Again, I am not 100% sure this will help for your situation, and i don't do much multicam editing, but can you create a compound clip for the clip you want to change crop factor of?

Again, haven't tested it with multicam so I might be leading you down the wrong path. But I noticed that was the only way for me to crop (well. zoom, technically) when doing picture-in-picture, so maybe it can help with doing crop / zoom of multicam clips???

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2 hours ago, Mark Romero 2 said:

Again, I am not 100% sure this will help for your situation, and i don't do much multicam editing, but can you create a compound clip for the clip you want to change crop factor of?

Again, haven't tested it with multicam so I might be leading you down the wrong path. But I noticed that was the only way for me to crop (well. zoom, technically) when doing picture-in-picture, so maybe it can help with doing crop / zoom of multicam clips???

I tried that before as well, the problem with every method that I have seen is that you cannot change the camera angle later if the client wants to replace that angle or if you decide to replace it later. The easiest way that I've found is to just flatten it and put it on top of the multi-cam track, before I do that I create a gallery still of the color grade and apply that to the flattened clip, it really only takes a few seconds....but its still a clunky workaround for a problem that does not exist in Premier Pro.

They also fixed the problem where if you add a picture over top of another picture or a video clip.....if the picture didn't fill the frame everything around the picture would be black instead of transparent which prevented you from seeing the clip underneath. The fix was to move the image left/right/up or down 1 px and it would suddenly turn the border transparent like it should be.

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8 hours ago, herein2020 said:

I tried that before as well, the problem with every method that I have seen is that you cannot change the camera angle later if the client wants to replace that angle or if you decide to replace it later. The easiest way that I've found is to just flatten it and put it on top of the multi-cam track, before I do that I create a gallery still of the color grade and apply that to the flattened clip, it really only takes a few seconds....but its still a clunky workaround for a problem that does not exist in Premier Pro.

Agreed, that does seem like a clunky workaround.

Just one more thought though... when you make a compound clip, you can always decompose it in place. Again without having much experience working in multicam, I thought that after decomposing in place, you could possibly replace the multicam clip, but then again, I have been wrong about so many things lately, this is just a shot in the dark.

8 hours ago, herein2020 said:

They also fixed the problem where if you add a picture over top of another picture or a video clip.....if the picture didn't fill the frame everything around the picture would be black instead of transparent which prevented you from seeing the clip underneath. The fix was to move the image left/right/up or down 1 px and it would suddenly turn the border transparent like it should be.

That is good to know. That would ALWAYS drive me crazy.

There was also a bug where if I would change opacity on a track above (let's say track 2), then the opacity would also change on the track below (track 1 in this example). This would happen if I was using either an actual clip or even if I was using titles. And of course the maddening thing is that it wouldn't ALWAYS happen, just some of the time.

Oh, and to ward off a future problem that you may or may not experience, if you use DaVinci Wide Gamut (which I really like, by the way), then you will notice that your white text in your titles is now gray. I tried right clicking on the title and selecting Bypass Color Space (or something like that... can't check because I am installing the latest update), but that didn't work at first. I think eventually I had to turn the title in to a compound clip and then use color space transform to convert it from DaVinci Color Managed back to rec.709

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On 1/22/2021 at 9:09 AM, herein2020 said:

Yess.....thanks Mark, I hadn't found that one yet, that's exactly what I meant. I'm sure I wasn't the only one, but I emailed that feature request directly to the development team back in Resolve 16 one day when I got fed up with Fusion constantly caching....and they did it properly meaning you can go back to the Fusion comp later if you need to make a change, fortunately its not a one way trip.

Guess I celebrated too soon....I needed that Fusion Render Clip feature yesterday...so I right clicked the clip > render in place....nothing happened. Went and watched the YouTube video just to be sure..went back in DR > Render in Place...nothing. It will probably work by the time its out of beta but at least for now I'm still watching endless Fusion caching progress bars.

