NAB 2017: Blackmagic Design announces DaVinci Resolve 14

NAB 2017: Blackmagic Design announces DaVinci Resolve 14

Blackmagic Design today announced DaVinci Resolve 14, the biggest release in the history of the product, and an update that has been designed to be more than an incremental software update, but a complete revolution in post production. Blackmagic Design believes the new DaVinci Resolve will break through the stagnant toolsets used in post production, and offer a new path forward for the smallest as well as the largest facilities in the world.

New features include up to 10 times performance improvement, a whole new audio post production suite with Fairlight audio built into DaVinci Resolve, and multi user collaboration tools that let multiple people edit, color and mix audio from multiple systems, all in the same project at the same time.

What this means is that DaVinci Resolve 14 is like 3 high end applications in one. Customers get professional editing, color correction and the new Fairlight audio tools. All it takes is a single click to switch between editing, color and audio. Then the new multi user collaboration tools let everyone work on the same project at the same time, so customers no longer have to import, export, translate or conform projects.

DaVinci Resolve 14 dramatically changes post production from a linear to a parallel workflow, so everyone can work at the same time, giving editors, colorists and audio engineers more time to be creative.

A public beta of DaVinci Resolve 14 will be available today and for immediate download from the Blackmagic Design website. DaVinci Resolve 14 will also be demonstrated on the Blackmagic Design NAB 2017 booth at #SL216.

DaVinci Resolve 14 features a new high performance playback engine that’s up to 10 times faster than before.

In addition to extensive CPU and GPU optimizations, customers also get better threading and GPU pipelining, lower latency, much faster UI refresh rates, support for Apple Metal and much more. This makes DaVinci Resolve 14 faster and more responsive than ever so customers get incredibly fluid performance and more precise editing, even on long timelines with thousands of clips. Scrubbing and playback are instantaneous and there is powerful new acceleration for processor intensive formats like H.264, making it possible to edit 4K images on a laptop.

 

Legendary Fairlight audio is now fully built into the DaVinci Resolve 14 application itself. Fairlight is famous for being used at the world’s highest end studios for audio post on film and television. Fairlight is known for both its superior sound quality and its speed. Customers get a massive set of professional audio tools for recording, editing and sweetening, professional bussing, mixing and routing, and multi format mastering to 3D audio formats such as 5.1, 7.1, Dolby and even 22.2. The state of the art, super low latency audio engine is designed to work with 192kHz 96-bit audio and delivers up to 1,000 tracks with real time EQ, dynamics processing and plug-ins on every track when used with the Fairlight Audio Accelerator. Plus the new Fairlight audio can record up to 96 channels while simultaneously playing back up to 150 audio channels, while mixing it all in real time! There simply is no other software available with this level of dedicated audio power.

The new Fairlight audio in DaVinci Resolve 14 features a full multi track timeline for subframe editing of audio, down to the sample level. The mixer is designed to let customers create sophisticated sequences and has several main, sub and aux buses for mastering and delivering to multiple formats at the same time. Every channel on the mixer features real time 6 band parametric EQ, along with expander/gate, compressor and limiter dynamics. Clip time warping lets customers stretch or compress audio without shifting pitch. In addition, every single parameter can be automated, even VST plug ins, using a variety of automation modes.

In addition to audio editing, sweetening, and mixing, Fairlight audio in DaVinci Resolve 14 also includes multi channel recording tools that are far superior to those found in most editing systems. Customers can record voice overs or even an entire symphony orchestra while also monitoring video and multiple channels of dialog and sound effects. The advanced monitoring can handle buses up to 24 channels wide with customizable fold-up and fold-down for crossing between formats. Monitoring can be done on up to 16 different sets of speakers, including massive cinematic installations.

DaVinci Resolve 14 works with the Fairlight Audio Accelerator card, which gives customers up to 1,000 zero latency tracks and real time effects processing for EQ, dynamics, and up to 6 VST plug ins per channel. Even without the accelerator, most modern computers can still process more than 60 tracks in real time. In addition, DaVinci Resolve 14 can also be used to drive the entire line of Fairlight hardware mixing consoles, which makes working on complex multi track projects faster than any other system available.

The advanced busing and mixing architecture also allows multi language and multi format delivery to be handled simultaneously from the same project, dramatically reducing the time required to deliver final masters.

All this editing, color correction and audio post production power also means multiple people need to work on the same job, at the same time. This is where the revolutionary new collaboration tools are vital to the dream of revolutionizing post production. The new collaboration tools completely redefines post production workflows by supporting simultaneous editing, color correction and audio post. Assistant editors can prepare footage while editors cut the picture, colorists grade the shots, and sound editors mix and finish audio, all in the same project at the same time.

New bin, clip and timeline locking lets users safely work on a specific part of the project without overwriting each other. There’s also a built in secure chat client that lets team members talk to each other from within DaVinci Resolve without the need for an external internet connection. This secure chat is vital because most high end facilities are unable to use services such as Slack or Skype for messaging because they need to remain completely disconnected from the internet to ensure security against hacking.

