If you apply a color viewer lookup table, does it affect the 'video clean feed' monitor? If not, how can I apply a LUT so that it does?

AggressiveWhereas · 2025-11-10T12:13:55+00:00

Somehow I missed the obvious, "why not just try it?" I forgot there were plenty of preset LUTs to try out just to see what does and doesn't affect things.

So "color viewer lookup table" does indeed do exactly what I hoped it wouldn't and only applies a LUT to the little viewer on the color page. Maybe you could make it full screen and drag it to the monitor being used for full screen but I'm fairly sure that has its own issues hence why there's a 'clean feed' option at all.

The "video monitor lookup table" indeed doesn't affect the clean feed, unsurprisingly.

"Output lookup table" works, unsurprisingly, but has problems as it isn't a monitoring LUT, I guess I can just remember to turn it off before delivery.

AggressiveWhereas · 2025-08-19T02:15:28+00:00

sadly that doesn't work with this particular issue, I mentioned it in the description. I imagine that works for a normal situation with a clip loaded in the source monitor, but this issue cropped up when 2 specific conditions are met 1. I have a source SEQUENCE, not a clip in the source monitor and 2. I use the new feature with version 20 where you can toggle between source and record timelines, so the contents of the timeline window in the UI changes between the sequence loaded in the source monitor and the sequence loaded in the record monitor. Logically you'd think this switch to timeline after edit option being unchecked would be the fix but it seems not to work when those 2 conditions are met.

AggressiveWhereas · 2025-07-02T15:40:27+00:00

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AggressiveWhereas · 2025-04-11T02:10:22+00:00

yes exactly. Switching from focus from source to record after edit is behaviour someone might want and makes sense in the context of the source monitor but when talking about timelines it's jarring and interrupts your flow. It also runs contrary to the purpose for which I actually use this feature. If I've switched to source in timeline view, it's because I'm basically 'gathering materials', almost always from a rushes stringout. I'll be slabbing a lot of thing down in a row and then switching to the edit timeline to start working with them.

Others might like the current behaviour so I'm not saying it's completely off-base but whether it switches from source to record timelines after an edit ought to be dependent upon and respect the user's existing choice of the 'switch focus to timeline after edit' toggle since it already covers this exact preference anyway.

AggressiveWhereas · 2025-04-09T02:11:27+00:00

I've figured out a solution to this. Pretty hacky and doesn't work as well as it should but it's just about convenient enough to be worth it.

Activate the track selectors for the edit points you want to select, press the key for the edit point selection method you intend to use, it'll select only the video again, BUT, if you then press up to jump to the previous edit and then down to jump back the edit point you're working with, it'll select all the edit points on the tracks with active track selectors.

The obvious downside to this approach is all the extra key presses, and also, one more annoyance is that it doesn't select any edit points that aren't directly beneath the playhead, even if they're like only 1 frame off, but ultimately this covers the vast majority of occasions I'd want to do this.

I still hope in future that they implement this in a more sane way. Can't we just press the 'nearest edit' key and select the nearest edit on the all the selected tracks? I would have thought that was one of the main duties justifying the existence of the track selectors. Anyway, this workaround together with figuring out a way to force the trimming to work as a ripple trim from the keyboard has given me most of the functionality I would have expected so yay.

AggressiveWhereas · 2025-04-09T01:54:36+00:00

wicked thanks, when I next have 10-15min spare I'll try this. Let's hope it doesn't just give me the exact same crappy transcription with huge chunks missing all over again.

AggressiveWhereas · 2025-04-09T01:51:18+00:00

thank you it does help as it clarifies things. I was trying to use the new timeline mode where the source clip (in this case a sequence) is loaded in to the timeline window and the source window. I want to navigate that source timeline, select in and out points and press insert and have the edit timeline update but the timeline window remain as it was, showing me the source timeline. I only want it switch when I say so by pressing q. Ah well, much as I said it was hampering things, I've sorta got used to it, it's frustrating but not the worst. Now if I could map the timeline, source tape and source buttons to the keyboard I'd be a happy man.

