THE HITFILM WISHLIST: What Features Do You Want?

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  • I would really like an edge blur effect, you know like feather but without making a mask. So you can search for it in the effects tab and then just add it and the layers edges become blurred.

  • edited December 2018

    +1 for Nudge.  In order to move an event on the timeline by just one frame with a keypress or clicking rather than zooming  way, way, way, way in and dragging with the mouse.  

    Something I didn't see on the list...  It would be really helpful if the playback didn't stop when clicking literally on anything in the program.  Zooming the timeline, even just expanding controls menus without actually changing any values at all cause the playback to stop.  Unless there is a setting for this? (I didn't see one).

  • @Jlane0710 No, there isn't a setting to disable that auto-pause behavior. I'm pretty sure it's on the list somewhere (67 pages it without it mentioned once would be a shocker), but it's definitely been discussed in other threads. In short, it's a safety mechanism of sorts to prevent HitFilm from trying to access media that might be changed/moved/deleted if the program loses focus. However, clicking inside the program definitely isn't losing focus, so that aspect definitely feels counter-intuitive, but anyway, I'll definitely add a +1 for it, and another +1 for Nudge.

  • +1 for Nudge too.

    +1 for the auto-pause issue. Auto-pausing is exceptionally uncomfortable when applying a simple EQ over the audio where I have to play it every single time I change the slider.

    From a few years of working with HitFilm the following essential things are still missing for me. They are mainly related to simple videos and films that do not require VFX. Yes, I use VFX and I'm quite happy with that functionality, but yet, the basics are not polished enough yet.

    1. Color labeling of clips. Imagine you have a 2-hour long interview where the subject talks about different subjects. Right now I cut the different parts and organize them into separate tracks in the editor, so I can have an overview of which is which and arrange them accordingly. When the tracks become too many it have to scroll vertically to find my tracks. It will be great if I simply color labeled them and had 2-3 video tracks instead of 10+.

    2. When working on the effects of a clip the highlight on the clip in the timeline is lost. Many times I find myself updating the wrong clip's settings. The only way to verify the clip is to check if the name is the same.

    3. Timecode synchronization at least in the media panel by selecting video and audio clips and pressing some "Auto merge and align."

    4. Applying a single grade layer over multiple clips in the Timeline.

  •  The ability to rename puppet points.... it's pretty bad when you have to guess what position 1,2 etc is 

  • +1 for renaming Puppet points.

    @Corkovsky recently opened a thread about the Active Camera not updating on a second monitor when the viewer is set to Perspective or orthogonal views. @CedricBonnier has already discussed the design logic of the current behavior and it is absolutely sound.

    That said, I would think it would be helpful to users with dual monitor setups to be able to adjust positions of 3D objects and lights in ortho view in the viewer and have a full-screen active camera update on the second monitor. So... What's a practical implementation to make this feasible? First idea that comes to mind is a "Force Active Camera Render for second monitor" Option. This could be a checked item in the VIEWER options (easiest to toggle off and on) or a checkbox somewhere in File>Options. Caveat is this is basically switching render order according to a variable  and this might be a lot more complex to make happen than I think it is. 

  • Yeah, +1 for renaming puppet points.

  • For a Render option to treat  embedded Composite shots as if they acted as if the original contents were still on the timeline.

    e.g. 3 Layers with a combination of Blend modes. Turn them into a composite shot and all that blending information is lost, so you have to duplicate multiple layers every time you use something even slightly out of the ordinary, which makes embedded composites only useful if you want to flatten the contents or Pre-render for speed/convenience.

    This would be like a sort of Composite Plus, where any Pre-render would be ignored if it was used in this way and it would literally act as if the external layers were part of the main composite shot. Other shots using the same embedded composite in 'Normal' mode would be able to use flattened Pre-renders of that composite.

    I know this is not going to happen when we're still waiting for Solo and Lock layers, but AE does it better.

  • edited December 2018

    Absolutely love that the editing workspace looks just like Premiere...

    A couple of things I'd like to see added:

    - In the 'Controls' timeline, really need to only show the currently selected section and not the entire timeline.

    - Save Preset: Add the ability to 'anchor to in point' and out point. Like Premiere has: Anchor In/Out

  • A way to parent objects for the puppet tool 

  • edited December 2018

     Hi, a few things that I'd love to see in HF:

    - more than one edit timeline

    - option to be able to see one timeline while editing a different one (for example changing effects in a comp shot to see in real time how it affects the parent comp or an edit)

    - option to have a real fullscreen preview updating in realtime when changing the camera views in the viewer

    - markers

    - option to smooth zoom changing - when I zoom the timeline using my ctrl+mousewheel there is a big jump, have a look here:

    there are some steps between those two levels, but they are skipped when using mouse, it slows the edit when you need to constantly revert to slicking the zoom slider hoping you're not overdoing it

    - audio export is a must, like really, it's 2018, actually almost 2019 :-)

    - edges of 3d objects flicker randomly, I opened a ticket over a year ago but still didn't get a definitive answer whether it's a bug that might get fixed one day, or just the way HF handles certain things

    - expressions and pickwhiping (between different layers/comps) would also come in handy

    - shortcut to only reveal attributes with keyframes, or only scale etc (imagine working on 20 layers and having to constantly scroll up and down to see/adjust all the keyframes)

    Overall I like HF, however having paid two years in a row I'm going to have a break. Because of some of the missing features (which I was hoping for) I'll have to explore some alternatives. Don't worry, I'll keep an eye on the things here :-)

    Thanks!

