NAB 2016: Blackmagic Design launches DaVinci Resolve 12.5!

NAB 2016: Blackmagic Design launches DaVinci Resolve 12.5!

Our friends over at the Resolve development team have done it again! This year’s NAB release of Resolve has over 250 new features and 1000 enhancements and bug fixes. The new features range from downright incredible to improving your day to day experience, saving time and bringing the sort of tools we’ll need for the next generation of content creation requirements.

Some of our favourite headline features include:

Fusion Connect Send clips straight into fusion from the timeline.

Resolve FX Included effects for colourists and editors to enchanted projects further – Film Grain, Lens Flares, Lens Blur, Light Rays and others.

HDR Lots of amazing HDR features in here.. Extended HDR grading controls, HDR scopes, HDR support for 16bit cache formats and HDMI 2.0a metadata, manually define nit level to which you are grading, more transform and colour space controls.

Clip Retime Effects are now adjustable using a Retime Curve in context with the timeline clip.

Log tools Redesigned and improved Log grading controls with a Project Setting option to switch between legacy and new behaviour.

Resolve Colour Management Now includes a checkbox and dropdown menu to separate gamut and gamma options.

Edit Sizing Now includes Lens Distortion Correction

DCTL Added support for DaVinci Color Transform Language, .dctl for user defined color transforms – DaVinci Resolve Studio only.

This is only scratching the surface of the extensive new and improved features in Resolve. You need to see it to believe it!

You can download the 12.5 public BETA today! Check it out here and see the ReadMe for the entire list of updates and features

We will be hosting some of our friends from Blackmagic to present and demonstrate 12.5 at a number of upcoming events, so be sure to get in touch if you’d like more information when these are announced.

In the meantime, we can arrange demonstrations of 12.5 at our Soho grading suite as soon as we’re back from NAB! For more information get in touch with us on and visit for information on how we can help you build and support your Resolve system!

Online Creative look to Resolve for TOWIE ident on-set, edit and grade

Online Creative look to Resolve for TOWIE ident on-set, edit and grade

Brighton-based Online Creative Ltd are an boutique post facility with an enviable reputation for colour grading, editing and post, and a client list that includes the BBC, ITV, C4, Sky, IWC Media and ITN.

Recently, they took on the job of creating idents for Select Fashion, sponsors of The Only Way Is Essex, and decided to edit and grade the project almost entirely within DaVinci Resolve. We sat down with co-founder and senior colourist Darren Mostyn to get his take on the new, extended Resolve workflow.

Darren in Online Creative's Grade suite
Darren in Online Creative’s Grade suite


Can you outline the workflow you employed for the TOWIE project?

We edited and graded the Dancing On Ice sponsorship idents last year for ITN and had a lot of fun with those, so when the same director asked if we would work on the TOWIE idents we were more than happy to. The production company, Eclectic Motion based in London, approached David Ward to direct the series of nine sponsorship idents for their client, Select Fashion. After meeting us at our studio here in Brighton, Eclectic Motion were very happy for us to complete the entire post, from DIT and on-set grading through to the edit, graphics, colour grade and delivery.

Managing colour on set

Managing colour on set

How are you finding using Resolve for more of the creative workflow than just grading?

The entire post-production for the TOWIE sponsorship idents was managed through DaVinci Resolve Studio. Due to the incredibly tight turnaround of this job, we simply stayed in the software for the edit, grade and delivery. The Blackmagic Design team have radically upgraded the edit capability of Resolve since version 12 was released. Having played with the editing software over the last few months, we were confident that the job could easily be edited inside our grading software, saving us time versus switching between Avid for the edit and Resolve for the grade.

Online Creative's on-set Resolve edit/grade setup

Online Creative’s on-set Resolve edit/grade setup

The rushes were all shot in 4K mainly from a Sony FS7. We took our portable grading suite to the shoot and were immediately able to edit with Resolve without any transcoding, playing back in real time. We then applied looks on set to show the client, director and to assist DoP Mark Bader. Using the advanced editing functions in Resolve allowed us to quickly build some first assemblies, which would help us get ahead in the four days left for the edit. Once back in the studio, we simply connected the suites to the on-set project.

Which features of Resolve were most useful on this project?

I still think Resolve is a world class system for colour grading, but now with better-featured editing functionality I can easily make edit changes even if I have started the grade. The trimming functionality of the edit side has been well thought out and feels mature. I was very aware that on this project that there would be a point where we had to start the grade, even without a final picture lock, as the broadcast delivery deadline was so tight. The changes that were made were easily applied by simply switching to the edit page. Traditionally, I would have had to open the edit suite, make the changes, export the AAF/XML and then Resolve would re-conform the edit changes, but now it is completely seamless.

The completed edit in Resolve

The completed edit in Resolve

Were the clients aware of your heavy Resolve usage? Did they give any feedback on it?

