To expand on @Palacono's suggestions, earlier versions of Hitfilm did have an AA-playback option for the viewer, so that particular request should be easy.
Re: "Mess with the levels without asking?" This needs to be defined. It's VEGAS that's altering levels on input. We've had enough discussions on this. I think you're actually asking the opposite of what you typed - for Hitfilm to give us controls for 0-255/16-235 output.
I'd like the ability to make a composite shot out of a composite shot from the Editor. The reason is that I sometimes color-grade my footage by creating a composite shot for each clip and it's very cumbersome every time to:
- Click on the clip in order to see the name of it in the "Controls" panel- Find the name of the clip in the media- Create a composite shot from there- Replace the clip with that composite shotI see there is "Make composite shot" in the media panel. I guess it will be very easy to add that to the right-click menu in the Editor.
@Triem23 Well, I thought I'd explained it fully in the thread that no devs have bothered to acknowledge, that I tagged you and them in yesterday, but I'll try again here.https://fxhome.com/forum/discussion/49692/hitfilm-and-cineform-whats-it-actually-doing-with-the-colour-space
Vegas loads in 0-255 MP4 and leaves it alone. Same on Export. Hitfilm expands it as if it as if it is 16-235. So you get -15 to 275, which is clipped at both ends. Useless. Provide the option in Input.After you do your best to fix this, or just create something with full 0-255 range colours from scratch: on Export Hitfilm applies a Levels 'correction' (something that doesn't actually exist for the user as either an Effect or a Preset - I asked ages ago for either - so you have to make up your own with Curves, or Histogram, etc. using percentages...) and automatically re-compresses it to 16-235. So you can't actually export 0-255, even if you wanted to. I challenge anyone to try exporting a 0-255 range clip in Cineform or MP4 formats from Hitfilm. Vegas allows this. Vegas leaves everything alone and also acknowledges the Full/Video flags in Cineform files from Resolve on import. So, yes, a "Leave the damn colours alone!" Option on Loading and Exporting, and some proper Levels Preset/Effects to go from Studio to Full and vice versa, is required so that people can use Hitfilm for Professional work.The only alternative I've found where I am in control of the colours is working exclusively in JPG Image sequences, generated by Vegas. Obviously, it goes without saying: Vegas exports them about 4 times faster than Hitfilm. Now take an image, a test card if you like, and make a .HFP file you can import into Vegas. Put the scopes on it in Hitfilm - ColorFast2 in Demo mode will allow you to use the same one in both Hitfilm and Vegas - and again in Vegas. It's mangled. Just not in the levels, but the colours too. So, if you take a clip in Vegas, Apply Hitfilm Effect, do something that does not effect the colours, when it gets back to Vegas: mangled colours. Only reported about 2 years ago. Never even acknowledged.Something similarly unhelpful occurs with Grading Transfer. It worked up to Hitfilm Pro 3, then after that: weird yellow/pink cast to everything. Also reported years ago, never fixed. Maybe the person that knows about colours was the guy that left and those that are left don't understand what he did, and can't fix or change it without making it worse?But just keeping 'fixing' the UI and putting in feeble, half-baked MoGraph attempts that are so weak that no one has even bothered to mention them, because to do so would only encourage more pointing and laughing.Have I made myself clear this time?
@Triem23 "It's VEGAS that's altering levels on input. "
Nope. Vegas does nothing with levels. EVER. Input or output.
So your viewer on a PC screen will not look like output if the source is studio levels and you output typical AVC/HEVC. If the source is full range then great for your PC viewer but...
On output Vegas will gladly generate "bad" output, which will clip on playback, if you don't make certain adjustments. Very common for those with full range cameras, DSLR, GoPro etc, and output AVC. Until you learn that you have to make adjustments to what the encoder expects.
Hitfilm is the one that automatically converts levels on Input and Output. Depending on source input and outputs.
@NormanPCN I'll defer to you there, especially as the excellent Glen Chan page on color levels and Vegas seems to be gone.
@WhiteCranePhoto Select a group of effects, right-click, select "make preset".
Secondly, make a grade layer, apply the grade, then bam! all layers graded!
Could you add fluid forces to the particle simulator that are similar to the fluid forces in Trapcode Particular? Also, a fractal displacement for particle simulations as well as the ability to use a 3D model as a particle emitter in the particle simulator and in atomic particles.
@RAPStudios agree I think the simulator should have a revamp to it
Probably on here already, but frames exported from the viewer should be automatically added into the media bin for the current project.
