The ability to render out targa sequences
@Andersen01498 not that I'm specifically arguing here, because adding TGA would be a bit more convenient (mostly for importing 3D models with TGA textures in my workflow), but I'm curious as to why you need TGA over TIFF?
In general both formats can output with lossless compression and both formats can output alpha, but TIFF can encode CMYK color space (only important for print), 64-bit pixels (16 bits of RGB and A), where TGA is limited to RGB encoding (preferred for video) 32-bit pixels (8-bits of RGB and A). TIFF can store Layers (more important for transferring between photo apps). TIFF has better compression. It's very rare, especially in 2019 for an app that loads TGA to load TIFF. It's actually more common for TGA to be the missing format as TIFF is the superior format.
I love the new performance improvement from the recent update. The ability to scrub through my footage on the editing timeline effortlessly is a welcome change that I was waiting for a long time. Thanks guys!
The only wish I have is the ability to have a shortcut key that deletes part of your footage before or after depending on where the header/marker is and snap that footage back onto another piece on footage without needing to manually close the gap. It's like ripple delete, just that it also adds the step of cutting the footage as well. I believe it's called ripple trim on other software. A huge time saving feature that I used a lot on Premiere Pro.
The Text Panel has buttons to make text/outline transparent yet the only way to restore transparency is to manually edit the alpha value in the text/outline color picker. This can be confusing for newer users.
Would it be possible to make those buttons toggles? Click once to set alpha to 0, click again to set Alpha to 255? Change the buttons' names from "Set Transparent" to "Toggle Transparent?"
For Composite shots created from the NLE timeline to have a user defined (includes NONE) amount of extra padding added to the Start and End from any clipped part of the original shot to allow Transitions to use extra frames rather than holding static start and end frames.E.g. you currently have three clips like this: ----------|------|-------
You want to make the centre clip into a Composite shot and add some effects to it that you can't do in the Editor. It is 6 dashes long. It may be the centre section of something you took from the viewer that is 50 dashes long, but once inside the comp it will be frozen at 6 dashes.If you want to add a Transition between it and the third clip of 2 dashes, then Hitfilm will hold the last frame into the transition and combine it with frames from the third clip that are before the cut point. One static, one moving. Same with a transition with the first clip; the first frame will be used , and held, from the comp, but extras frames used from the first clip (if they exist, but no need to complicate by explaining that further, because Hitfilm already deals with that).If there was an Option to add one(or more) dash(es) to both ends of the second clip when it was made into a comp, there would be buffer frames available which could be used by the Transition. So the comp would be 8 dashes long. If no Transition used, they'd just be ignored, as if the comp had been trimmed at either end to exactly the same size it was before it was made into a Composite shot.e.g. 6 dashes. No changes to your cuts, nothing to fiddle with.Of course, if there were no extra frames, and the comp consisted of the whole clip, or there was not enough extra footage for a whole dash : stay as it currently is, or add as many frames as are available. Perhaps setting the In/Out points in the comp itself could be used to indicate which frames will be seen in the centre section as normal and which would be available to be used as 'Transition Frames', so you can clearly see where your 'main effects' in the comp need to start doing their thing. So, you might end up with a composite shot that was 7 dashes long and the In/Out points show you that there is room for a single dash at the start of the slip, but none at the end; because the clip actually, really ends and there is no more footage to use. Hitfilm would hold this last frame in a Transition, just like it does now.
I'll +1 some mechanism to make it easier to add space to a comp for transitions. As described immediately above or something as follows.
In the comp properties dialog maybe have some feature to add(insert) time/frames to the beginning of a comp. All existing layers would have their trim position shifted right.
One can do some convenient auto trims. Possibly a check option. Layers whose left trim edge is currently on the comp beginning can be re-trimmed on the left edge to keep it at the comp beginning. Many layers types this should just always work. Keyframes are an issue but there are arguments both ways (shift or not) so whatever.
Adding space to the end is what the current properties offering allows but one can offer right edge-re-trims as an option.
Of course one can do all this right now so this is not a new feature. However things like this are trivial to do programatically but typically time consuming manually. We don't always setup ideally from the get go, so features to reasonably edit what we've got can be a godsend.
The particle Sim
IMO. The forces need an overhaul. Pretty much all these comments come from experience with Fusion. That experience being, huh, that is what it should be.
