Blackmagic Design release DaVinci Resolve 14.2

Blackmagic Design release DaVinci Resolve 14.2

Headlines in the latest update to Resolve include support for importing audio-only AAF clips, the ability to name Gallery stills with user defined tags, a bug fix for the audio playback issues you may have been having while dynamic trimming, and improved Fairlight keyframe editing and more.

The full feature list is below and contains a wide variety of additions and bug fixes. The download is free, and available now from the Blackmagic Design site.

So what’s new in Resolve 14.2?

Users focusing on audio and Fairlight will be able to enjoy:

–  Added support for the DeckLink 8K Pro monitoring modes.
–  Added support for importing audio-only AAF timelines.
–  Added support for rendering audio handles in Pro Tools round trip mode.
–  Added support for audio playback when performing dynamic trimming.
–  Added support for import and export of Final Cut Pro 10.4 XML.
–  Added support for automatically naming Gallery Stills using user-defined tags.
–  Added support for 16 and 18 fps timeline frame rates.
–  Added support for 95.905 fps timeline frame rate.
–  Added support for more fine-grained preferences for Performance Mode.
–  Improved support for keyframes in the Fairlight page.
–  Added support for listing multiple DeckLink SDI devices with unique names.
–  Added visual indicators for distinguishing between timeline clips without media in the Media Pool and without media on disk.
–  Added the ability to change the playhead position without stopping playback on the Fairlight page.
–  Added support for Enable 2D Timeline Scroll on the Fairlight page.
–  Added support for context menus for markers in the Fairlight page.
–  Added support for automatic creation of a timeline when dragging in an audio clip in the Fairlight page.

There have also been updates to collaborative tools, and several glitches have been ironed out. Blackmagic have:

– Addressed issues with acquiring and releasing the lock for a bin in a collaboration project.
–  Addressed an issue where network connectivity issues could cause unexpected results in a collaboration project.
–  Addressed an issue where a blank node graph would sometimes be displayed when switching between clips in collaboration mode.
–  Addressed an issue where two users could sometimes load a non-collaboration project in write mode without a warning.
–  Addressed an issue where “Update Timecode from Audio using LTC” would not work on clips starting with blank audio.
–  Addressed an issue where retiming an audio clip would sometimes result in audio glitches.
–  Addressed an issue where unlinking linked audio groups with the Pan dialogue open would cause a crash.
–  Addressed an issue where starting or stopping playback would sometimes cause a momentary glitch in the audio on the Fairlight page.
–  Addressed multiple issues with fader behaviour for direct track outputs in the Fairlight track mixer.
–  Addressed an issue where the Fairlight timeline would sometimes show an incorrect number of audio tracks.
–  Addressed an issue where the Fairlight control room widget would sometimes become invisible when resetting a dual screen UI layout.
–  Addressed an issue where JKL playback would not honor the looped playback state on the Fairlight page.
–  Addressed an issue where moving an audio clip would not refresh the keyframe navigation buttons on the Fairlight inspector.
–  Addressed an issue where some Fairlight dial widgets would not reset their values correctly on double click.
–  Addressed an issue where audio EQ band adjustments might be incorrectly saved.
–  Addressed an issue where stopping playback would continue audio output for a few frames on the Edit page.
–  Addressed an issue where LTC timecode output over SDI would not work when playing back on the Edit page.
–  Addressed an issue where the Mute status would not be reflected correctly in the Edit page on a track with automation.
–  Addressed an issue with titles where using certain fonts would result in cropped glyphs.
–  Addressed an issue where bypassing colour grades would bypass OpenFX applied on the Edit page.
–  Addressed an issue where deleting a clip with an OpenFX transition would sometimes crash.
–  Addressed a crash when switching multicam angles if the viewer was in source mode.
–  Addressed an issue where reconforming multicam clips from a bin would not retain the original angle information.
–  Addressed an issue where performing a blade operation on asymmetric linked edits would result in incorrect linking.
–  Addressed an issue where previewing compound clips and timelines in the source viewer would activate the timeline audio meters.
–  Addressed an issue where previewing video-only clips in the source viewer would sometimes be slow on the Edit page.
–  Addressed an issue where importing older projects using a Sony IDT in an ACES workflow would sometimes cause a crash.
–  Addressed an issue with audio playback when applying clip filters on the Colour page.
–  Addressed an issue where Colour Tracing Power Windows from proxy files would result in incorrect window positions.
–  Addressed an issue where copying grades between clips would unnecessarily invalidate the clip source cache.
–  Addressed an issue where bypassing colour grades on speed changed clips would disable the optical flow or frame blending.
–  Addressed an issue with incorrect results when stabilising multiple edits from the same source.
–  Addressed an issue where switching databases would sometimes incorrectly hide the second screen in a dual screen monitor layout.
–  Addressed an issue where GoPro CineForm clips would decode with a watermark applied on Linux.
–  Addressed an issue with decoding some Sony XAVC-I clips.
–  Addressed an issue with incorrect cropping for certain QuickTime ARRI clips.
–  Addressed an issue with colour shifts when decoding certain Panasonic AVC-Intra clips.
–  Addressed an issue where the stereo audio format of some MXF clips was not recognized correctly.
–  Addressed an issue with reading drop-frame timecodes for DPX clips.
–  Addressed an issue when decoding some QuickTime clips with large timecode values.
–  Addressed an issue with colour shifts when rendering stereoscopic 3D clips in side-by-side mode using H.264.
–  General performance and stability improvements.