Many times if I'm exporting a frame, I want it to be added back into the project anyway (usually to use as a freeze frame). Depending on how people feel, this could be an optional behavior (though it should be default imo)
Not sure if this was already addressed (by me or someone else), but the composite preview requires me to have application window focused. When I click the "Preview" button to generate a preview of the composite shot, I'd like to do some other work and go back in a while to see the result. I can't, because when I switch to another window the preview process stops. It works only if I'm in HitFilm, not in the background.
This can be an option just like the "magnet" icon. The same for the auto-pausing functionality. It has to be an option just like the "magnetic" snapping, which I constantly use in both modes.
@Lazarov chance of the devs making RAM preview available when Hitfilm isn't focused are pretty slim to none.
Understand, the RAM Preview is rendering directly to system RAM. Let's say for sake of argument that you attempt to start a RAM preview in Hitfilm then switch over to something else. We'll use Imerge as an example, and we'll use what I'm actually doing tonight as a further example. I'm slicing and comping up 25 megapixel, 16-bit/channelTIFF images. Each single image is roughly 200 MEGABYTES. I'm working with five or six images at a time.
In this not-so-hypothetical situation, I might start the RAM preview in Hitfilm, open Imerge, then, let's say I start opening my TIFF files, and, OOPS! Imerge just stole away a Gigabyte and a half of memory Hitfilm might have been expecting to use for the RAM preview. This could crash Imerge and/or Hitfilm.
If you want to render something in the background and work in a different program, you'll have to pre-render.
@Triem23: I understand. Yes, it's not going to work. At least this means RAM preview can work while I'm still in HitFilm, but working on another composite? Right now I can't even browse clips in the Media panel while the preview is running.
I'll stick to pre-rendering for most of the part then.
Speaking of pre-rendering, a button "Pre-Render" inside a composite shot panel would be a great time-saver. Right now I have to go to the media panel, find the media, right click and choose "Pre-render." A button similar to the "Export" (or better combine them) would be great.
@Triem23 if that's how the program worked, someone would need to be sacked, or given a medal, as they'd have managed to completely break Windows (or Mac OS, although that seems a bit more flaky). You can't 'steal' memory from another program. If needed, Windows will swap RAM pages to disc to free up a RAM request by another program, up to the limit set by the size of your swap file, if static, or your hard drive space if left to expand dynamically. Everything thinks it's got all the RAM it asked for all the time. The only issue you might come across - and this happens when something has a memory leak and keeps on requesting RAM forever, or just has crap memory management - is: everything eventually ends up swapped to disc and the computer response becomes really slow until you kill the errant task/program. This occasionally happens when I batch run a load of HDR images through Aurora HDR, where it continually requests RAM until it runs out, then finally frees up about half of what it requested, (no longer needed, as images saved to disc anyway) then repeats the cycle. Windows becomes intermittently laggy if I'm browsing or doing anything else while it does this, even though it's only using about 30% CPU.In short: it's perfectly possible, but as simpler requests haven't been added to Hitfilm, such as any RAM preview at all in the NLE: not likely.
@Palacono I can't think of any NLE or compositor that doesn't stop rendering a RAM preview when it isn't the active program. Maybe After Effects, but Ae is 1) ALWAYS RAM caching in the background (sounds great until you realize that Ae ALWAYS caching in the BG means it restarts the cache every time a change is made - which is exactly why Ae 2015 and 2016 got gigged by users for being slower. By 2017 Ae users were just used to it), and 2) that caching isn't GPU accelerated (as of 2018).
Oh swap files are slow. Remember that, say, uncompressed 4k (UHD) at 30 fps is 350 Megabytes/second. More than non-SSD drives can handle. 4k at 60 fps is 700 Megabytes/per second. More data than most SSDs can throughput That's for RGB. Add alpha and those numbers get a third bigger. NLEs and compositors are uncompressing data and computing uncompressed. RAM previews are uncompressed (part of why they render faster), so swap files are absolutely not something Hitfilm should rely on. There's a reason Hitfilm sets aside a RAM stash specifically for previews.
@Triem23 You're seriously comparing AE to Hitfilm to show that something AE does is a bad thing? That's like comparing a Ferrari to a Skoda and saying "The ashtrays in the Ferrari are very small". Vegas carries on creating proxies when it's not 'active', they're not much different to a RAM preview, just going to a different destination. My point was nothing 'steals' RAM and crashes the computer. So there well may be reasons, but they're not that, because: Swap files happen. If they're slow, would having more RAM help? I've got 48GB and I'd add more if I thought Hitfilm would make use of it effectively. Pre-renders using more than one CPU thread would also help, because they're not like Vegas proxies which run in the background and silently swap into place, so which you do want done slowly , but reliably: You want Hitfilm's Pre-renders now, but they're slow and easily destroyed. Actual Vegas-like Proxy files that just ran faster anyway would also be useful.Intelligent caching, using a 'dirty' list of affected frames to avoid starting from the beginning every time and only doing it when nothing else is happening would be doable in RAM. But before that, we still need 'stupid' RAM preview in the NLE. As that's been on the wishlist forever: Nothing more sophisticated is likely.