The point force really seems like it has a constant force over distance. I guess if you are doing particle physics with quarks and the strong force, then okay. Otherwise, yuck. Particle just do not move around a point force as expected. I suggest the point force have a property for the force falloff strength over distance. Square being normal/common. 1, linear, being an option that should be compatible with current.
Turbulence. First turbulence is not a force so we are always faking something. I think there are better ways to fake it than currently implemented. As implemented this look like a truly random application of a force vector. This is really more like 'Heat". Still since turbulence is not a force such heat could work as a fake at some level. The fusion fake is much more organic feeling. If you setup a simple static field of particles and apply their turbulence force one should see some similarities to the fractal movement in atomic particles. Just not bound like atomic. It really looks like a field equation and it has a density property for the field.
That aside, other turbulence properties that fusion offers are needed. Asymmetric turbulence. X/Y/Z force modifier coefficients.
One problem with turbulence with the random "heat" injection as implemented. If the particle is too long under the influence of the force, we get some particles that are real flyers. Like bullets coming out of the bulk. Even 3 seconds can be too much. That the particle system is lossless (no collisions) only allows the flyers to happen. This easily breaks the illusion since the particle texture becomes to visible/individual. Fusion offers a turbulence over time parameter. Strength over lifetime. This seems to work well. In Hitfilm speak such things are on the lifetime panel. Currently no force stuff shows there so this is something to be pondered.
Then there is a new force. The vortex force that that fusion has. Very interesting. With these sprinkled around, as a cuboid and keyframed one (with skill) can start to imitate a turbulent life. A lot of work but such is life.
Between the point force and the vortex doing a vehicle moving through smoke becomes more possible. The chaos behind the vehicle. Or fantasy spaceship in the case of Star Trek Voyager.
There are a couple of other very interesting forces but these basics are key. Flock is very interesting.
Finally I suggest a modification or new fractal generator. Fusion fast noise is much like Hitfilm Clouds (continuous mode) or smoke (discontinuous mode). Their two color mode is just like Hitfilm. They do however have an option for the fractal to be generated as a radial gradient from two colors. If the gradient is generated with transparent to solid one gets a blob, or something that looks like an Amoeba. This works ***awesome*** as a texture for smoke like effects. Smoke, smoke, smoke. Why? Smoke is something the particle sim can do well to simulate something real life with the proper accessory force(s) and textures. Maybe a new fractal generator called amoeba. Fixed with just settings for generating a blob. Or generalized if you go for it. As an workaround for myself I generated 60 frames of an amoeba from Fusion to a Cineform RGBA file and use that in Hitfilm. Way better smoke but turbulence limited in movement, so still a bit stiff/fake looking.
22 second video showing.
As a person who has used this software mainly for YouTube, here's a few features that would my life much easier.
#1 Silence Detection: Add the ability for your clip to automatically cut out any silence based on either a certain audio track within a composite shot, or within the editor itself. As well as a way to control how long the silence should be before the clip cuts. So for example, cut all the clips on the time line, based on X audio track, within 1 second after sound stops, and 0.5 seconds before sound comes back. There's a similar feature in audacity, but it obviously doesn't help in video editing.
#2 Composite Shot Audio Waves: Include the ability to show a certain audio tracks waveforms in the actual editor, from the composite shot. As it is right now, when you put a composite shot in the time line the audio track shows as blank, and without waveforms. Making cutting it a little more difficult.
#3 Disable Video Preview: Add an option besides making a composite shot to hide the image previews for a video. On older computers it makes the system lag from trying to process said preview. Before ei got my new one, I always had to make a composite shot just so that I could edit without lagging. This could help people with lower specs use the editor.
I really hope these get added. Been using hitfilm for everything I do the past couple years, and these things have always bugged me. But, I love the software. Keep it up!
A pen tool for creating quick keyframes for audio would be a cool addition.
Back again with 2 suggestions,
I'm sure someone here has mentioned it coz it seems to be such a big deal - for me at least.When in the Editor, zooming in or out of the timeline or even simply scrolling left or right STOPS playback!I'm not sure if this has an advantage but so far it feels like a really annoying factor.Could the timeline keep playing no matter whether I zoom in or pan through the timeline please?
