THE HITFILM WISHLIST: What Features Do You Want?

13738394143

Comments

  • Please add "Use Layer" options for the Puppet Control Points. That will open up possibilities like adding Behaviors to the motion. And be able to add stretchy segments to FK rigs.

  • We need the option to be able to save a composite shot for use in other projects that may not be sitting in the same place in the directory structure. 

    Currently, if I save a comp shot and import it elsewhere, I get reminders about missing media.  Of course -- the saved file only  contains pointers to the media files -- not the actual images.

    I'm suggesting we have an option to save comp shots like a pack-'n-go file, so it pulls in a copy of every referenced media file, whether images, audio, etc.

  • +1 on having the packaging option 

  • @Davlon

    You already can save your Composite shots for later use. In the Media bin you can right-click on a Composite shot and choose “Save as...”, saving it to your computer. 

    Here’s the reference:

    https://hitfilm.com/reference/hitfilm-2-express/index.html?exporting_composite_shots.htm

  •  @Andersen01498 yeah I know... but it was worth a shot 

  • I've tried Natron, which is a free open source version of Nuke, and it isn't bad..  Even uses the Ignite plug-ins!

    I use Affinity Photo, or am trying to learn it.  So I'm going to use loads of tools.

     

  • edited November 30

    I wish that scrubbing used play quality and not paused quality. In my mind scrubbing is playback and we want playback and thus scrubbing to be fast. I have paused be full quality. blur and AA. Blur really kills framerate.

    At least make it a preference for scrubbing and/or ram preview to choose play or pause quality. Let us choose what we can do to get best quality in our work with our machines.

  • I wish Paste Attributes would have an option for the Text Layer material property group.

    If you are doing an animation, and for the animation each letter in a word is split out as a separate text layer for animating then you have a lot of layers and they will all want the same material property. Being able to paste material makes it easier to tweak/change the look after initial creation.

  • We need hotkeys for the tranform properties.  It really  slows down the workflow when you have to find the scale or position property in the control panel.  We have hotkeys for everything else but why not for the transform properties?

  • @Andersen01498

    Nuke, the industry standard for vfx, does not have keyboard shortcuts for transform or position controls. What it does have are manipulation controls on screen for transforming , position and scale. Finer adjustments are done in the numeric fields of the Transform control panel. 

    In Hitfilm, you can type in the search field above the effect controls where you can type the name of the controls you want to focus on. That works pretty well. 

    Visual effects require precision. Shortcuts will only take you so far. In the end, you have to work with the control panel of whatever you’re trying to change. 

     

  • edited November 30

    1. I wish grade layer to be added to the timeline, so after compositing and editing all shenes, the grade could be applied to the entire project.

    2. the ability to choose what kind of luma levels a video have when imported, sometimes my 0-255 videos where expanded like they where 16-235 with shadow and highlight clipped.

  • @ToddGroves ; I know after effects has the hotkeys 

  • +1 to having the ability to add grade layers on the timeline.

    ALSO:
    1) Add an autoupdater to the app! it's frustrating to re-install it, and re-do the activation process every time there is an update!
    2) Ability to read multiple audio tracks from imported media
    3) Ability to place markers, on the timeline and when reviewing media in the trimmer window.
    4) Crossfade audio transition

  • edited December 1

    The ability to use Tracking on Composite shots.

    If you've ever needed to do it, you'll understand how exporting the shot then reimporting it, doing the tracking and then cut'n'pasting the data to the original shot - or a new Point -  is not really a fun workaround.

    You can use mocha, but that's bit of overkill and doesn't help Express users - unless they buy it.

  • +1 tracking option on composite shots

    +1 for markers on timeline

  • @Palacono

    That’s why express is free. You can’t expect workarounds for every situation. If that were the case, Hitfilm would never sell a Pro version. 

    The cost of Hitfilm Pro is so small compared to other apps that expecting the express to have “workarounds” for everything is downright delusional and selfish. Express is actually quite powerful for free. Being able to buy add-ons- as needed - is, in fact, quite impressive. Most developers of software similar to Hitfilm would rather hold off on providing any access to tools found in the “full” versions of their software. Hitfilm users have a good thing going with Express. 

  • edited December 1

    @ToddGroves I think you overlooked my main point.  I know how powerful Express is; and the fact it's free is amazing. :D

    But, tracking a Comp should be possible. Why wouldn't it be?
    It's a clip that's rendered just like the original. Do that same work to track stuff?  Text, particles, bits of wibbly wobble textures, sparks from the bonfire effect etc. etc.

    Your point about the Express/Pro separation would make more sense if it was possible in Pro without relying on an external program (although weird for other reasons) and I just thought I'd also check (in Pro) to see if mocha has a problem with tracking on a comp shot, or if it also insists on the original, untouched file. But mocha works fine with comps and it's being sent the clip by Hitfilm.