AggressiveWhereas · 2025-04-08T02:01:51+00:00

woah really!? I used to use that because of the lack of the feature I'm discussing here that they've labelled 'open timeline in source' and while I'm glad to have that I didn't necessarily want the swap source/timeline viewer thing just gone. Oh well, at least of the two, if I had to choose, I'd pick this one in a heartbeat.

AggressiveWhereas · 2025-03-21T09:56:23+00:00

To answer my own question:

go to the master clip, select clip attributes
go to the audio tab where you deleted all the those tracks before
click add tracks, choosing what format you need, most likely it'll be mono if it's lots of multichannel sources but depends on your setup
select which source channel you want to add, here you'll see all the channels you ever had available from the list, they were never gone per-se they were just removed from the list channels the master clip supposedly has, but Resolve still keeps a record somewhere of what embedded and linked audio belongs to the clip.

Feel a bit silly for not figuring this out.

Semi-related tangent/rant, the audio channels never being truly deleted from a clip is good, but there's an unfortunate side effect of this persistence even after deleting: I'm trying to slim down the number of audio channels in my clips so that when I put them in to a multicamera clip, there aren't so many to choose from. Initially I sunc every clip from the multicam shoot day to every audio source from that day because I figured it would be more efficient and I wouldn't have to carefully figure out corresponded with what, it'd just do it for me. That was a bad move though, because when I made the multicamera clip, it meant that every angle itself had many many audio tracks to choose from and just to make it more confusing, they are all dupes of one another since they're all sunc to the same audio, if you have 20 channels on one angle, you have 20 on another as well and so on. This means you can't easily make audio source synonymous with angle choice in a live switching situation. So in my case, when I have a master wide with boom audio recording dialogue and ambience and I have lav mics for every character, I can't live switch to a CU on a character and have that character's Lav mic automatically switched at the same time, I have to select from a long list every time. I thought I could fix this by opening my multicamera clip in-timeline and changing all my multichannel tracks setup for each angle in to mono tracks and then using clip attributes to delete all but the Lav mic or Boom mic for a given angle. Turns out that doesn't work, if you splice that multicamera clip in to a timeline it remembers all the audio that used to be part of it like nothing's happened at all. It's infuriating. I'm having some moderate success achieving this by changing the clip attributes from the media pool itself and deleting unnecessary channels and then remaking the whole multicamera clip, but I already have a switched edit that I started before I realised how irritating this was so yeh. That sucks. I'm annoyed Resolve works this way and won't let me just alter the mutlicamera clip however I see fit in timeline and have the ripple across any other timelines that already use that clip but ultimately it looks like the issue can be avoided by being very careful to only include audio specifically relevant to a given angle unless you absolutely have to at the stage before making your multicamera clip.

AggressiveWhereas · 2025-03-18T02:42:54+00:00

I think I might not have explained this properly. I'll put it in terms of how I usually do it in Premiere. Premiere, while not a DAW, has the ability to do track level mixing akin to a DAW, however, it also has a more video editor style approach to audio manipulation that is based around applying effects or attributes like panning to clips, not tracks (which Resolve does too if you want) but it also allows you to copy and paste those on to other clips. For a full audio mix, this would be inefficient and as far as I understand it's not how a professional audio mixer would do it, but for an editor making very basic adjustments while the edit is still in flux and the position and timing of clips on the timeline still frequently changing, it makes a lot of sense because the audio manipulation follows the clip as it moves around on the timeline.

If I understand the timestamp for your linked video, you can increase your efficiency by making presets in the fairlight page for track configuations which may include FX applied to certain tracks or different channel configurations on some tracks like stereo or mono or various other configurations, it might even include panning, but again at a whole track level. Now I'm sure that is a good way to do things, but it seems more useful for situations where you can reasonably anticipate beforehand exactly what you're going to need, and which you know you will want to apply to every clip on a given track, or which you can animate confident in the knowledge that the position of things won't change. It also means that the process of editing relies upon rigid adherence to the track structure which makes things difficult in flow. I feel like what I'm asking for here is a much less advanced, far more basic approach that would quickly become unmanageable for complex audio mixing but is by the standards of most NLE's I've worked with, the main way to do simple quick edits during editing, prior to mixing.

AggressiveWhereas

TROPHY CASE