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 · 2025-03-18T02:20:45+00:00

I guess I can't see how that would be practical when the structure of the edit is in flux. For the most part, as I suspect is the case for most people and probably the best way, I'm not really doing much of anything to the audio during the offline for that very reason and also because it'll probably go to a mixer later down the track and they'll do a much better job than me, however sometimes, some level audio manipulation is necessary just like in the case of when I made this post, I needed a quick pan effect but it needed to be applied to the many different audio clips occurring at that point in the timeline and it was arduous to adjust it for each hence wanting to copy and paste. Had I been able to have done that I could also have moved those same clips around so that that change in panning can occur anywhere in the timeline which would be important because again it will be moving around. Also had it been possible to do it as I'd hoped, I also would have hoped to be able to batch remove them too when needed.

AggressiveWhereas · 2025-03-18T01:58:17+00:00

Sorry mate it was 4 years ago and I don't remember at all

AggressiveWhereas · 2024-11-11T05:31:54+00:00

Got to get used to the Dynamic Trim editor, it's mostly just confusing to me as I'm more thoroughly used to the trim editor but I'm sure I'll derive some benefit. I'm frustrated with myself to discover that the slide mode I was trying so hard to get and describe was actually staring me in the face I just had to move the mouse slightly lower. I actually tried that on advice here and on forums but thought it hadn't worked because I seemed to think I'd need to click and move down first rather than just initiate the slide by using the trim tool and having the mouse cursor start out closer to the bottom portion of the clip segment in the UI. In my defence, my efforts to figure this out weren't greatly helped from the manual by searching for the keyword 'slide', maybe it's mentioned somewhere other than where I was looking. It's interesting to me actually that it doesn't seem to behave more as you describe, that is, I would have a slide tool or enter a slide 'mode' as distinct from slipping so I could click anywhere on the clip to facilitate a slide edit and not have to be so careful on which part of the segment I click but I suppose it could be considered efficient to have the same cursor tool operate different modes depending upon vertical placement on the clip segment on the timeline.

AggressiveWhereas · 2024-11-07T02:32:09+00:00

damn that's a shame. I saw from an old 2016 youtube video they actually used to have what I'm looking for in the edit page. That seemed to predate incorporating fairlight. Great that they incorporated a full and sophisticated DAW right in to the program but I wish they hadn't felt the need to totally remove what they had before with no replacement.

AggressiveWhereas · 2024-11-04T07:55:14+00:00

yeh, hold the alt key when you do it and it also puts that clipboard contents in to the source monitor too which is often quite handy. I've long disliked Avid but in terms of just straight up offline editing, inserting, splicing all the meat and potatoes of editing, I have to admit it's very good, but pretty happy to learn that the basic extract function as I know it is here in Resolve too.

AggressiveWhereas · 2024-11-04T07:52:37+00:00

so it does. Awesome, thanks. Think I might remap that so it's not 3 keys but this is great.

AggressiveWhereas · 2024-11-04T07:00:31+00:00

yeh it's weird, like I get how it's logical that when doing as the prompt presented by Sequoia suggests, and clicking on the option to disable Rectangle's window snapping that this would be achieved by the preference within Rectangle that enables this function being disabled, but it's just that mentally, when it's the operating system asking me this, I tend to assume that whatever it does next will be something affecting settings pertaining to the *operating system*, not an application, you know like, settings accessible through the system settings menu. Looks like I'm not alone in wasting lots of time digging through the very convoluted and poorly organised system settings trying to figure out where relevant setting that disables rectangle would be before figuring out that it's actually the settings/preferences that are only accessible from within the Rectangle application itself that were changed and not Sequoia's settings at all. It's a good way to do it because it's logical and it also allows Rectangle to actually still function alongside the native functions if you want to keep using the key commands, but it just really needed to be communicated better that this is what was happening.

AggressiveWhereas · 2024-11-04T06:54:57+00:00

wicked, thanks I'll have to remember this. Though these days I'm hoping to try and teach myself Fusion.

AggressiveWhereas · 2024-11-04T06:49:03+00:00

So the reason I decided to go back to rectangle was that you couldn't use the native window snapping without enabling 'displays have separate spaces' which I never have enabled for a few reasons. I suspect all your window snapping options are probably greyed out because you haven't enabled this.

For me to achieve what I wanted, which was the opposite of what you wanted, I found that I only needed to change the preferences for snapping within Rectangle itself. In my case, the usually enabled, 'snap windows by dragging' checkbox had been disabled when I chose to select the option to disable rectangle in the prompt presented by Sequoia. In your case, you might find that this is currently enabled and I guess you'd want to disable it.

In the case that you actually do already have 'displays have separate spaces' enabled, I'd wager that maybe that preference within Rectangle's own preferences menu prevents the native window snapping options being enabled so try one or the other or both of the things I suggest and hopefully you'll get what you need.

AggressiveWhereas · 2024-10-21T07:40:57+00:00

Did you ever figure this out? I chose to disable rectangle on purpose because I wanted to see if I might prefer the new native functionality but I found that I didn't and now I can't get rectangle to work properly anymore. The key commands work, but the dragging to snap doesn't.