The new timeline comparison tool makes it fast and easy to see differences and merge changes between two timelines by viewing a side by side comparison of every single change made between users. Best of all, DaVinci Resolve 14 works with the storage you already have. There’s no need to buy expensive or proprietary storage and servers to work collaboratively.

The new multi user features of DaVinci Resolve 14 eliminate the need for importing, exporting, translating and conforming projects. Customers no longer have to wait for a locked edit before starting color and audio work. Switching between editing, color and audio is just a single click away. That means picture editors, colorists, and sound editors can all work in parallel, making DaVinci Resolve 14 the fastest way to edit, grade, mix and deliver projects.

In addition to the incredible performance improvements, editors also get new slip and slide trim commands that make it easier to dynamically trim live on the fly during playback. They can now save interface layout presets, view multiple bins at once and open multiple bin windows. New marker overlays, audio only and video only edit tools, track colors, and subframe audio editing make it the world’s most powerful creative editor.

For colorists, there are over 20 new Resolve FX filters that make it easy to remove dust, fix dead pixels, warp images and more. The amazing new face enhancement tool automatically recognizes and tracks facial features so colorists can quickly smooth skin, adjust skin tone, brighten eyes, and even change lip color, all without having to manually select or rotoscope any part of the image. The face enhancement tool is an indispensable feature that colorists will use every single day. In addition, there are new stabilization, match move, and other image processing tools that give colorists more creative options than ever before.

Customers can add a DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel or a DaVinci Resolve Advanced Control panel for the ultimate high speed workflow. All controls are logically placed near natural hand positions and are made out of the highest quality materials. Smooth, high resolution weighted trackballs and precision engineered knobs and dials feature the perfect amount of resistance for accurately adjusting any setting. The DaVinci Resolve control panels give colorists and editors fluid, hands on control over multiple parameters at the same time, allowing them to create looks that are simply impossible with a standard mouse.

“The overwhelming success of DaVinci Resolve has been incredibly exciting. It has become the world’s fastest growing editing system and now we’re taking it to the next level with DaVinci Resolve 14,” said Grant Petty, CEO, Blackmagic Design. “With this new version, we didn’t want to do an incremental update. We wanted to make a large leap forward and break new ground. It’s also much more exciting for the whole engineering team here at Blackmagic Design! We are really excited about how quickly editors are switching and we hope that a new generation of audio engineers will enter the industry. Together, we can all work to continue making it the best editing, color correction and now audio software in the world!”

Blackmagic Design also announced a price reduction for DaVinci Resolve Studio from $995 to only $299. It costs less than most annual cloud based subscription plans, making DaVinci Resolve more affordable to more customers.

The free version of DaVinci Resolve is also available with the same powerful new editing and audio post production features. The $299 DaVinci Resolve 14 Studio version adds the new collaborative multi user tools, over 20 new Resolve FX including the advanced face enhancement tools, 4K and 120fps project support, stereoscopic 3D, optical quality blur and mist effects, film grain, de-noise tools and much more. Best of all, DaVinci Resolve 14 Studio does not require a connection to the internet or a cloud subscription to work.

In addition, Blackmagic Design has also announced a new worldwide training and certification program, along with certified curriculum for DaVinci Resolve. Customers can learn at their own pace by purchasing the Blackmagic Design series of books, or they can take training courses online or in person at certified training centers. More details are available on the DaVinci Resolve website.

DaVinci Resolve 14 runs on all major platforms, including Mac, Windows and Linux, making it easy to integrate with existing systems and workflows. Customers running Red Hat or CentOS Linux can even build their own workstations using low cost motherboards, extremely fast processors, massive amounts of RAM and up to 8 GPUs for incredible real time performance.

Availability and Price

The public beta of DaVinci Resolve 14 is available today as a free download from the Blackmagic Design website for all current DaVinci Resolve and DaVinci Resolve Studio customers. DaVinci Resolve Studio is available for $299 from Blackmagic Design resellers worldwide.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2016: Premiere Pro and FCP X add support for Tangent panels

NAB 2016: Premiere Pro and FCP X add support for Tangent panels

As well as announcing availability of their long-awaited Ripple panel, Tangent Devices have revealed that Adobe Premiere Pro and Apple Final Cut Pro X now sport improved Tangent integration. 

“Adobe announced that they’re including support of our panels in the next release of Premier Pro. They have also implemented full support of our Mapper application, so you’ll be able to customise the layout of the controls on the panels. This is really exciting news for us and we’ve been looking forward to this as it’s been the source of a lot of requests from users,” said Tangent’s spokesperson. (You can see the Adobe announcement here).

Tangent also announced that support for FCP X’s Color Finale plug-in. “We already have pretty much full control of FCP X with our panels thanks to the efforts of Sam Mestman and his extensive use of our Mapper. Now the guys at Color Grading Central have announced full support of our panels in their Color Finale plug-in for FCP X. With Support for the Mapper included, you can customise your control layouts. We’re excited to see this expansion for the support of our panels within FCP X and we’re looking forward to the release of this new version. You can read more about Color Finale here.”