On 1/22/2021 at 10:12 PM, Mark Romero 2 said:

m that you may or may not experience, if you use DaVinci Wide Gamut (which I really like, by the way), then you will notice that your white text in your titles is now gray. I tried right clicking on the title and selecting Bypass Color Space (or something like that... can't check because I am installing the latest update), but that didn't work at first. I think eventually I had to turn the title in to a compound clip and then use color space transform to convert it from DaVinci Color Managed back to rec.709

Fortunately I never use that, I just put the clips on the timeline and color grade from there. Speaking of bugs...another nasty one is if you use Resolve while Photoshop, Lightroom, or other GPU accelerated apps are open...Resolve will crash every time and to the point that it takes Windows with it. The only way to get the display back is to reboot.

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1 hour ago, herein2020 said:

Fortunately I never use that, I just put the clips on the timeline and color grade from there. Speaking of bugs...another nasty one is if you use Resolve while Photoshop, Lightroom, or other GPU accelerated apps are open...Resolve will crash every time and to the point that it takes Windows with it. The only way to get the display back is to reboot.

That seems strange...

I often have Resolve open and then open photoshop (for some quick and dirty graphics). I do have hardware acceleration checked in photoshop. Am using Windows 10 and an RTX 2060 super

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1 hour ago, Mark Romero 2 said:

That seems strange...

I often have Resolve open and then open photoshop (for some quick and dirty graphics). I do have hardware acceleration checked in photoshop. Am using Windows 10 and an RTX 2060 super

I notified the developers.....they said its a known issue and just don't open anything else other than Resolve...go figure. The way I can get it to trigger instantly is to have Lightroom open then in DR right click > generate optimized media. PS isn't as bad as long as you aren't saving out to something right when DR is rendering.

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On 1/26/2021 at 2:27 AM, herein2020 said:

I notified the developers.....they said its a known issue and just don't open anything else other than Resolve...go figure. The way I can get it to trigger instantly is to have Lightroom open then in DR right click > generate optimized media. PS isn't as bad as long as you aren't saving out to something right when DR is rendering.

I've also found that most of the times Resolve went a bit funny (ie, something wasn't doing what I expected) then I just save and restart Resolve and re-open the project and it goes back to working fine.  It may not fix your issue, but it's worth a try if you hit an issue while you're in an edit.

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  • 4 weeks later...

I have tried to avoid learning a new NLE (other than Premiere), but I downloaded Resolve 17 to check out how it works with Canon RAW. It plays back Canon RAW 8K in 4K with colour corrections without struggling or dropping a frame on my mid-range computer! It seems like it requires the Studio version to open the h.265 files from the R5, perhaps that will be my excuse not to learn something new.

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2 hours ago, UncleBobsPhotography said:

I have tried to avoid learning a new NLE (other than Premiere), but I downloaded Resolve 17 to check out how it works with Canon RAW. It plays back Canon RAW 8K in 4K with colour corrections without struggling or dropping a frame on my mid-range computer! It seems like it requires the Studio version to open the h.265 files from the R5, perhaps that will be my excuse not to learn something new.

 

It really is awesome, I've been using it as my only NLE for about a year now and have never considered going back to Premier. Unless something has changed, the free version of DR will not let you edit 10 bit files only 8 bit; that's the main limitation that new users run into now that many cameras produce 10bit. Also, with the Studio version you get better GPU acceleration and some Fusion effects are restricted to the paid version. 


To me it was worth every penny; but they even have a special now where if you get the speed editor you get a free Studio license. My favorite "feature" though is you pay once for life; no death by a thousand cuts Adobe subscription.

 

The way I learned was I dedicated an entire week to learning every feature that was important to me, I also watched plenty of YouTube tutorials on color grading and how to find the features I needed in DR. In less than a week I was already as proficient in DR as I had been in Premier and in some areas even more so just because DR makes it so easy once you know where to look.

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