"In this not-so-hypothetical situation, I might start the RAM preview in Hitfilm, open Imerge, then, let's say I start opening my TIFF files, and, OOPS! Imerge just stole away a Gigabyte and a half of memory Hitfilm might have been expecting to use for the RAM preview. This could crash Imerge and/or Hitfilm."
This is a all BS. "stole away". Seriously. No program has any right at any time to assume or expect anything. Not even one byte of ram. Foreground or background app is completely irrelevant with regards to system resources. You attempt to allocate and the memory is available or not. If not available, then you deal with the situation.
If Hitfilm has its ram preview limit set to an amount higher that is available at the time, it will simply stop at the available amount of ram.
"I can't think of any NLE or compositor that doesn't stop rendering a RAM preview when it isn't the active program."
Vegas keeps building the preview (Shift+B). Also, Vegas always automatically caches playback frames like pretty much everyone else. As usual it is Hitfilm that is the outlier here.
That cache in Vegas is limited by the app preference much like Hitfilm. Other apps may not limit the frame cache memory use. To each his/her own.
I know i've asked before but, Can we have an official tutorial wishlist thread?
2 words, Roto Brush, I feel like having this would save everyone a lot of time, and would get a good reception!
@Triem23 yes the point track dies if the point moves out of the frame ! They should add a warp stabilizer or something like that
1) I'd like to know what's the current pre-render queue status, because in a project with hundreds of files and more than 100 composite shots it's hard to find if there are still pre-renders running.
2) Also I'd be very happy if I had more than one Editor timeline for creating trailers, teasers, or different cuts of the same material.
@Lazarov The processor panel should show any queued pre-renders and their progress. It is a panel that is not normally shown.
Thanks @NormanPCN. I had a suspicion the "Processor" might be that, but go figure why I didn't even try it.
I want the time reverse seperate from effect.When use time reverse,i cannot composite the video because i can't cut the video,when i cut the video,it's back to start.and also when i track the video,i can't track it with the reverse onePlease make time reverse seperate from effect,and make it reverse when being track and don't make video back to start when i cut it in reverse mode.
@Lutfirahman, you can pre-render a composite with that video + the reverse effect and then work with it as a normal clip. Alternatively, you can export it reversed and import it so you can use it in the trimmer.
I'd like to be able to quickly append an effect by searching for it from the (+) icon in the Controls panel.
Right now1) I go to the Effects panel (1 click)2) Type something to search for the effect3) Drag the clip and drop it over the clip which requires a certain precision, because other added effects may be expanded at that moment and it takes some time to drop the effect at the end (that's clicking + dragging)
If I had an option to search for an effect directly from the (+) icon or from a new icon that can be added beside it, I could add effects very quickly: I can click on that icon, type the effect double click it and it appends it.
The double-click idea may work for the current interface too, but maybe it has to be added as a setting to be turned on/off. I'd be happy to double click on an effect and it's added at the end of the current active clip in the Control panel.
Reveal All Keyframed Properties (Shortcut: U) to show only the layers of the selected objects that already have keyframes in them.
At the moment it's sadly really inconvenient and basically impossible to adjust the timing of multiple layers at the same time because you can't see the important keyframes at the same time in the timeline. Even when using a full screen for only the timeline in question it is nearly impossible to see more than 2 or 3 objects layers at once when they have a few effects on them.
I'll +1 the reveal keyframed properties suggestion and reiterate my previous suggestion that it could simply be a special search term for the already existing search field in Hitfilm. e.g. @K
Since the search field supports multiple terms this would allow the special keyframe term to work with some other search term when desired.
I was fiddling with an HP 7 clash effect when I noticed something that could be really helpful and that would be the ability to align a force (particle) to a point.
+1 to parenting particle sim forces to points, as well as cubic deflectors.
Also spherical forces and deflectors.
+1 to anything and everything that has a position, x/y/z, should allow attaching to a point. Seriously why not. Another example in the particle sim could be the "target" emitter trajectory property. Attached to a point. That point is probably attached to something that we might like to *shoot* particles at. Missing the target is also easy as the existing x/y/z are offsets from the attached point. Easy peasy...at least it should be.
In the case of trajectory, one could state there is a conflict in that a point has more properties than trajectory would use. I don't see a conflict as it should be obvious enough that it only looks at the x/y/z position.
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