For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Blackmagic Design announce DaVinci Resolve 12.1 update

Blackmagic Design announce DaVinci Resolve 12.1 update

Blackmagic Design today announced the immediate availability of DaVinci Resolve 12.1, which adds dozens of new features such as remote rendering, 10-bit viewers, new editing and colour correction tools, and more. The DaVinci Resolve 12.1 update is available now for both DaVinci Resolve 12 and DaVinci Resolve 12 Studio customers, and can be downloaded from the Blackmagic Design website.

DaVinci Resolve 12 is the most successful update in the history of the software and has become the industry’s fastest growing video editor. The feedback from the DaVinci Resolve community has been overwhelmingly positive and Blackmagic Design engineers have been hard at work to add even more of the features that professional editors and colourists have asked for.

DaVinci Resolve 12.1 update gives editors the ability to select clips when using the blade tool, extend freeze frames, use faders on generators and titles, perform negative timecode offsets, filter clips more efficiently, media manage groups of selected timeline clips, sort bins and footage more easily, create better filters for smart bins, and much more. Customers also get improved subclip support with Final Cut Pro 7 XMLs and improved audio rendering of audio transitions.

For colourists, DaVinci Resolve 12.1 update adds the ability to colour correct nested timelines and to decompose compound nodes along with new manual keyframe options for Power Windows, support for 3D stereo decision lists version 0.25, filtering of keyframed clips, the option to copy flags and markers when performing ColorTrace and more.

In addition, the free DaVinci Resolve 12.1 update adds support for native display profiles on Mac OS X El Capitan, along with the option to enable 10-bit precision in the on screen viewers. That means customers using the new iMac with Retina P3 display will be able to see more colour, detail and dynamic range than ever before.

Since its release in September, the rapidly growing community of DaVinci Resolve 12 editors has meant that developers are now bringing their best and most exciting OpenFX plugins to DaVinci Resolve. For example, GenArts has been working with Blackmagic Design to bring new Sapphire Builder support to DaVinci Resolve 12.

Expected in an upcoming Sapphire 9.0.1 release, Builder will let DaVinci Resolve users combine Sapphire plug-ins together in any order to create a virtually unlimited number of unique effects and transitions. “DaVinci Resolve is the first OFX host to support Sapphire Builder!” said Sapphire product manager Brian Fox, “We’re very excited that DaVinci Resolve 12.1 users can benefit from all the new capabilities of Sapphire Builder.”

To support the growing momentum of DaVinci Resolve 12, Blackmagic Design has conducted multiple hands-on training sessions with the Motion Pictures Editor’s Guild in Hollywood. “I feel like DaVinci Resolve 12 is the NLE users have been waiting for all of these years,” said Noam Kroll, Los Angeles based filmmaker and editor whose feature film credits include The Grace Of Jake (2015), Shake The Dust (2014) and Footsteps (2012). “DaVinci Resolve 12 offers the same track based system that many editors are most comfortable with, but also provides truly innovative tools that feel very forward thinking.”

“Since it was released in September, DaVinci Resolve 12 has been downloaded by more customers than any other version of the software and has become the industry’s fastest growing video editor,” said Grant Petty, CEO, Blackmagic Design. “DaVinci Resolve is now used on virtually all major films, television shows and commercials! We’ve listened to feedback from professional editors and colourists and are excited to give them this free update which includes even more of the features they’ve been asking for!”

What’s new in DaVinci Resolve 12.1?

– Remote rendering on DaVinci Resolve Studio.
– Support for native display colour profiles on OS X.
– Preferences option to enable 10-bit precision on viewers on OS X 10.11 El Capitan.
– Ability to select clips when in blade mode.
– Support for faders on generators and titles.
– Ability to extend freeze frames from the start of the edit.
– Ability to media manage selected clips on a timeline.
– Ability to perform negative timecode offset in clip attributes.
– Improved support for sub-clips from FCP7 XML.
– Improved rendering of audio transitions (cross-fades) and audio faders.
– Auto scroll during timeline item resize.
– Improved sorting in media storage and media pool.
– Support for smart bin filtering based on clip type.
– Ability to move clips and timelines from a smart bin view.
– Support for moving files to the trash instead of deleting them permanently when using the media manager on both Mac and Windows systems.
– Ability to delete multiple projects and folders in project manager.
– Ability to decompose a compound node.
– Ability to grade nested timelines.
– Ability to filter clips based on whether they have keyframes.
– Ability to manually keyframe power windows in frame mode even without tracking.
– Ability to freeze the current frame on an external matte.
– User option to copy flags and markers when performing ColorTrace.
– Improved ACEScc support.
– Support for stereo decision list (SDL) v0.25.
– Support for RED SDK v6.0.4.
– Support for embedding timecode in audio output.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Dan Moran gets hands-on with the DaVinci Resolve 10 beta

Dan Moran gets hands-on with the DaVinci Resolve 10 beta

Dan Moran of Smoke & Mirrors and MixingLight.com has been kind enough to let us share his review of the Resolve 10 beta, which he’s been working with for a few weeks prior to IBC. There’s more about Dan at the bottom of this post, but in the meantime enjoy his insights into the latest version of the colour grading software we all wish we owned…

As a colourist who spends 40 to 50 hours a week locked in a dark suite grading music videos and commercials, the software I use is important to me. After 4 years of using DaVinci Resolve almost exclusively,  I feel like Resolve is part of me!