    So what's the actual reason for the omission?  Just seems like no one thought it would be wanted waaaaay back when the feature was added. I'm saying it is. :)

    It's also not a particularly elegant solution  to do it in mocha; it's just possible. ;)

  • Triem23Triem23 Moderator

    @Palacono a Composite Shot is, fundamentally, NOT "a clip." It's a holder/container for multiple layers which could be a still or video clip OR some form of procedural media (planes, particles, models), POSSIBLY animated itself.

    A proxied Comp IS a clip, but ONLY if that comp is never altered again in any way. 

    This gives a whole lot of valid reasons to not be able to track a comp. In short, I see the user who tracks the comp, changes the comp and wonders why the track doesn't automatically update. 

    If you've tracked a video element in the comp, then track the video and copy the data. If you're tracking an animated element, then... Copy the animation data. The ONLY two situations where I can imagine needing tracking data are tracking moving elements of a Particle Sim, Fractal Noise  or Atomic Particles array. Changing any value of these would invalidate the existing track requiring a re-track ("My track didn't automagically update! :(").  I had to reach for those, but had time as I started this reply before the plane took off and finished after landing. 

     

  • Is it a "clip" is it not. All just semantics. What is video. A sequence of still images played in rapid succession. You can track any video.

    I can see technical dataflow issues within Hitfilm for not tracking a comp and I can see logical arguments against allowing it.

    Tracks of comps could operate like proxies. Change something and the track data is invalidated/erased. Much like a proxy is invalidated/erased. Hitfilm tracks are properties of a layer so there is an association.

    Now you open yourself to an argument that, "hey, I only changed the color" the track should not be invalidated. Since it is a composite of possibly many items, it becomes seriously complicated, and maybe(probably) not really doable, to determine changes that should invalidate a track and changes that are okay. Give someone an inch they will take a mile. Do you want to walk that mile. Maybe so, maybe not.

    I will state one item where I would have liked a comp tracking ability. It was my re-creation of Simon's X-wing Yavin attack flyby tutorial. I would have liked to track the X-wing exhaust to put lens flares on all the exhaust ports.

  • edited December 1

    @Triem23 ; Well... take a GoPro clip and track a point on it and Transform a New Point. Then "Dewarp" it to make it flat. (or take a normal clip and Warp it to make it bendy if no GoPro footage to hand). Now your tracking data is invalid because you can't apply the Dewarp effect (or indeed any effects) to that Point to make your tracked data match what the clip now looks like. 

    If you go "Aha!" and try and apply the Dewarp to the clip first and then track, it's simply ignored and you still get the track data from the underlying warped footage. Being able to either have tracking occur after Effects were applied, or to a flattened comp, would remove this problem.

    The only alternative seems to be to dewarp the footage, export and reload the flat version. 

    Actually, mightn't  you also have this problem with 360 footage?

    Not very bothered by what is or isn't really "a clip". Mocha doesn't seem to mind.  Be at least as good as it is and do magical programming stuff and make the thing I'm seeing in the viewer 'pretend' it's whatever you need it to be to make it work.

    If I've applied some effect to a clip that would invalidate the tracking data, I'd probably not complain if I needed to retrack it.  Try me and see. :)

    That said, if you stabilise a clip, then track something moving across it you do get tracking data of the thing that's moving only; minus the original movement - even though while it is tracking it looks like you're going to get all the original wobbliness. Some pretty darn cool maths is going on under the hood, so maybe it could also automagically adjust things?

    Don't mind if it can't though, as it could end up like the Oozlum_bird. :)

    There have been several other times when there was no other alternative but to export and reload, but they escape me now. It's usually been when (semi) stabilisation and/or deformation was involved in some way. ;)

  • Triem23Triem23 Moderator

    @NormanPCN to add lens flare procedurally to a fleet of ships... 

    1) scale the MODEL LAYER so the source layer is 100% of the desired particle scale. 

    2) move a point around to determine the offset of the flare location. Note this value.

    3) create secondary (tertiary, etc) emitters  in the fleet particle system layer. 

    4) offset these emitters by the noted amounts. Emitter position properly acts as an offset if emitter is assigned to a point layer.

    5) you can use a Spark/Star texture, custom still texture or something like a white sphere. 

    5a) with something like a white sphere texture, use the primary layer as Depth Map source for  the secondary emitters this allows use of auto flares and glows on the secondary layers.

    5b) in the Strike Wing (Hitfilm 3) animation on my Triem23 YouTube channel a spark texture was used along with mobile emitters for thrust plasma. In my Battlestar Particular animation (Hitfilm 4) 3D spheres were used. In HF4 I had an "all-black" model used for the Cylon and the layer was comped in ADD mode for proper occlusion and glows. HF 5/6 Depth Map should be easier, but I've not actually done it.

    6) this technique also works for procedural weapons fire. Time the particle spawn rate for rate of fire and keyframe Active property off when # of ships is reached for each volley. 

    7) Seed value must be identical for each emitter or things don't line up. 