Eclectic Motion and Select Fashion were really pleased we came on set and provided a look and rough edit straight away. It gave them confidence at the shoot that it was going to look great, especially as it was Select Fashion’s first TV spot. The grade back at our studio is always a good experience for the client. They were impressed with the speed of the system in 4K, and the tracker always gets a smile.

Before and After Darren's grade

Before and After Darren’s grade

We used Resolve to do some fixing where parts of the set were showing carpentry joins. The node sizing tool came in very handy to use as a paint/clone tool that was then easily tracked. The client was very aware that doing this outside of Resolve would have been an extra expense and taken up valuable time. It’s always great to be able to offer up these additional fixes to clients whilst keeping them on budget.

How does Resolve compare to your previous system?

I have been using Resolve here for over six years now. I previously graded using Digital Vision’s FilmMaster, Avid Symphony and Apple Color. I started grading on Resolve using the Tangent Wave control surface for about a year before committing to the full dedicated panels after deciding the software was a perfect tool for our broadcast needs – in addition to TVCs and idents, we grade documentary and longform work, so the control surface is a very important part of our set up. We now have a Tangent Element which runs on our second grading suite and is used on our portable kit.

Mid-grade in the Resolve suite

Mid-grade in the Resolve suite

What made you decide it was time to move more of your workflow into Resolve?

The Resolve software is always being developed and refined, and each year a new set of features appear that makes our workflow here smoother. Being a smaller facility than most of our Soho counterparts means that we have to give the very best quality service to keep ahead of the game. We need our software to be affordable, able to handle any job in HD and 4K resolution, and reliable – DaVinci Resolve ticks all these boxes and many more.

How did you find working with Jigsaw24? Would you recommend us?

We have bought the majority of our equipment from Jigsaw24. We had an issue with a new iMac that we ordered a little too close to a deadline. The machine caused a few problems and turned out to have a fault. Jigsaw24 replaced it and collected the faulty machine immediately without any hesitation, keeping us on track for our deadline. My clients expect us to pull out all the stops when needed, and so did Jigsaw24 on this occasion.

The fact that we are a small boutique facility in Brighton does not deter the team at Jigsaw24. They don’t treat us any differently to the big facilities, and that service goes a long way for me. Jamie and the team at Jigsaw24 certainly know their stuff in the world of post-production and are a valuable resource for me when compiling a shopping list.

Are you planning on sticking with this workflow for other projects? Are there any circumstances when you wouldn’t recommend it?

The Resolve workflow was completely flawless on the TOWIE/Select Fashion project. There are more projects in the diary that I will certainly implement the same workflow.

The lack of freelance editors with Resolve on their CV may be off-putting to some companies, but I am sure it won’t be long until freelance editors start trying the edit functionality in more detail and adding it to their list of NLEs. I don’t think it will be too long before we receive someone else’s programme edited entirely in Resolve to grade. To be able to simply open the Resolve project and start grading, bypassing the XML workflow altogether, will be great – I don’t know anyone who actually enjoys pre-grade conforming. I’d be interested to see how Resolve fares when editing longform programmes, which we’ll be looking at very soon.

Check out our DaVinci Resolve page to find out more! Or email our experts here: For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Book a Blackmagic Cintel Scanner demo!

Book a Blackmagic Cintel Scanner demo!

We are offering free demos of Blackmagic’s Cintel scanner at our Soho service and customer experience centre! Don’t miss a perfect opportunity to see this outstanding piece of kit in action, demonstrated by our Blackmagic Design experts.

Cintel’s first 4K Scanner with Thunderbolt has revolutionised 35mm film conversion. 35mm film is natively 4K, guaranteeing a beautiful viewing experience. The device scans both negative and positive 35mm film in top quality Ultra HD, allowing you to unlock never before seen resolution potential.

About Cintel scanner:

The scanner is built to remain vibration-free, with its main deck ensuring seamless film handling.

Its light design allows it to be wall mounted.

– Built in conjunction with the latest Blackmagic Design image processing technology, the Cintel Scanner comes equipped with a high-speed Thunderbolt 2 port – perfect for transferring 4K video between your Mac as part of your colour correction system.

– The device works in conjunction with DaVinci Resolve software, delivering an entire spectrum of colour correction features and ensuring a world-class film scanning and grading solution.

– The Cintel Scanner comes with built in Image Mill stabilisation and grain reduction, a 35mm film gate, two film spools, a set of four cleaning rollers, desk mount feet and, of course, DaVinci Resolve 12. What more could you want?      

Our Soho demo space

We’re experts in Blackmagic Design products, and even won their Outstanding Achievement Award – we’re pretty proud of that one. Our expertise makes us your go-to guys for a Cintel scanner demo, so get down to our service and customer experience centre in Soho and check it out for yourself.