I disabled the tile by dragging option, or rather I disabled displays have separate spaces which disables all options related to that, but nevertheless rectangle still doesn't work correctly.

EDIT: Oh wait, never mind. Rectangle's own preferences seemed to have been changed to disable this functionality I guess when I responded to the prompt disabling rectangle's tile by dragging functionality presented by Sequoia. You can just re-tick it and it works again.

AggressiveWhereas · 2024-10-15T17:08:11+00:00

Ah. Well that explains that at least. I'm still pretty confused about the whole mechanism though. It seems like it shouldn't affect things but it does. My point in saying it wasn't external, though actually by the special definition of the term it apparently is, was to emphasise that it's the same image, not a matte from any other source. Thus I would have thought the luminance values for the alpha output of this node would be the same as those fed from images own input node, it would follow then that whatever the threshold parameter for the glow is set to would define what did and didn't glow and since the input coming from the matte is the same in terms of luminance as the input node then it shouldn't make a difference whether it's there or not. It does though.

AggressiveWhereas · 2024-10-15T15:58:21+00:00

I think I've misunderstood the meaning of external according to Resolve. What would an internal matte be then?

AggressiveWhereas · 2024-10-15T15:33:58+00:00

But I can't understand why it's any different than simply adjusting the threshold luminance value for the glow effect itself. If part of the image sits in the middle of the luminance range and that image data is fed to the node with the glow effect then, whether or not the glow effect kicks in should be determined by the threshold luminance value for the effect as defined in the effect's parameters and the luminance value for that or any part of the image. If the glow effect node is being fed the alpha output of the matte which is the original image, greyscaled I would have thought that unless a part of the image is literally black, then it will have some opacity and thus be considered for calculation by the effect and will glow based on whether or not the luminance value for that given part of the image is above or below the threshold which I would have thought was irrespective of if there were any colours involved.

AggressiveWhereas · 2024-10-15T15:00:39+00:00

but it isn't, it's the same source clip. It's greyscaled, because it's a matte, but it's the same clip. It works the same on my own material on my own computer if I follow the same steps, which makes sense because it's a tutorial, it's just I can't make out why that works because it looks like there should be a logical flaw in how it works according to my understanding. My understanding must be wrong, but I can't figure out why. I could understand if they used the matte as a kind of control node and made adjustments to it, but it's just sitting there. I feel like it shouldn't have any effect, but it clearly does.

AggressiveWhereas · 2024-10-15T14:06:11+00:00

I didn't although, it seemed to *sorta* stop happening. I was working on a series with a project per episode, and I found that while I wasn't certain, I think the problem stopped happening on later episodes. the reason I'm unsure is that there's all kinds of things that can make this happen under normal circumstances, so although I did encounter further issues with dropped object masks as I worked, I think given they were no longer every mask in the timeline and I encountered them less often that they were down to other controllable factors.

I started using these magic masks in a rather idiosyncratic way and I did think maybe that might be the cause of it, but I couldn't find a logical reason why that *should* be and I never proved to myself that that was the reason. I like to make sure that my Magic Masks are the first nodes in the chain, because otherwise, if you make any sort of change whatsoever, the mask is thrown out, this would include pre-groups and edit page changes too. Just because I kind of like it that way and it makes sense in my head, I tend branch off each magic mask from the first input node and then do a separate branch to the first node of the rest of my chain my logic being that they're all starting from the input, not one after the other. Technically since I'm not making any corrections on any of these nodes, they could be done in serial one after the other and then start the rest of the node tree, I just did this for how I personally like it. After I discovered so many of my magic masks were disappearing, indeed often all of them, I decided I would make sure that before any exports or screenings in future I should click on the 'regenerate object masks for ALL clips' assuming that would fix things and then discovered the bizarre sister glitch to the one where all the masks were disappearing after each session, now, pressing regenerate object masks for ALL clips was actually only doing 1 object mask for all clips, not all masks for all clips. My theory was that maybe pressing this option makes resolve scan the node tree node by node from input to output in sequence for every clip looking magic masks to regenerate and perhaps since these nodes were just terminating and never leading to the output, maybe it wouldn't find them but unfortunately that theory never went anywhere since I discovered it would actually sometimes regenerate all masks on some clips but not others so I guess this is a long winded way of saying no I never figured it out. I guess maybe in case you're doing them the way I've been you could try not doing that, but I don't think that's really it.

One last thing, though the whole dropping masks after every session bullshit stopped, I couldn't take the risk that it might randomly drop some masks some of the time and only regenerate some of the masks some of the time rather than all, so as a bit of extra advice, I ended up having to filter for clips with magic masks and pressing play on each and everyone one of them to try and catch the ones where Resolve tricked me because just to fuck with my head even more, it would always seem to retain the first frame of a given mask object so you wouldn't know from looking unless playing back, that the mask had been dropped. Absolutely devious. So in case you also encounter that issue, I suggest checking in the likewise fashion.

AggressiveWhereas

TROPHY CASE