You could say it has become physically connected to me – but, I guess the Resolve control panels have something to do with that!

Resolve 10 First Impressions

After working with the Resolve 10 Beta (it’s in private beta) for a few weeks here are my initial impressions:

Resolve 10 has risen the bar. Not just in features, but in speed of common operations and workflows.  In this blog post, I’d like to talk about what I’ve found to be the most useful and most interesting new features on my very first supervised session with Resolve 10 – I’m not going to cover every new feature (there are dozens of them) but rather give you a quick glimpse of using Resolve 10 in the context of a real project.

And if you’ve missed it, I’ve previously covered the top new features back during NAB 2013, so if you’d like to check out what’s new please click here. You should also click here to check out this great demo by Mixing Light contributor Rob Bessette from NAB this past year.

The Software

As an experienced Resolve colorist, making the move to version 10 felt totally transparent to me. Sure, things look a little different, buttons are in slightly different places – but over all I’d say if you’ve used Resolve 9 making the move to version 10 will be pretty straight forward.

Let me put it another way, Resolve 10 has an easy learning curve. Thanks to the hard work of the Resolve team you can literally open version 10 and keep working as normal thanks to what the team is calling “Progressive Disclosure” which to normal people like you and me means that all the less used options are tucked away. The interface stays clean and intuitive. When you need a new feature – such as new OFX plugin support or the new time warp settings – they’re a click and hidden panel away!

Working on Beta Software

In a professional grading environment, taking the dive into a new beta release of software, with clients in the room… is well, a brave decision. Our former head engineer at Smoke & Mirrors, Mark “Dog” Wildig, used to have a rule of not installing major software updates for two months to “let other people get burned in the middle of important jobs and we’ll start using it when all the nasty bugs have been fixed”.

Luckily, I have to say Resolve 10 has been unbelievably stable from day one. I should also add, Dog if you are reading this, I’m sorry I couldn’t resist installing it – I just wanted all the new features!

The Job / Test Subject

I had a job coming up with the amazing DOP Stephen Murphy, I have worked Stephen many times, and I knew he’d be excited to see the new version in action. When testing beta software on a real job, you have to pick and choose carefully (both clients and projects), so that if something goes wrong, you don’t lose your client (or your job). I knew Stephen would be excited if the software failed or if the software was brilliant.

The particular job with Stephen featured beautiful landscapes of the Lake District in the UK, shot on a Red One MX with a beautiful vintage Cooke Xtal express anamorphic lens (the same type of lens as used on Return of the Jedi). Stephen used some coral filters and soft edged grad filters – the result? Really nice stuff!

You can check out Stephen’s site here.

The Conform

Getting the 90-second project conformed was a breeze. I used an XML generated in Final Cut Pro 7 to pull in the R3D files. I think my first wow moment was as soon as the XML loaded. Everything was there. All the audio layers, the rough FCP titles were in place (and centered). Even the opacity keyframes had come across.

Simplifying the workflow

Straight away Resolve 10 had just saved me a ton of work rebuilding the edit. Checking the conform against the offline was simple as you can now add the offline video onto a track in your timeline and use the new crop video effect to do a split screen and check your conform on the SDI output. I could then also drag and drop the work-in-progress audio mix onto the timeline instead of having to assign it as a chase audio track like you have to in Resolve 9. Within 10 minutes we were ready to go and could start grading.

There has been lots of buzz about Resolve 10′s editing features – to be honest I didn’t need them on this project, so I’ll save opinions on that for a later post. However, seeing an NLE-type timeline open up in Resolve? That was pretty terrific.

The Grade
Powerful Power Windows

My favorite new feature -and the first one I noticed – are the new power windows. The whole power window architecture has been redesigned:

– Unlimited windows per node.

– Draw freehand using the new power curve window – which feels incredibly natural.

– The new gradient power window is very handy and fast.

This job involved lots of time-lapse shots with two video layers of the same shot composited together –  one was sped up to 450% for a dramatic sky and the bottom layer was real time foreground action.

I was able to rotoscope parts of a shot – like mountains in the foreground – easily and effortlessly by clicking to add a point (or clicking + hold and drag to add a point with bezier handles).

I then used the new alpha output option to blend the two layers–an improvement that alone is worth upgrading to v10!

As someone who is a Power Window power user, these seem like such simple updates, but because I use windows so frequently–this is Resolve 10′s biggest improvement.

Quick tip –  You can now practically rotoscope in Resolve but keep it a secret so you can still send the difficult shots to the compositors on your team!

Paste This!

Being able to copy and paste nodes with keyframes–as well as saving them to your still store with keyframes intact, is HUGE!!!

I can’t tell you how frustrating it was in the past, getting a new VFX shot, replacing it in the timeline, and trying to get all the keyframes moved to the replacement shot without redoing all that work. Now, it is literally a two click operation!

