I would like the ability to color code my layers
Are you really working simultaneously on so many comps you need them all open in the timeline?
I find myself completing work on most comps before creating new ones. Otherwise, there's no focus. If I need to go back to a comp, I double-click it from the Media Bin to open it back up in the timeline.
I need them on the timeline, but, no, I'm not working on them, @ToddGroves .
Add particles to Express!
@JazzyLevFilms this is just my take on it but that is probably not going to happen....
The ability to use point layers to control the animation of control points in the puppet effect.
(like how you can use point layers to control the ends of the lightning effect, or the position of lens flares, etc. etc.)
+1 on color coding layers. Helps tremendously with organizing and find layers quickly
@ToddGroves from an industry point of view do you think the latest version of Hitfilm is getting closer to industry standard like premiere and after effects?
Andersen01498 Hitfilm is very far to industry standards, unless you don't know in deep other video editors, even other editors in general. It is not a Beta version, but it lacks lots of standard functionality too.
I don’t expect Hitfilm to come close to industry standards. I paid $250 for Hitfilm Pro 2017. Currently, Nuke is the industry standard. The standard version of Nuke costs around $4,300. The “pro” version of Nuke (called NukeX) is over $8,000.
Nuke doesn’t have editing tools, but it’s power and depth of tools is unmatched by few. Although, you can get non-commercial versions of Nuke/NukeX for free.
But Hitfilm has editing abilities that After Effects does not have. The cost of subscriptions for AE and Premiere would surpass the costs of Hitfilm in less than a year. Whereas Hitfilm Pro’s license is permanent.
For the costs, you really can’t beat Hitfilm. Adobe has a substantially larger development team and yet their upgrades have been slow in comparison. I personally feel more comfortable using Hitfil over AE, even though they feel similar in some respects.
I used Hitfilm on a short I recently completed. I made 100% of my vfx and editing in Hitfilm. I used DaVinci Resolve for final color and sound editing, and delivery.
And I haven’t used Hitfilm to it’s full potential. I know because I’ve watched a lot of tutorials for Hitfilm and completed them in Hitfilm. I just haven’t used all of what I’ve learned in personal projects.
In the end, it’s more the user that’s at fault. It’s about knowing how to take the tools I have and use them in every way I can. I think many people make the mistake of imposing their workflow on the program instead of learning how to work with the program as it is.
I’ve had many epiphanies just playing around with a program. Playing around with tools just to see what I can do with them. As a result I’ve come up with my own techniques. I’ve seen colleagues use tools in ways they were not designed for.
In my years as a vfx artist, and even now on my own projects, I see what I can do with the tools I have at hand before I think about how they can be improved. I push myself to learn and then push the tools.
Bottom line. For the costs, and ease of use, Hitfilm Pro is the best deal around. If you want something more, you gotta pay the piper. And the piper is a greedy bugger.
@Andersen01498 simply because the industry has decades of time and billions of dollars invested in the Adobe ecosystem, Hitfilm Pro is unlikely to become a mainline finishing tool for major VFX houses. That said, Ignite is used quite a bit (especially muzzle flashes) inside Adobe, and Hitfilm Pro is finding a niche in previz. Agents of Shield is a real world example.
That said, especially with the new version, Hitfilm is poised to take the indie world over. It just needs filmmakers to get into the mindset of power for value and let go of the "brand name bias."
Unless one is on a corporate gig, I would absolutely never recommend Adobe to anyone.
I'm actually taking with all the National Geographic photo and videographers on this voyage, and, without exception, they ONLY use Adobe because Nat Geo is paying. Michael Nolan is off the Adobe train completely and the whole photo/video staff is going to check out OnOne PhotoRaw and Hitfilm on my recommendation. Eric Westheimer, our prime Videographer is already running Ignite Express in his Adobe suite and is using it on this trip, and Tyrone Turner was intrigued on how I've used Hitfilm as a finishing tool on wedding and engagement photos.
Lots of +1's for Locking Layers and Color Coded Layers
Also wish Ram Preview was not such a foreground process. Really like to be able to start ram preview and pop up another window such as Word or a browser to do other work while the ram preview works in the background.