What else do we offer?

We’re proud to offer a whole array of demos up and down the industry from AVID’s Pro Tools | S6 and S3 control surfaces, to Blackmagic’s DaVinci Resolve, and leading cameras.

If you’d like to know more, give us a call on 03332 400 888 or email broadcast@Jigsaw24.comFor all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

CES2016: UHD Alliance present ‘UHD Premium’ standards for UHD and HDR

CES2016: UHD Alliance present ‘UHD Premium’ standards for UHD and HDR

The UHDA, formed a year ago, comprises of the biggest players in the global content creation and distribution industries. Their primary goal is to “Define a next generation premium audio-visual entertainment experience”, and at CES 2016 they have announced their first major step.

The UltraHD Premium ‘standard’ is not a format, like we have from the SMTPE for colour spaces (BT.2020, REC.709 et al), but as explained by UHDA President Hanno Blass – who is chief technology officer at 20th Century Fox – it is “…parameters that define the quality of the experience.” This is great news for content creators and consumers. Those of us looking for a UHD TV in the coming months will start to see this logo being used to show that the model complies with various requirements covering resolution, bit depth and colour spaces.

Blass provided the following details on these specifications that manufactures will have to meet to be legible for licensing the logo onto their devices:

UltraHD Premium Logo
UltraHD Premium Logo


“The UHD Alliance has developed three specifications to support the next-generation premium home entertainment experience. The three specifications cover the entertainment ecosystem in the following categories:

– Devices (currently, television displays, with other devices under consideration)

– Distribution

– Content

A high level overview of each technical specification can be found below. Please join the UHD Alliance for full access to all technical and test specifications.


The UHD Alliance supports various display technologies and consequently, have defined combinations of parameters to ensure a premium experience across a wide range of devices. In order to receive the UHD Alliance Premium Logo, the device must meet or exceed the following specifications:

– Image Resolution: 3840×2160

– Color Bit Depth: 10-bit signal

– Color Palette (Wide Color Gamut)

– Signal Input: BT.2020 color representation

– Display Reproduction: More than 90% of P3 colors

– High Dynamic Range


– A combination of peak brightness and black level either:

More than 1000 nits peak brightness and less than 0.05 nits black level


More than 540 nits peak brightness and less than 0.0005 nits black level


Any distribution channel delivering the UHD Alliance content must support:

– Image Resolution: 3840×2160

– Color Bit Depth: Minimum 10-bit signal

– Color: BT.2020 color representation

– High Dynamic Range: SMPTE ST2084 EOTF

Content Master

The UHD Alliance Content Master must meet the following requirements:

– Image Resolution: 3840×2160

– Color Bit Depth: Minimum 10-bit signal

– Color: BT.2020 color representation

– High Dynamic Range: SMPTE ST2084 EOTF

The UHD Alliance recommends the following mastering display specifications:

– Display Reproduction: Minimum 100% of P3 colors

– Peak Brightness: More than 1000 nits

– Black Level: Less than 0.03 nits

The UHD Alliance technical specifications prioritize image quality and recommend support for next-generation audio.”

These specifications will help consumers choose TV sets and other devices capable of showing the highest quality content which has been created to the same high specifications laid out by the industry leaders.

It will also influence the workflows and technology being chosen by production and post-production companies to make sure their content meets the standards being put together by the UHDA group.

UHDA Board Members at the CES Press Conference. From Left to right: Victor Matsuda (Sony), Masahiro Shinada (Panasonic), Bryan Barber (Warner Home Video), Mike Dunn (Twentieth Century Fox), Ron Sanders (Warner Home Video), Man Jit Singh (Sony), Hanno Basse (Fox), Michael Bonner (Universal), SP Baik (LG), Michael Wise (Universal), KG Lee (Samsung), Mark Turner (Technicolor), and Mahesh Balakrishnan (Dolby)
UHDA Board Members at the CES Press Conference. From left to right: Victor Matsuda (Sony), Masahiro Shinada (Panasonic), Bryan Barber (Warner Home Video), Mike Dunn (Twentieth Century Fox), Ron Sanders (Warner Home Video), Man Jit Singh (Sony), Hanno Basse (Fox), Michael Bonner (Universal), SP Baik (LG), Michael Wise (Universal), KG Lee (Samsung), Mark Turner (Technicolor), and Mahesh Balakrishnan (Dolby)


If you want to find out more about how Jigsaw24’s expert consultants can advise you on workflows and technologies around UHD and HDR content capture and creation, please get in touch with our team by emailing

HBO’s Game Of Thrones graded with DaVinci Resolve at Chainsaw, LA

HBO’s Game Of Thrones graded with DaVinci Resolve at Chainsaw, LA

Here at Jigsaw24, we’re huge fans of HBO’s adaptation of George RR Martin’s fantasy series, so you can imagine our excitement to see the teaser poster be released by HBO this week for Season 6! In doubly exciting news, we can also share the news announced by Blackmagic Design, that Game of Thrones has been graded exclusively on DaVinci Resolve since 2012.