Time-Remapping

Unexpectedly to this colorist, on this job the second most important new feature is the improved time remapping. The new optical flow / frame blending option was a huge new bonus. As we were dealing with big speed changes, we tested out the different time remapping options and could pick the one that suited us best.

As I think about it, this is going to be big for my music video clients. No longer will I need to send footage to After Effects (using Twixtor) or Flame. It is a massive time saver and a cost savings that clients will appreciate.

Can you say: Plug-Ins?

We had a quick play around with the new OFX plug-in architecture. Working on a Resolve Linux system I am currently playing it safe and only testing out the Sapphire plugins. We didn’t end up using any of the plugins on this job, but it was great to test out the deflicker, throw on some fun lens flares and god rays on the time-lapse landscape footage.

It’s an amazing feeling knowing I have hundreds of new tools at my disposal if I need them on a job. Colorist as visual effects artist… I like it.

The Big Surprise

What else impressed me on this, my first job using Resolve 10 Beta? Believe it or not, the new split screen option. Back at NAB 2013 I knew this feature would help me, especially with clients in the suite. But actually spending time with it has opened up so many new possibilities.

On this job with Stephen, I wanted to make sure I didn’t burn out the highlights of a sky. It was a simple click to turn on the split screen option and choose to play the timeline with the graded shots on the left and the ungraded on the right – while sending the split screen out from SDI to the external ‘hero’ monitor. What a great new feature!

Matching shots with the split screen option is a surprisingly intuitive and speedy way to do it. All you need to do is shift select the clips you want to be split screened and you can instantly go from one-up to 3-up to even 16-up. This is something I’ll be using more and more as I get used to it.

A great moment was being able to select all the shots on the timeline and Resolve automatically arrange them on the SDI output for us. It was a great way to see how our sky matched from shot to shot. Split screens seem to be really flexible, so I’m sure I’ll be discovering uses for the multiple options over the next year.

Paint and repair???

Another fun discovery is how you can use the new node-based PTZR (Pan, Tilt, Zoom, Rotate) to do some basic painting.  On this job, we played around with moving some clouds around our sky and I also tested it on doing some spot removal / beauty work and it gave us the exact result we needed.

Its a little tricky at first, but if you can, imagine the clone tool in Photoshop: Select an area that you would like to replace by using a power window, then use the node PTZR to “clone” or move another area of the picture to replace it. Yes!

This should be a great time saver if simple things like a boom in shot or the leg of a light stand needs to be removed. One less thing to send to the VFX team! One more thing that makes me valuable as a colorist.

Noise Reduction

I’d also like to note that the new Noise Reduction options are a huge step forward in both power and flexibility.

We didn’t need to use the NR on this job so after I finished my grade with Stephen I revisited an old job where we had trouble with controlling the noise on a product shot. Since I never want to turn to a client and say, “I can’t make your product look bright, clean and shiny without all this noise” this was the perfect acid test for the new tool.

Resolve 10 has new options for both spatial (single frame) and temporal (up to 4 frames blended) Noise Reduction.  I found blending a little of both types gave me the cleanest results.

You can also noise reduce either the luma or the chroma channels independently – which is a big addition as it allows us to refine the noise reduction to keep maximum sharpness in our image. I’m sure some of you will still prefer to use Neat Video for particularly stubborn shots, I think with all the new Noise Reduction options as well as using windows and multiple layers of NR, I should be able to get results acceptable for me and my clients.

The Online

Once we had finished up the grade, it was time to start our simple online of the job which involved:

– Adding the final titles (which had been created by the graphic designer).

– Adding a 2.39 crop.

– Laying back final audio.

It was a simple drag and drop to add the graphics (with Alpha Channels) over the opening shot and edit in the end board. Resolve has a promising titling tool for quick and easy titles, but it’s not going to replace After Effects or Smoke in your workflow. But for a colourist who just needs to add basic info like the title of the video or copyright info,  this time consuming and annoying part of finishing is now slightly easier.

The Render

After one final review of our timeline it was time to go exploring the new output options. This job needed multiple deliverables including a DCP.

On this job, I played it safe (I had pushed far enough using beta software with a paying client!) the DCP was completed at another facility. But it made me think that we had the option of completing this project end to end in Resolve–from Conform to Grade to Titles to 5.1 audio to DCP creation (the later being a new feature in Resolve 10)

Resolve may not replace your online system just yet but for people like me Resolve is firmly on the road to being a full finishing system.

Once I get a copy of the finished video I’ll post it online here for you all to check out!

My Conclusion

Resolve 10 is another wonderful step in the right direction from the Resolve development team. Think of how far we have come in such a short amount of time . . .

In Resolve 7 we had a single layer of video, no audio tracks, no way to render audio and rudimentary XML support. On this project,  I took a multi-layered sequence with massive speed ramps, graded it in context and in real time, did basic rotoscoping and layer compositing, playing with glows and lens flares, completed the final online, did the audio layback, and considered (for a moment) creating the DCP – this run on sentence blows my mind!

BlackMagic has taken the DaVinci banner and run with it. In each new version, we have gotten a huge amount of features and time savers. Each new version seems to be building on earlier versions – suggesting BlackMagic and Team DaVinci have a vision for this product – and we like that!