    8) set up fleet first, then duplicate or copy/paste and just change offset and texture for quick setup of secondary emitters. 

    9) Yes, there will eventually be a full tutorial on this, but you're advanced enough to figure out this technique from these notes. Other users mileage may vary. :)

    No tracking--you're welcome. :) 

  • Triem23Triem23 Moderator

    @Palacono conceded. That's another situation in which one would wish to track a Composite. 

    The Dewarp is still a procedural effect, subject to change, invalidating the track, causing users to complain about lack of automagical updates. I doubt FXHOME will ever make Composites trackable. 

    That said, I would be quite happy to be wrong, and, after pointing out potential issues (as I see them), I'll gladly 

    +1 on tracking Composite Shots

  • edited December 1

    @Triem23 I used the white sphere thing in that video. You taught that to me back then. The spheres were in the same model layer and the X-wing hero ships so the particle sim would work with them for the fleet. Also everything would automatically occlude. Source model and particle sim models.

    An auto flare effect was used but you have to be careful of the setting to keep the ships from flaring as well. The hero ships and sim fleet are of course separate layers.

    Later Hitfilm got the Depth matte stuff so a separate layer for the flares could probably be used. Probably easier for all hero or all fleet and not mixed. I never updated the vid to try and get better exhaust flare looks with our current Hitfilm toolset.

    The sphere thing had some issues as well where the sphere position would move small random increments. With the sphere stuffed into the exhaust they would sometimes pop out the side of the model for a frame or two and then pop back in. I really stuff the sphere into the exhaust so it would not be visible from the side. Only if you really looked.

  • Speed Effect
    For the Speed Effect (often misunderstood, but very useful) to have a 'Do not Blend Frames' Switch.
    Rate Stretch
    For the Rate Stretch Tool to have a 'Blend Frames' Option.
    In Options, I guess, as it's not an effect so no where else to put it.

    Options
    To have a lot more options for stuff.

  • +1 on making Speed and Rate Stretch visually compatible. As for a UI option for rate stretch I would guess a check option in the speed duration dialog would allow a per instance option for that. That dialog is a just a different UI to the same function AFAIK.

    Really, the Speed effect has to go (be replaced) or work better. I extracted the following from a Christmas wishlist I will post here soon. I'll put it here now.

    Now that we can keyframe in the NLE timeline, maybe it's time to look at clip playback speed retiming. The Speed effect does not work if you speed up. We end up with black/empty frames. Probably due to clip edges being hard physical edges in Hitfilm. Having the clip too long, to avoid black frames, does not work properly on a timeline. Rate stretch works on a timeline but it cannot be keyframed.

    Maybe a speed clip 'property', not strictly an effect, that can be keyframed with possibly an associated keyframe bar like the clip opacity keyframe bar. I know that another keyframe bar can add some clutter but there really would only be two bars and having the speed displayed visually like that is intuitive and gives obvious, in your face, visual feedback as to what is going on with the clip. The speed keyframe bar would be off unless enabled via a likely right click choice.

    While I am at it. Rate stretch needs to provide visual feedback that a clip is using that feature. Maybe something like Vegas feature similar to rate stretch. The squiggly line. That squiggly also indicates relative speed change. A higher frequency squiggly for higher speed changes.

    Whatever is done, even an enhanced Speed effect, a playback speed up must work without black/empty frames and without bizarre timeline clip durations to avoid black/empty frames.

    Ideally a time remap feature, even rate stretch, would reach before the conformance pipeline level such that a speed change works intuitively by seeing and being able to use all media source frames. No need to import more than once and reset the frame rate. i.e. 60p media on a 30p timeline with a speed change to 50% needs no frame dup/blend/resample operation.  This is how other editors implement frame rate changes (Vegas and Resolve surely).

    This is also in part why having Speed as an "effect" is not so good an idea. Effects happen after timeline conformance. Media info is lost by this point of the pipeline. Right now Speed is an Effect and Rate Stretch operates similarly.

     

  • Add random key frames to behaviors

  •  Here's a thought, based on comments toward the end of this thread:

    https://hitfilm.com/forum/discussion/39476/cant-install-presets-resolved#latest

    In HitFilm Express, when using the search filter to search for effects, users should be able to filter the list based on which add-on pack the effect was contained in, so searching for "destruction pack" (for instance) would bring up the effects in the destruction pack

  • Triem23Triem23 Moderator

    @JMcAllister I +1 that but think it should carry into pro for Express users who upgrade. Besides, it's just metadata that's possible as renamed effects (360 Viewer) can be searched by the original name (Environment Map Viewer). 

  • +1 with the added ability to be able to identify which were plugins in the first place, with a little dot or something.

    Plus the ability to disable plugins so that you can make a tutorial without accidentally using something that's not in the standard Express by mistake and/or be able to refer people to the correct plugin pack if showing off the specific effect without having to have to either remember which was what or referring to the list online.

Sign in to comment