If you want to know more, 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.

Meet the experts: Phillip Boettcher

Meet the experts: Phillip Boettcher

Many of you will already be familiar with Phillip’s dulcet tones from his time with our tech support team, or have met him while he was our main onsite engineer for media customers, whose Avid storage solutions he has been expertly installing for several years. Now, as a Technical Architect, he helps our customers design their custom workstations, storage setups and rendering solutions. 

High performance

“I spend a lot of time working on high performance storage for editing, and speccing workstations for creatives who need a specific build. If you need rendering workstations to do grunt work around your facility, I can help there, too. I’ve been an ASCR Elite, which is Avid’s highest support qualification, so if you need help putting together your Avid workflow and designing the systems that support it, I’m a good person to ask.”

Disaster aversion

“I definitely think working my way up through tech support has helped me because, having seen how badly things can go wrong, I know all the things that can crop up after a build is complete and the amount of preparation that it’s best to take before diving into a project. When I’m scoping things out with customers, I can see where people have gone wrong in the past, and steer them away from that from the get go.”

The rise and rise of Resolve? 

“I’ve installed and provided workflow advice for a number of quite high-powered Resolve systems in quite demanding post-production environments, so it’s interesting to watch version 14 develop and see the new tools relating to the collaborative workflow emerge. It’s pretty clear that Blackmagic Design want Resolve to become a one-stop shop that you visit when you’re acquiring your media, when you’re starting your edit, when you’re finishing and when you’re colouring, for audio and for delivery – and they’re allowing you to do a lot of it in the free version, without even having to buy the studio version. I know some people will always want to use tried and tested software that their regular freelancers already know, but I wouldn’t be surprised if we saw young talents working their way up as Resolve all-rounders.”

The easiest way to start your asset management regime…

“Avid’s new Media Central Editorial Management is going to be the next big thing that I’ll be discussing with customers who are considering (or already using) the NEXIS storage platform.  It’ll be a really good product for small to medium production businesses who are trying to get things in order from the start, and want to make sure they’re working the right way from the beginning. It has a fair number of integrations with existing workflows, it will be an easy one to incorporate into their setup.”

Future-proofing the media industry

“I like the installs we’ve done for universities, particularly things like the Resolve suite we did at Falmouth. I went in to install that and it was nice to bring that kind of technology to students and see them get into it. Even though it wasn’t all that long ago, the difference between the kit available when I was at university and the things that universities are providing for their students now seems huge; we’re installing Rohde & Schwarz SANs, NEXIS, Resolve, huge storage estates and things I’d never have encountered in education a few years ago.”

If you want to know more, 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.

What are we looking forward to at IBC?

What are we looking forward to at IBC?

Ready for IBC? Our consultants are gearing up for their annual trip to Amsterdam, where they’ll be getting hands-on with the latest releases, meeting our key vendors and finding out what the upcoming year holds for media and entertainment. We asked the team what they’re most looking forward to…

Jamie Allan, Solutions & Business Development for M&E

We’re looking forward to talking to more people about remote connectivity and new methods of collaboration this year. It’s a hugely exciting area of expansion for us and our customers, with many of our preferred vendors bringing updates to enable more advanced connectivity over long distances via public and private networks.

Having worked on some major connectivity projects recently between clients and datacentres, we’re starting to see the huge benefits of colocating or virtualising systems really come into effect on multiple scales. Hopefully at the show we’ll see more vendors embracing this and bringing new solutions to the table.