The most astonishing thing? Since buying Resolve 7, all these updates have cost me exactly nothing. The feature list for a major release of Resolve always looks impressive on paper, but after grading this job today I have to say (at the risk at sounding cheesy) this is probably the biggest and most useful Resolve update I’ve seen.

Resolve 10 on Mixing Light

Here on Mixing Light, we’re gearing up for a big push on adding Resolve 10 Insights to the Library, so make sure to use the comments below to let us know what features you’d like for us to cover. And once BlackMagic gives its Resolve private beta testers the green light… we’ll update this post with a slew of interface screen shots, to help you explore these features once you’ve got Resolve 10 in your hands!

-Dan

Read the original post at MixingLight.com

About Dan

Irish Colorist Dan Moran is based at Smoke & Mirrors London and is the ultimate DaVinci Resolve geek. His excellent technical knowledge and creative eye earned him a place as a colorist at one of the top post production facilities in London. His obsession with colors began in photography which quickly evolved into the world of moving pictures and started in Post Production in 2006. He began grading long form, commercials and features at The Element Dublin. In 2010 Dan joined Blackmagic Design as its DaVinci Resolve Application Specialist and toured the world giving grading demos and training users. While at Blackmagic Design Dan had the unique opportunity to work with and learn from some of the world’s top colorists and applies this knowledge to his work today. Dan is currently focusing on commercial and music video grading. He has graded promos for Plan B, Wretch 32, Labrinth, 2 Chainz and Bell x1.

Want to know more about Blackmagic Design DaVinci Resolve? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Workflows we love: Avid and DaVinci Resolve at Timeline TV

Workflows we love: Avid and DaVinci Resolve at Timeline TV

Timeline TV provide coverage for some of the world’s largest sporting events, including Wimbledon, the 2012 Olympics and the Tour de France. Their Timeline North office in MediaCityUK doubles as a base of operations for some ambitious post work, with their first year in MediaCityUK seeing them take on a huge array of work with the BBC, as well as film projects and dubbing work. 

One of the latest projects to go through the facility was ‘Andy Murray: The Man Behind the Racket’, an hour-long documentary for the BBC which chronicled Murray’s run up to Wimbledon 2013. Although Murray picked up injuries during the initial shoot and only returned to competition the day before the project was due to be completed, Timeline TV were able to pull together a final cut in record time thanks to a combination of Avid Symphony, Blackmagic Design’s DaVinci Resolve and Avid Pro Tools.

“The Andy Murray documentary was offlined on an Avid Symphony,” explains Eben Clancy, Timeline TV’s Post-Production Director and head of its MediaCityUK facility. “It was due to be onlined in Symphony too, but Andy won Queens the day before the deadline, so we had to extend the offline, which left us with very little time. We sent an AAF of an offline to DaVinci and contracted Chris Packman to grade it – he’s a big DaVinci supporter – while our editor, David Horwell, was still making final tweaks.”

After the final AAF was graded, the project then made a round trip back to Symphony for its final online edit, with a Pro Tools dub being carried out the same way. “Chris managed to grade, render and export an hour long doc in eight hours, which we were seriously impressed by,” says Eben.

His team have been using the same workflow to handle an extremely complex offline for BBC series Fierce Earth. “There are Sapphire effects and time warped shots throughout, plus graphics with nested pictures,” explains Eben, “but we’ve still been able to round trip an Avid AAF through DaVinci and grade every shot, even if we couldn’t always see the final result. The only real issue was the time warped shots. DaVinci could handle shots running at 500% or less, but we had shots running at 5000%. We had to do ‘video mixdowns’ of them and then they all worked smoothly, and we managed to grade seven episodes in two and a half days.

“The main benefit of Avid AAF and round tripping from Symphony to Resolve is that the final sequences came back into Avid with all the Sapphire plug-ins, nested shots etc perfectly in place. The edit was identical to the offline but the pictures being referenced were beautifully graded. Joy!”

Want to know more about your post workflow options? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

 

DaVinci Resolve 10: First impressions from Smoke & Mirrors’ Dan Moran

Dan Moran of mixinglight.com and Smoke & Mirrors has kindly let us share his first impressions of Resolve 10, which Blackmagic Design unveiled yesterday and NAB 2013. You can see this post in its original form here. Thanks Dan!

Resolve 10

I had the pleasure of checking out the brand new version of DaVinci Resolve at the show. If I had to sum it up in one sentence it would be: They Listened!

This release has the perfect blend of new toys, creative tools and useful time saving improvements that will make my grading life a lot more fun. It’s hard to tell from the features list how important and fun some of these new features are, so I’ll do my best to convey how excited I am! I’m going to start with the color features and then move into the editing and online finishing(!) features. Resolve 10 is is not yet shipping and they are demoing a Preview at the booth today.

Resolve Live

Resolve Live (no, not Resolve Lite but Resolve LIVE) is a new mode in Resolve that does exactly what it says!  It lets you feed SDI in, grade pictures live and feed SDI back out to your on-set monitors. At the booth they have a Blackmagic Cinema Camera feeding thunderbolt directly into a Retina MacBook Pro and outputting via thunderbolt BMD Mini Monitor box to a SDI monitor. Add a Tangent Element panel to the mix and you have yourself an awesome on-set live grading system. You can grade using all the normal grading tools like adding nodes, using windows and qualifiers.