+1 bazillion for locking and color coding layers, and background RAM previews.
@Triem23 I have a feeling that Adobe's days in the film industry are numbered. It doesn't make any sense to me to spend the money on Adobe's tools when there are alternatives like HitFilm and Resolve out there now, and in photography Lumenar, Affinity, On1 Photo Raw... yeah, Adobe has a lot of fires under its booty right now.
@WhiteCranePhoto could be. Too much pride before the fall and all that.
Don't know if it's on the roadmap yet, but PLEASE give us multi-track audio support.I shoot nearly all my videos (gaming) in multi-track (1 for the PC itself and 1 for the voice).Pretty much all editing software I've used is able to import those video's without a problem.But Hitfilm? that can't do it...smh...
For RAM Preview to take its Resolution and Quality settings from Playback, not Paused - as it currently does - or provide the option to choose.If RAM Previewing a slow section in the middle of a comp, the playback goes: Half Res, Full Res, Half Res, which is a) weird and b) takes longer to render. If people are having to RAM Preview - possible repeatedly after making changes - perhaps time is a factor they might like some control over?
@Triem23 I have a feeling it's not pride, but rather fear solidly backed up by cluelessness. Adobe has such a tiny toe hold in the film world that and a reputation for not paying attention to user requests that I think that the writing is on the wall.
@Palacono I completely disagree, personally I will use RAM preview because I want to see what something looks like when played back at full resolution.
In my opinion the current behaviour is correct.
But the fact that we are in complete disagreement about how Ram preview "should" behave, is a strong argument in favour of being able to choose
@JMcAllister well, if I've got Playback set to Quarter because it can't play at anything higher and it still needs me to RAM preview to play smoothly, but it's at Full when paused so I can see what I'm doing, then I want it to do a rough'n'ready RAM Preview ASAP.
So, yes, the option would be nice. Or much faster ways of swapping.
I think RAM preview should go by playback settings. Really because a full/paused ram preview simply takes longer than something smaller/lesser. So we can spend less time twiddling our thumbs waiting for a ram preview so we can actually see what we just did. To I am an impatient POS.
Paused is about a single frame and with a single frame we can afford the full boat quality wise. Although, I have done some particle sim stuff that still takes a bunch of time for single frame but I digress.
I like the idea of seeing HQ when paused. If I need to switch off that just to get a faster ram preview result then having the two modes just seems less useful to me.
It wasn't until AE CS4 that Adobe finally allowed the user to increase the size of Mask points when rotoscoping. I know personally, because Adobe visited the VFX house I was working at and asked us what we wanted to see in CS4. As they were walking out the door, I called them over and pointed out the issue with Mask points. I doubt I was the first user to complain, but, strangely enough the feature came out in the next version of AE.
Adobe actually listened? Wow. I wonder what happened to those developers since... oh wait, I do know. A former project manager I worked for was a former Adobe project manager... he left because he was tired of the marketing-driven product management, and apparently Adobe is catering to the Seattle folks, who really don't do much film production...
Here's a suggestion/question. While working on all the interesting tasks, could you also allocate some small portion of time on those that have been there a while and keep on being apologised for, but get no further, as well?Like recovery after a crash not throwing the file away if you say No' to saving immediately. Adding Markers to the Editor, colour coding layers, adding Solo and Lock to Layers in the Comps, and probably dozens of little things that aren't cool and flash, but would make things run a lot more smoothly and have been broken or missing for a long time?If the choice of tasks to do is a Buffet, everyone seems to be going for the Lobster and Fillet steak and no one's choosing the carrot sticks or bread rolls. Can't you organise resources such that after doing something they wanted to do, everyone gets a totally random pick from a list of small, boring, unsexy, uninteresting tasks that would nevertheless make everyone's workflow a lot smoother? That way, it's not some poor soul having to do all the drudge work that no one wants. You get to share the pain equally. Or if someone's working on something huge and cool that takes ages and they think they'll get to avoid doing them: once a month/fortnight they'd have to stop doing the cool thing - just park it - and do a one or two day 'palate cleansing' boring little thing like making each Tracking Marker a different colour, Red/Green and Orange/Blue for example, so you can tell them apart when tracking a very energetic lightsabre. Or every marker that you can drag around on the screen anywhere having a dark outline so you can see it against light-coloured backgrounds, or the viewer refreshing every time you make a change in some effects, so you don't have do < > to see a result, or... plenty of others so old they've got whiskers. If 10%, or even 5%, of the time available was directed to these mundane (but good for the soul ) tasks, I'll bet you could wipe a huge number of them off the list in pretty short order.