As usual with a major trade show, we’re expecting our friends at Blackmagic Design to come with some exciting news. Hopefully a full release version of Resolve 14 will be made available, including all the amazing new features we’ve been playing with in beta since NAB.

In conjunction with this, the audio world is anticipating new hardware for Fairlight mixing consoles that will be tightly integrated with Resolve, allowing us to build end to end collaborative workflows for edit, grade and audio mix all in realtime!

Neal Kemsley, Pre-Sales Technical Specialist

I’m looking forward to hearing what Avid have in store for their NEXIS shared storage for media production users. It would be lovely to see more progress on their storage performance capability tiers, as well as built-in tools for migrating data stored in Workspaces among those tiers. Also on my wish-list are some features that have yet to make it to NEXIS, which were lost in the migration from previous Avid products, such as controlled shutdown from an external UPS system and deletion reporting. File access auditing would also be a valuable addition to the product.

I’m also looking forward to hearing about what’s being planned for their Interplay Production Asset Management system, as well as seeing progress on Avid’s Media Central Platform, which I understand has undergone a significant amount of redevelopment work.

David ‘Saxon’ Greenep, Senior Pro Audio Consultant

As the pace of technologies in the audio world continues to grow, I am looking forward to learning about new tech that will further streamline the process of content creation.

I am expecting to see developments in audio over IP as well as DAW and hardware solutions for both Atmos and VR audio. With the new standards available now from Dolby, I will also be interested to see if there have been further developments when it comes to both speaker specifications and speaker calibration systems.

Phil Crawley, Engineer

Although the rush to IP continues apace, some of our higher-end TV and Digital Cinema customers still need the near-zero latency and uncompressed quality that only SDI provides for UHD/4K. I’ll be paying particular attention to Barnfind’s product refresh with their 12G copper/fibre parts. Additionally, Amulet have refreshed their Teradici2 offerings; they uniquely offer external Tera2 parts as well as a soon-to-be-released update for existing customers to monitor their GUI displays at 4K resolution.

Rupert Watson, Sales Director for M&E

As a reseller questing for the latest useful technology on behalf of our customers, we will be out looking for vendors at IBC who are bringing something new to the processes and practice of production and post-production. As technologies advance and merge, we attempt to understand and assimilate new ways of working and to present them to our customers in ways that allow them to make money and prosper from our pathfinding on their behalf.

David Skeggs, Project Specialist

IBC is poised to bring the next round of HDR (high dynamic range) developments and offerings. Ultra HD or 4K coupled with HDR has put a real focus on accurate monitoring within post-production – I’d say now they are more acute than ever before.
Dolby and the BBC have led the development of two very different standards for creating an HDR image, but how has the industry been adopting these? We await to see what updates the monitor manufacturers bring around the wider colour gamut and greater bit depths. Equally, it will be interesting to see how manufacturers have been adopting HDR within products, supply chains and workflows.

Graham McGuinness, Operations Director for M&E
IBC is set to deliver hopefully more complete versions of some of the previews we saw at NAB earlier this year. Of particular interest will be remote editing and cloud-based offerings from manufacturers looking to meaningfully move significant elements of the post-production process online, and drive its potential development as a managed service model. Coupled with the push to high resolution and HDR, it’s going to be an interesting show as always.
Phillip Boettcher, Technical Architect for M&E
At IBC I’ll be most interested in checking out the latest updates to version 14 of Resolve, including any new tools around collaboration and shared projects. There’s a lot of potential in what we have seen so far from shared project databases and networked Resolve suites, but I would like to see more administrative control for this branch of the product now.With the qualification of a new line of servers for Resolve, it is going to be exciting to see the improvements to performance that v14 will bring on the latest hardware. I am also excited to see announcements from storage vendors, such as Ardis for DDP, and look at ways we can utilise their products to enhance our Resolve solution offering.
Want to meet the team?

If you want to meet up with one of the team to discuss your needs, how new releases could fit into your workflow, or what changes you need to make to take advantage of upcoming technologies like those behind remote collaboration, just get in touch on the details below. Who knows, they may even buy you a beer.

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.

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

From the 6th to the 8th of June, Blackmagic Design will be hosting a pop-up event at 19 Greek Street, Soho (W1D 4DT, for the satnav crew).

Doors will be open from 10am till 6pm every day except Wednesday, when they’ll be staying open late so you can mingle with your fellow Blackmagic Design users,

What’s on? 

Blackmagic are offering you the chance to see the exceptional new DaVinci Resolve 14 (to recap: 10 times faster than before, new editing and colour correction tools, full Fairlight audio post production and multi-user collaboration), and to get hands on with their DaVinci Resolve Micro Panel and DaVinci Resolve Mini Panels.