Another feature is the ability to freeze the incoming picture grade a single frame or grab stills—which preserve timecode —so when doing the final grade you can apply the grades of those grabbed stills to shots automatically.

Color Correction Enhancements

The big news of the day is Resolve’s editorial features, but the color correction enhancements are impressive. There are literally two pages of new features for color correction but I’m going to focus on the ones that blew my mind . . .

OFX Plug-ins

Correct – DaVinci Resolve 10 supports plug-ins! This is HUGE for me. There is a new button to the bottom right of the node graph. Click on it and out pops a list of installed OFX plugins.

For example,  I grabbed a lens flare from Sapphire and dragged it into a node and bam, a beautiful lens flare directly in Resolve. In my opinion, OFX support is the most important new feature of this release. This architecture will support any OFX plug-in so if you want do use something like Neat Video’s noise reduction plugin you can! Resolve just got a hell of a lot more flexible for me in my commercial workflow.

Power Windows

The Resolve team has completely redesigned  Power Windows. You now have unlimited windows per node, brand new gradient power windows and a totally redesigned power curve windows that are a pleasure to use. Think Photoshop or Smoke type masking and that should give you an idea of how good these windows are. They even added fourth trackball suport for window rotation for people who have the BMD panel.

Motion Effects

This is the new tab for all things motion related –  there is the original spatial noise reduction but its now joined by temporal noise reduction which analyses the previous and next frames and yields you some great results. If you combine both the spatial and temporal reduction you should be able to tackle even the most difficult shots!

Grid Viewer

This is a whole lot of fun. You can selet a shot and display either all the versions of that shot, or shots in that group, in a grid that goes from displaying 4 images right up to 16.

It gets even better, the Grid Viewer also feeds SDI out  so you can watch the grid in real-time. I can see this being great where you have a difficult client and you can just pop up all the versions of a shot and push play so they can pick out their favorite one.

Splitter and Combiner Nodes

You can now split out your image into RGB, YUV and HSL nodes! This gives you total control over your image. Imagine  a noisy blue channel—you can now noise reduce just that channel or if you’d prefer to sharpen the luminance plus blur the chroma only. The more compositor type colorists have been asking for this functionality for a long time and I’m excited about using this in my own work.

Node Based PTZR

This is something you may gloss over but its amazing! You can draw a window and then use the node based PTZR to clone out bits of your image. I had a job recently where there was a light in shot over a black background. There was nothing I could do In Resolve 9 to fix it but using this new feature, object removal looks like a breeze.

Other Useful Bits

Global Bypass – Bypass your nodes without turning them off! No more nodes turning on that you didn’t want.

GUI LUT – Calibrate your Interface to match your grading monitor with interface luts.

Lighbox SDI output – Send your lightbox to the SDI monitor, they’ve also added grading controls to this view.

Saving and Applying Tracking data and Keyframes in Stills – I’ve wanted this for so many years and they’ve delivered. This will make my life so much easier!

Enhanced Blur – The blur now goes up to a million! For those that needed stronger blur the new blur is 10x stronger and perfect for blurring out faces and logos—pair this up to the tracker and you have a powerful new combination

Editing and Finishing Enhancments

As I’m not best at judging the editing features I’ll keep it to the ones that impressed me the most.

On first impression Resolve is now a full on editing system. I’m not an editor but playing around with it seems like you could now use Resolve 10 as a full offline and online finishing system.

One Trim Tool

A great thing even I as a non-editor love is the fact that there is only one tool for trimming. You move your cursor between the top, bottom and sides of the clips and it will change from slip, roll and there is even a nudge tool in there.

Optical Flow

Finally we have great-looking time warp options in Resolve. I grade a ton of music videos and time remapping is a killer for me. The optical flow looks great and gives us lots more options to stay within Resolve for all our finishing needs.

Titling

The titling tool is still a work in progress but from what I tried out It felt like its a solid foundation for all your titling needs. At the moment the functionality is similar to the titling tool in FCP.

Audio

Audio is now fully editable in Resolve. Imagine how it works in all NLE’s and you’ve got it. As a colorist I’m looking forward to being able to check audio levels and adjust them for mastering and I’m sure it will be a great option to have on those tight deadlines.

DCP Creation

Resolve can now read and write Jpeg 2000 files. If your working in the world of DCP creation this will be a great addition to your life. The best news about this is if you also own Easy DCP, Resolve will interface with Easy DCP and give you all the options you have in that tool directly in Resolve. I’m looking forward to trying this out!

Conclusion

Resolve 10 is a beefy release.

There is so many new features that literally everything is now better, easier and faster in Resolve. I love the new creative options and choices that we have and backing that up with a huge range of workflow improvements has turned this from a great release into an amazing release.

I’ll be demoing Resolve 10 at the BMD booth from about 10 or 11 until 3pm. So stop by the booth and I’ll be happy to give you a demo.