     

  • The ability to cut'n'paste the masks from the mocha plugin on a layer onto a standard Hitfilm layer, rather than needing the plugin to be active to apply them. The plugin is very, very slow, even when doing nothing, and this would remove the need to export masks from mocha and reload them as composite shots; which is the current workaround. 

  • Improve the range of Matte Cleaner at the bottom end, i.e. between 0.0 and 0.1 or 0.01.

  • Round Masks Please :) Very great software !

  • @lebrondjo What kind of round mask do you want? HitFilm can make elliptical masks instantly, and masks with rounded corners can be done with multiple points by adjusting their tangent handles, or some other trickery. Can you be more specific about what you want? It might already be possible.

  • It would be great to have masks supported by the layout panel, and snapping or guides for masks, since it's always annoying not being able to draw a mask precisely on the layer's limits.

    I'd like to have "ungrade layers", to prevent background layers from being affected by grade layers above, too.

  • I don't know if this would be possible but the ability to import after effect/premiere projects in hitfilm?  This would be neat if it could be done!!!

  • @Andersen01498 Frankly, I don't think that's possible. I can only imagine that being a nightmare for the devs, having to take every single thing that can be done in AE and converting it (if at all possible) into its HitFilm equivalent. I could see the development process on such a converter taking years, during which time changes to AE mean changes to the converter, which drags things out longer. In the end, it wouldn't be worth the effort IMO.

  • @CleverTagline

    I' m behind you 100% on that. To be able to import a project from another, similar, program would mean the devs would have to become familiar with the code of the other program. Devs are busy enough with creating tools and features with the coding of their own program, much less find time to figure out how other devs code and construct in another program. In all honesty, I think that's asking way too much. 

    I make it a habit of watching tutorials of working in other programs, then try and figure out how to achieve the same result in my program of choice. It's a great way to grow my skill set, and get better with the software I've chosen to focus on.

  • I agree about the AE/premiere project thing. For one, the project structure is very probably not documented so you would have to reverse engineer. Second, there is not a one for one feature match across these applications. Even if you thin subset, and assuming things are documented, there is still a huge problem. What the app does is it's own definition beyond anything documented. Sure an app can "break" something if it was never documented but this is not done unless considered a bug. The app function is self defining.

    A large user base will find and use all kinds undoc'd stuff and they would expect it to work in any app that imports such projects. Been there. Done that. We once made a Borland Pascal compatible compiler (subsequently called Delphi) and ran maybe 2 million lines of code through it from all the third party library vendors out there. Tons of code but not so many unique users. Upon release the stuff really hit the fan! Only then one finds out what being truly compatible takes.

     

  • Playback pause quality modes. I absolutely love the ability to get a beautiful paused view quality (everything on). But then Hitfilm stabs me in the eye with restrictions that always use the paused quality setting.

    • RAM preview should have a preference for play/paused mode use. RAM preview is a complete and total waste of a users time. It is a workaround for the fact that we have too much fun with Hitfilm and tend do things that cannot play in real time. It would be excellent to have ram previews build as fast as possible and yet still have the lovely paused quality. I get why people would want paused/full quality ram previews. Thus one can have a preference.
    • Scrubbing should use playback quality and not paused quality. How is scrubbing not live playback. Who does not want scrubbing to be as fast as possible.
    • New mode for play/paused. Have adjustment (dragging) of any property in a layer switch the viewer to "play" quality during a slider drag operation. More responsive viewer updates. Fusion has something like this.
  • I wish there was a smart automatic background generation of RAM previews for comps, similar to how AE apparently operates (from what I've seen in various AE demos). Rather than having to tell HitFilm that I want to make a RAM preview, it would be awesome if it just rendered frames while I worked, perhaps in a separate thread and with an adjustable amount of resources to minimize impact on HitFilm's interactivity.

    On the "smart" side of things, it would be intelligent enough to know how certain changes impact the existing rendered frames. If I change something on frame 10 that affects things between frames 0 and 25, but has no way of affecting from frame 26 to the end, then only a limited number of frames would need to be re-rendered, meaning less time waiting to see the change in context.