Suggestion 2: I'd love for us to be able to create custom shortcuts and save the new bindings as a preset, maybe even export and share them, because I'd love to have the same keys do the same things in Hitfilm and say maybe...Resolve, and share them with my team. It's just one less thing to worry about having two different keys in mind for doing the same task.
Here again with another suggestion.It would be very nice to have polygon masking tool. I know it's possible to make freehand mask or use image to create mask (but SVG are not yet supported), but in order to be really precise it wuold be a nice feature.Thank you.
Lock and Solo layers, Lock and Solo Layers, Lock and Solo Layers. (Third time lucky? )
Options to not automatically expand colours from Video to Full, or to compress them from Full>Video on export. Especially if you're going to use the files in another program - or Hitfilm itself - which is unaware of what's happened and will also require adjusting Levels to correct the unwanted changed, but too late to prevent destruction of the original full range of available colours.For more info see thread here: https://fxhome.com/forum/discussion/49692/hitfilm-and-cineform-whats-it-actually-doing-with-the-colour-space
@Palacono the thread I immediately tagged a dev in because I knew wishlist stuff was coming? ;-) I tease. It's good to re-add the link here. :-)
This but for HitFilm! Especially since sideways scrolling doesn't work smoothly on the mouse and trackball scroll wheels I've tried. I had to buy a trackball with a tilt button to be able to jump short distances to the side.
Some of the proprietary buttons like switching panels would be really cool! - Winter!
Can we Get Tone Coloring from Imerge Pro 12?
@MichaelJames on Thursday's livestream he said that was coming to Hitfilm, along with others, like Remove Stock Background.
Hello. I would like to request for Hitfilm Express to have a feature where you can disable the whole effects altogether in one click of a checkbox.
(Ex: Unchecking Layer 1 main effects checkbox will disable all the effects under it.)
This will be helpful when you want to make a before and after comparison without clicking multiple effects checkbox.
I'd like an option to see a 3D object's bounding box in the timeline please.
+1 for @johnpdelacruz26's suggestion .
For UI consideration I don't know if this would fit best as an "Enable Layer FX" check near the "Mute" checkbox, or as a checkbox by the top Effects header, next to the "+" button.
Neon Path effect - please add possibility of choosing only ONE, specific layer's mask.
Publishing effects visible also in comps - it would greatly improve workflow if added also inside comps, not only in Editor. It could save a lot of time with going into a comp, changing a parameter and going back to "upper" comp to see changed effect.
The most important feature me and every hitfilm user need is the stabilizer feature. As we all know in hitfilm we can only track a footage which in one steady frames , for moving footages and panning footages you should add some tracking feature or the simplest way is to add stabilizer feature like warp stabilizer !
@imvarad, there is a stabilizer feature when you track by a single point. It's in "Step 2" of the Tracker panel. "Purpose: Stabilize"
@Lazarov which dies little good if the point moves out of frame. @Imvarad is hoping for a full warp stabilizer
@Triem23, right before the point moves out of frame I Alt/Option + drag it to a point on the same horizontal axis and I continue tracking successfully.
Two more things:
1) Neon Path - please add Reverse button, so that we could change Extension's moving direction to opposite.
2) Value Graph - PLEASE UNLOCK keyframes manual Bezier controls for each axis SEPARATELY! Why X,Y,Z axis are locked together??? Best MoGraph needs separate axis control.
Draw Mask outlines etc. after the frame has been refreshed. When scrubbing through the footage, it looks weird that the Masks update, look like they're in the wrong place, then the footage finally catches up, gets displayed and they're in the right place after all.As they probably take about nano-second or less to update, rather than pretending that everything is running super smoothly in the UI, I'd rather wait until the video frame has been laboriously drawn in, then the mask outlines plonked on top. The must be being drawn again, afterwards anyway, as they're on top of the video, so what's the point of the way they currently work?
The ability to turn on Anti Aliasing during playback and the ability to choose not to apply it during Export.What you see in Hitfilm is not like what you'll be exporting, because: No AA; then when you export it: it'll a) apply AA and b) mess with the Levels without asking. Exporting .HFP files from Vegas using the integration doesn't work properly because Hitfilm's render client messes with the levels and adds a weird tint on input there.Some less limited options than exporting and importing image sequences would be useful.
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