@Palacono Believe me, most of us do want to get these done but sometimes other stories / bugs / tasks take priority and then these nice to have things tend to slowly fall down the list of prioritised things to do so we forget about them. That's why reminding us is good every now and then, so we can fish it out and update it saying that users still want the feature. It can then be reprioritized.
The idea of the new release model giving everyone 12 months of updates is that it should give us more time to do these small user experience stories. We shouldn't have these long periods of time where we're working on the new version without giving any updates.
Character spacing - keyframeable - in the new Generate>Text Effect.We've got it - unkeyframed - in the 'old' text method, but it's missing entirely from the new. An oversight, perhaps?Also the ability to apply all the Geometry Effects to the new Text, as well as the old, or there is danger of falling between two stools. One has feature X, but quality Y and vice versa. Unless the old Text render method is brought up to the quality of the new?
@CedricBonnier ah, that lovely phrase 'Nice to Have'. I fondly(?) remember many heated discussions in development meetings about what was essential and what could be pruned for 'resource management reasons'. Is that how Generate>Text didn't get character spacing (above)?Well...want to bet that your entire team knows more about what people want than they do themselves? Put it to a vote? List the top 30 "boring/nice to have" requests, allow people to add 20 more, vote on them for a month and do them alongside the 'good stuff'. Aaargh! Democracy! Anarchy! It'll never work... Well, like everything in life: many things only get done under the correct incentives. They can either be positive, or negative. Without revealing what's behind the curtain too much: someone has to make some things happen, or they never will. It's what the role of the Project Manager is made for.Parents do this: You can either go with Negative: No dessert until you've eaten your greens, or Positive: Eat your greens and you get a star to stick on the wallchart and a prize when you reach a certain threshold. Your prize is then to be able to take all your mates out for a free 'Pizza and Bowling' night (insert prize of your choice), so they think you're a great guy. Works for kids, works for adults . Do you believe in peer pressure? Say you do and we'll like you more. Positive incentives are usually better than negative; although it's a fine balancing act so that the incentive doesn't skew the methodology (more semi-identical new Effects (Behaviours?), less features per Effect to get that 'star') and some people are just more naturally gifted than others, so might feel left out. So...that's something to deal with. But at the moment, the ones feeling ever so very slightly left out of the conversation are the users (I asked them all ), because we don't see how the choices are made. Even though individually no one can be 100% correct, the 'wisdom' (?!) of crowds evens things out to give you a general direction to head in. Plus, people just can't help being biased, so sometimes you just have to take the decision out of their hands: randomness or someone else deciding.Hopefully, as you say, the new system of just delivering a constant list of great stuff will allow more room for input from the users (I'm choosing to interpret what you said as meaning that... ). We live in 'interesting times'.
Sexy MasksMask generation from a raster source, to be usable in things like Neon Path.So, you create a mask with Set Matte or something and then you'd want to 'Maskify' it (technical term ) as if you'd just drawn around the edge - or edges - with the Mask Pen tool. Perhaps have some Roundness or Resolution settings to avoid/require lots of twists and turns, then Neon Path would be able to work with it and you could have it drawing signatures and other such stuff.Action Pro BuddyAlso, as a sort of complement to Action Pro: the ability to generate a motion path around the mask that could assign to a point and have the signature trailing particles etc. as it was drawn. Combined with the freehand stuff you can generate in Action Pro: lots of possibilities.
You have successfully subscribed to the newsletter.
You can unsubscribe from newsletters at any time.
© 2020 FXhome Limited. All rights reserved. "FXhome", "PhotoKey", "Imerge" and "HitFilm" are trademarks of FXhome Limited.