Please give us PC users ProRes as well. This intermediate format has not the same restrictions as the GoPro-Cineform has and I need it for sending it to DavinceResolve. I always have to doubleconvert it because of this.
@Batty Hitfilm on PC can read Prores, just not export it.
Cineform has no restrictions relative to Prores.
Export Cineform in MOV files to send to/from Resolve and Hitfilm. I highlight the MOV container format because Resolve cannot export Cineform RGB(A) in AVI files. This in case you want to export/import an alpha channel with the video.
I would REALLY LOVE a datamosh effect
@Coldamic can you link to a video or article showing what you mean? I'm not familiar with the term, and the devs might not be either.
What about adding a "loop" function to allow playing medias and compositions looped in their container ? You'd just have to move the object's right handle to extend it to the desired loop length.
@Deweak +1 on loop function just like in ae
RGB>Studio and vice versa Presets on Curves, Histogram and anything else it's relevant to. Also the option to select the conversion from one to the other (or not) at load time, as Hitfilm seems to be a little arbitrary about which way it goes when Loading and no one knows what it does on Export.Also fix the colour "conversion" it does when used with Vegas integration of an .hfp file. Leave the colour alone and let Vegas deal with it, as it's annoying having to add a Curves and HSL effects to Composite shots to try and take out the colour cast and range expansion it does when you send a clip on a round trip from Vegas with an "Add Hitfilm Effect" to try and have the clip the same as it was before you sent it over. It may be that you've already done some correction in Vegas before you decided to add some Hitfilm magic and then it's all wrong when you get the clip back unless you try and compensate for that in Hitfilm. Not always effectively, actually, as highlights can be clipped and lost forever.
@Batty "I have a set matte transition. Is it possible to make the wandering borders (the once that are animated through the grayscale picture) of the transition glimmer (as in a light effect) or have a distortion, or noise or a look like thick glass (like Spicemaster had it) or a combination of these?"
If I'm reading you correctly, you want to be able to apply some distortion or effect to the edge of a transition, is that correct? If so, is this liquid edge effect a good example of the kind of thing you want to do?
I am sure it has already been mentioned elsewhere, but I would love the capability to load VST audio effects within HitFilm. The said feature is high on my wish list.
In lieu of or in addition to VST support, an option to export a audio clips to an external editor, such as iZotope RX 7 Advance, from within a HitFilm project would also be welcome. Some of my DAWs, such as Samplitude Pro X3, allow this function (i.e., right click audio clip, export to external audio editor, make modifications, save changes, return to project). Overall, I find it adds efficiency to my workflow, when I need to perform some serious audio cleanup tasks.
Option to choose proxy codec (cineform in my case) and ability to use a proxy still in case the comp only uses a static image. This is due to the large sizes of the uncompressed codec used currently. This is not hard to implement, we could render a comp to still or video in render page. Once done, the video or still can be set as proxy. Similar implementation is used in after effects and is very flexible.
In terms of vr, I would like a cubic cross to equirectangular transform and vice versa. Cubic cross can be implemented with the ability to set top bottom left right front back in the filter settings. Thanks.
For the Value Graph curves to stay the way you set them when you use the handles, and not immediately jump to something slightly different as soon as they are released; then go back to what you wanted when you touch them again, then jump again on release. This is a bug, BTW, as the curves you finally get are actually what are used and produce random wandering instead of what you're trying to select, which is sometimes completely impossible to do.
Simply a real proxy system?
Now that I'm familiar and comfortable with how HF works, I'm very happy here. The only feature I miss from Premiere is nested sequences. In HF we get two timelines, editing and compositing. I would love to be able to create a timeline for each of my camera angles (cameras to the left, right, and center, usually) where I can do all my color correcting and manipulating, audio changes, etc. Then, treat each timeline like a clip, using them in other timelines. This way, if a change is made to the original camera timeline, that change is then reflected wherever that timeline is used. Nested sequences are a huge time and work saver, very much a "divide and conquer" kind of feature.
@MapsEdgeInKC You could treat a composite shot like a nested sequence. If you make a change to a composite shot, that change is reflected wherever else that comp has been placed.
@jsbarrett I'm mixed on this Wishlist feature. On one hand, a Comp Shot is a nested sequence, but Tracks vs Layers means an edited scene could run to dozens of tracks just for camera cuts, taking a performance and organizational hit (because each layer is checked every frame so Hitfilm can say "Empty!" . Comps don't have the advanced audio editing of the Editor.
So nested Editor Timelines would be a useful function.
But (and it's a big BUT!), nested Edit Timelines create an entirely new timeline container with a new render pipeline, and potential nightmare render order of operations. Also performance hits, as the nested timeline has to render before passing on to the main editor. Unless one wishes to pre-render the nest.
It's not trivial It's a major core engine overhaul. While I hope to see this feature added I doubt it will be soon.
@Triem23 To be (more) clear, I wasn't arguing against nested sequences. I was simply pointing out that comps might function as a possible workaround for now.
First off, the trimmer now displaying a playhead over the waveform when viewing an audio clip is an answer to prayer. Good job, FXHome folk!
1. The ability to cut and paste directly from one project to another. Main reason is I could outsource a portion of a project to an volunteer with Express (church), and then simply cut and paste it into my (Hitfilm Pro) project with full control over everything. This could be a uniquely cool HitFilm feature.
2. +1 to all of the nesting, composite-shot-workaround-nesting, absolutely ANYTHING that will let me group side by side clips together on the main timeline.
3. More control of multiple clips at once. With multiple clips selected, I would like to be able to control the same variable in an effect on all of them simultaneously. My attempts to do this often only affect one clip.
4. +1 to all the making a clip Stereo, Mono, or Dual Mono requests.
5. Grade layers in the editor timeline.
6. +1 to the ability to nudge clips.
There have been some really great updates lately, usually focused on one area (I.E. Viewer, Export). I hope that editor timeline efficiency and audio quality come up soon! - Winter!
- The ability to turn off the display of composite shots/addl timelines on export screen. (When it's a large file, adding the additional listing eats up a ton of time.)
- We should have a toggle to "select all" "deselect all" on the pop up that pops up when we import a composite shot from another file. If you have a ton of composite shots in the other file, ticking off all but one (for instance) takes a devil of a long time.
- The ability to pick a point on the timeline and add x-amount of "empty" time
- The ability to select all forward (from a particular point on the timeline, as is included with adobe premiere).
- Multiple timelines (as opposed to "composite shots")
@khosman +1 to all of that
Being able to parent points in the Puppet effect to other points in the timeline would be really useful.
+1 to tying Puppet points to point layers.
+1 for Multi-cam
+1 to tying puppet point to point layers
+1 to nested editor timelines
+1 for multi-cam
+1 for grade layers in the editor timeline
+1 for a shortcut to select everything from a particular point to the end of the timeline, something similar to Shift+End in a text editor
The ability to lock layers for the 1,000,000th time
The ability to rename the puppet points
For the umpteenth time: the ability to Solo and Lock layers.
Examples of different visualizations for used footage:
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