Joe Finley of Chainsaw Post Production, based in Hollywood, has been creating the multitude of rich looks required for the show using Resolve’s extensive feature set ideally suited for high end, long-form drama.

Winterfell, a key location from HBO's Game of Thrones, has maintained a specific cold, bitter look to reflect its location and the terrible luck its residents have had!

Winterfell, a key location from HBO’s Game of Thrones, has maintained a specific cold, bitter look to reflect its location and the terrible luck its residents have had!

Joe explained that the use of different color palates takes you on a journey and allows the viewer to know exactly where they are throughout the seven kingdoms of the realm.

Joe relies on DaVinci Resolve’s custom curves, secondaries, keyer and compositing to help create the nuanced looks and colors of the show. And he is able to show different looks in real time. “Resolve is fast, and this is part of why I love using it. It works in real time with no rendering, which is very helpful if I have to show different looks,” said Joe.

While nuanced color is important for distinguishing between locations and storylines, for the overall look of the show, Joe is tasked with delivering a very rich film look. “Regardless of the theme of the episode and whether we are going for a vibrant or muted color, I always give the footage a real film look. The highest possible feature look you can get without actually shooting on film,” said Joe.

In Stark contrast to Winterfell (mind the pun), the location of Dorne has a much richer and warmer palette to reflect the warmer weather and differing attitudes of the location and its people

In Stark contrast to Winterfell (mind the pun), the location of Dorne has a much richer and warmer palette to reflect the warmer weather and differing attitudes of the location and its people

“When working with LOG material, you need a great starting point to give it a film look. The ability to use the LOG rhythmic side of color correction in harmony with linear, regular color correction to manipulate the whites and the blacks is a tool in Resolve that I use constantly,” Joe concluded. “DaVinci Resolve never hinders you creatively, it only enhances.”

If you want to learn about our DaVinci Resolve solutions, including the same high-end systems used on shows such as Game of Thrones, drop an email to For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook. Game of Thrones Season 6 launches on HBO in April 2016 (we can’t wait).

Suffragette uses Blackmagic Design’s DaVinci Resolve Studio for grading

Suffragette uses Blackmagic Design’s DaVinci Resolve Studio for grading

On the 2nd November 2015, Blackmagic Design announced that historical drama film Suffragette was graded by Goldcrest Post Production, London on DaVinci Resolve Studio. Here’s the press release from Blackmagic Design.

Opening the 59th BFI London Film Festival, Suffragette is the first feature film to tell the story of women’s right to vote, and united colourist Rob Pizzey with director Sarah Gavron and cinematographer Eduard Grau.

Not shying away from the violent aspects of the movement’s struggle, Grau and Pizzey were influenced by Saul Leiter in developing the film’s distinctively gritty style, shot on 16mm film and digital. A DaVinci Resolve plug-in, called Neat Video, was used in conjunction with a separate plug-in written by Pizzey so that the team could adjust the level of grain in real time, based on Gavron’s feedback.

“Suffragette is a wonderful film and thoroughly deserving of its place at the London Film Festival, it’s fantastic news and makes me feel very proud,” said managing director at Goldcrest Post London, Patrick Malone. “We have always been fortunate in terms of the diversity of projects we work on and it’s particularly rewarding when the more cerebral titles achieve exposure and acclaim.”

Also highly critically acclaimed was this year’s Hollywood remake of Macbeth starring Michael Fassbender and Marion Cotillard, which saw Goldcrest Post London colourist Adam Glasman work with director Justin Kunzel and cinematographer Adam Arkapaw to create a film filled with palpable brutality, surreal hallucinatory scenes and stylised colour jumps that broke all the grading rules using DaVinci Resolve Studio.

Instead of fulfilling his normal role as a colourist, seamlessly matching the colour of every shot in a feature, Glasman deliberately made colours jump between shots for Macbeth, intentionally ensuring they didn’t match to bring audiences the classic Shakespeare play as they’d never seen it before.

“This is an intensively competitive business requiring us to maintain the highest standards of service to uphold the reputation we have all worked so hard to achieve. Any lapse in these standards, particularly when working on high profile titles such as Suffragette and Macbeth, could be extremely detrimental to the business,” Malone concluded. “Resolve has become the lynchpin of our workflow, allowing us to design an exceptionally reliable and efficient picture pipeline. We now have a process that effectively satisfies the editorial and delivery requirements of a project, while providing directors of photography with an incredibly powerful finishing tool.”

Check out our range of Blackmagic Design products here, or browse our DaVince Resolve hardware and configuration page here. Want to know more? Give us a call on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.