  • Triem23Triem23 Moderator

    @Andersen01498 regarding loading Ae projects: as others have said, this is probably a no-go. There are a couple of "interchange formats" used to transfer projects between NLEs - XML, AAF and Grass Valley - and these pretty much transfer cuts-only without any effects or transitions. This is because different editors have different features (as a good example  look at Ignite compatibility lists between different hosts; different Ignite plug ins might be incompatible with different NLEs because Host >X< might not have something required to run Effect >Y<).

    A specific Ae/Hitfilm example would be Track Matte vs Set Matte. Ae Track Mattes can read the source layer after effects have been added while Set Matte reads a "raw" layer - requiring an effected layer to be an embedded comp shot. Expressions can't transfer  etc.

    I'm still hoping for XML or AAF import/export at some point.

  • @Triem23 "I'm still hoping for XML or AAF import/export at some point."

    I'm still working on a basic EDL exporter (or, more accurately, extractor), though it's been a while since I've had time for it. Maybe I'll give it some time now to wind up the day.

  • edited February 9

    "I wish there was a smart automatic background generation of RAM previews for comps, similar to how AE apparently operates (from what I've seen in various AE demos)"

    That is frame caching. Pretty much everyone but Hitfilm does it. They remember (cache) rendered frames when played/scrubbed. Resolve (edit page) has a background linear caching mechanism (if enabled). Hitfilm's problem(s) with GPU readback is a very good reason for them to not do caching in this way as it would slow down regular playback. Just like ram preview (generation) is slower than plain old playback.

  • edited January 9

    Recursive Pre-Render in comps and Export.

    Explanation: When working with lots of comps and complex Basic comps (taking lots of render time) in my last Project I wasted a lot of computing time and render time since I got lost of nested comps but choosed the wrong order for pre-render. Let's say you got comp A using B which is using C and comp D using B (and so it uses C as well). When chossing pre-render for A and D the - in my last Project very complex - comps B and C are rendered two times. With recursive pre-render it can first look which comps are used and automatically calls re-render fot those. In my example A would pre-render B which first pre-renders C. When choosing recursive pre-render for D it can use the pre-rendered B (and C of Course) and so it is a lot faster preventing comps beeing rendered more than one time.
    Also an Export: When I want to save time exportig multiple resolutions an Option for recursive pre-render would take only Long time on the first Export. The second eport than can use pre-rendered comps and will be a lot faster.

    Time is Money.

  • Solo and Lock layers. And a working minimise button in Windows 7.

  • edited January 9

     Since I don't do big fancy video's, I am happy with all the upgrades... but the only thing I really want is;

    In the media bins when you drag or import your clip to you timeline, can you make it so that there is a small icon (even just a green dot) beside the clip in the media show that this clip is already in use on the timeline.

    The reason I ask is sometimes when you have many clips in the media bins if can get confusing what clip is what and what clip has already been used by marking it becomes a simple visual that it is being used already so I simply move to the next clip.

    It is a small feature I do miss from PowerDirector. That is of course if it is already there and I have missed how to turn it on or something ... ;-) which knowing me is highly possible

  • NighthawkNZ  I'll 1+ to all that

  • edited January 10

    Stop adding 'nice to have' features to the Editor, when the fundamentals are still missing, and concentrate more on the Composite side (solo and lock layers). Then aggressively partner with Magix to package Vegas Movie Studio with Hitfilm Express/Ignite Express. And Vegas Pro with the same, with a clear pathway to upgrade to Hitfilm Pro and Ignite Pro.

    Yes, Magix already include Ignite Pro with the Vegas Suite, but no one knows what it is, or if it's worth buying. If people have the Express versions they can test them out and upgrade because they already have something installed, so don't have to go searching for information on something they've never heard of.

    Vegas Pro 16 just introduced the ability to track something (in a limited way) and have text follow it. Whoopee Do!
    Hitfilm finally has some text features that are slightly better than before, but still weird. Whoopee Do!

    Neither are doing well what the other does brilliantly, but both products complement each other and the Vegas/Hitfilm integration seems to be being neglected to a certain extent. If Magix can get 150,000 to buy their old versions as Humble Bundles twice a year, then there are a lot of people out there who are interested in editing. Get those same people interested in VFX. Stop pretending they can edit the results in Hitfilm.

    If people spent money on Vegas Movie Studio+Hitfilm Express they're unlike the majority of Express users who never buy an Addon, so might be slightly more likely to buy one. I'd guess mocha, as Vegas has nothing like it and the latest 'Bezier Masks' in Vegas Pro aren't all that versatile. Boris is bundling a (less fully-featured than Hitfilm's) version of mocha with nearly all their plugin sets to prime that pump.

    Do some Vegas/Hitfilm integration tutorials to promote the benefits of using both.

    Sort out the audio issues with the Integration 'round trip' so either Vegas deals with the .hpf file audio properly, or automagically grafts on the audio from the original video clip to the .hfp file version, so you don't have to manually cut'n'paste and reGroup it. While I'm wishing for the impossible: more HitfilmRender.exe threads or whatever is required to make .HFP clips play/export faster inside Vegas?

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