One thing I know: When NAB ends this week and I go back to using Resolve 9 on Monday morning I’ll be missing almost everything about 10. Resolve 10 is expected to ship in Q3 of this year.

Don’t worry: You can rely on the MixingLight team to stay on top of Resolve 10 and share our insights as we discover them!

– Dan

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

Avid offers first Symphony 6.5 free trial!

Avid offers first Symphony 6.5 free trial!

As the first quarter of 2013 winds down (where did that go?) we say goodbye to some fantastic offers from Avid. But if you missed out on their massive Symphony 6.5 discount because you weren’t sure Symphony was for you, we’ve got good news: there’s a free trial out. 

Avid Symphony and Nitris DX

You can now head over to the Avid site and download a free 30-day trial of Symphony 6.5 or Media Composer 6.5. Okay, so you don’t get access to Symphony’s full complement of Boris Continuum Complete plug-ins, but you can get used to massive timesavers like ScriptSync and PhraseFind, and if you have a Nitrix DX interface you can use the Universal Mastering toolkit to give your projects an extra polish.

Download your 30-day free trial of Media Composer 6.5 or Symphony 6.5 here.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news and reviews, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

DaVinci Resolve: a User’s Eye View

DaVinci Resolve: a User’s Eye View

As Resolve makes its way onto the Mac, we find out why DaVinci devotee and certified Color trainer Warren  Eagles (he’s the one on the left) thinks it’s worth making the move…


What kind of projects do you grade with Resolve?

I have been using Resolve since 2006, grading mostly commercials and movies. I am currently working on a 13-part Australian drama, plus various music videos.


Why do you use Resolve?

Resolve helps to make my job easy. It’s very fast, so I can show clients lots of different looks – including blurs and framing changes – in realtime. From a business perspective we can only bill our clients when we are grading, so the faster we can render and output our material, the quicker we can start on the next job.

Practically, I use a Window on nearly every shot and Resolve has shortcuts that make that very fast, so I can be as creative as possible and still work quickly.

Aside from the realtime playback, what makes Resolve stand out for you?

There’s a cool feature that allows you to grab a still to use as a reference frame, but keep the node tree history of the clip the still came from. This tree can then be broken down and each individual node can be dragged to a new clip, so if you’ve got a great sky colour and shape on a still, you can just drag that node onto the current shot and the effect is applied for you.

Resolve is also very happy manually keyframing or using a mixture of auto and manual tracking, and the tracker is faster and more reliable than the ones you’ll find in other applications.


How does it handle multiple timelines and EDLs?

Really well. If you have five versions of a commercial, you can conform them all, then grade the longest version. If any shots appear in the cut down versions, they’ll automatically be graded to match in their own timeline. So if you’ve spent a day grading a show and the cut changes, you can just re-conform and the grades will fall into their new place.


Do your clients like it?

Yeah, there are some big client pleasers. A tool like Powergrade, which lets me pre-build looks, save them and then apply them in any session to any format or resolution, is good for this. If the client’s searching for something different, I can show them different looks at the start of a session.


It’s quite a complex system – how have you found the controls?

I have always been a DaVinci user, so found the transition from the DaVinci 2K to Resolve fairly easy. The UI could be more flexible, but the different needs of the commercial colourist and the feature colourist mean the UI is sometimes a compromise for both guys.

The Resolve control surface looks complicated, but there is a reason for all those buttons and knobs. Each function has a dedicated set of controls, so the framing can be done with its own set of buttons, which are entirely separate from the Power Window buttons. Having these different controls helps my sessions run smoothly.

How does it compare to other colour correction systems you’ve used?

The tools are very colourist friendly. I like to work with an audio guide track, and Resolve enables me to bring in a WAV file that matches the show I am grading.

It has unlimited nodes, so I’m not restricted to eight secondaries like in Color. It’s faster to pull colour keys and make Power Windows, something I do all the time, and of course Resolve has YUV controls so you can adjust the contrast of the picture without affecting the saturation.


Which tools do you miss most when you’re using other systems?

Grading the timeline in C or A mode. If I’ve conformed shots in Resolve, I will always switch to C mode before the clients come in. This means everything is in shooting/timecode order, so shots are naturally grouped together: all the wide shots are now back to back, as are the close-ups. I then colour the shots I need before switching back to A (edit mode), and all the grades fall into place in the context of the cut. This is very easy to do and extremely useful.

I’m also a big fan of Versions, which you don’t find in other programmes – if I need to make a different grade for a skin pass or a car plate pass, I can add it to a clip as a Version and it will automatically get rendered to a folder with the source timecode and the name I gave it.


Are there any situations when you wouldn’t recommend Resolve?

Color probably wins if you’re doing simple primary grades and roundtripping from Final Cut. Color’s secondary curve controls are good – I’m using them more and more – and the Color Effects room is very useful. It does add to the render time, though…

Still not sure if DaVinci’s for you? Take a look at Resolve’s specs. You can also call us for more information on 03332 400 222, email DaVinci@Jigsaw24.com or take a look at our full broadcast range.

To get in touch with Warren, visit www.icolorist.com or call +61421603111.