They’re also running free three-hour Resolve Training Classes twice a day – places for these are limited and likely to fill up fast, though.

There will also be the chance to try out the Blackmagic URSA Mini Pro in an indoor garden set, and of course you’ll be able to put all your questions to the Blackmagic team.

What’s it cost? 

Nothing. Nada. Zip.

Where do I sign up? 

You can register to attend here.

If you want to know more, 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.

Jason Bourne finds his (visual) identity with DaVinci Resolve!

Jason Bourne finds his (visual) identity with DaVinci Resolve!

Our good friends at Goldcrest Post recently completed the beautiful grade and complex online using DaVinci Resolve Studio at their glorious London facility, utilising advanced collaborative features to streamline the process on a project where one reel weighed in at over 1000 cuts!

The world-leading team at Goldcrest provided Universal with full picture post services including a full HDR 4K grade using their end-to-end Resolve pipeline built on the turnkey Linux Hero systems provided by Jigsaw24.

For the feature, the Goldcrest team provided full post-production services for director Paul Greengrass, with Sinéad Cronin and Rob Pizzey, respectively, delivering the online edit and grade. “Working on the project together in DaVinci Resolve Studio allowed us a great deal of fluidity, and we were able to collaborate closely throughout,” reveals Cronin. “I could conform and work on the online edit in Resolve’s Media and Edit pages, whilst Rob could render a grade on the Color page at the same time.”

 

435-bourne1

Cronin explains that the seamless DaVinci Resolve Studio workflow was critical. “There’s so many action-packed scenes, with extended chase sequences and set pieces, so the scale of postproduction was huge; for example, one of the reels had more than 1,000 cuts. Timescales were tight, and I would work on a section of the online edit, knowing that Rob would be in the theater ready to grade with the client. Everything we did in Resolve was in real time, which really helped us to work to a tight deadline.”

Having previously collaborated with Greengrass and cinematographer Barry Ackroyd on a number of films, colorist Pizzey already had an extensive understanding of how the team wanted to use the grade to enhance the action. “In ‘Jason Bourne,’ there are sequences in Las Vegas, Athens and Berlin and an important part of the grade was to differentiate the mood and feel between these locations…but to ensure the overall aesthetic of the series remained in evidence,” he explains.

Jason Bourne (2016)

“Barry and I worked during preproduction to produce templates in Resolve from test footage, which would then act as a base for Barry to check his lighting on set, and for processing the rushes. Deploying Resolve at the preproduction stage meant that when we came back together to do the final grade, the sessions were extremely smooth and productive.”

The grade was also used to enhance the film’s editing, particularly in the action sequences. “One of my favorite sequences in the film to grade takes place in Athens, which was shot entirely at night. As the action is on the streets, which are filled with layers of smoke, and a fire unfolds, the edit intercuts scenes from a CIA control room,” explains Pizzey. “I kept the CIA room very cool and clinical, with a blue palette to differentiate from the warm, realistic riot scenes. Using Resolve’s grading toolset with some shape work, I was able to reflect some of the warmer tones from the screens in the control room back onto the actors’ faces. It was a very subtle, but extremely effective contrast within a key sequence.”

435-goldcrest

The Goldcrest team worked in full 4K throughout the project, and also deployed DaVinci Resolve Studio’s new high dynamic range capabilities to deliver the film in HDR for the first time. “HDR isn’t just a new delivery format, it’s a fantastic creative playground for production teams to deliver a completely new experience to audiences. These capabilities, combined with the NLE toolset and grading capabilities, make DaVinci Resolve a complete story telling device,” concludes Pizzey.

For more information on how we can help you design, build and implement DaVinci Resolve Studio systems, get in touch with our experts (the same guys who helped Goldcrest of course) by emailing davinci@Jigsaw24.com or calling 033s2 409 306.

Blackmagic Design release DaVinci Resolve 12.3 update

Blackmagic Design release DaVinci Resolve 12.3 update

The latest update to world-renowned DaVinci Resolve platform has been uploaded for all platforms this week, here’s a run-down of whats new:

– Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on Windows.

– Added Media Storage context menu option to directly add storage locations without opening Preferences on Mac and Windows.

– Ability to add Media Storage locations without restarting Resolve on Mac and Windows.

– Added support for reading Reel Names in OpenEXR media.

– Added decode support for Sony MPEG2 video files.

– Added support for ARRI RAW sharpness when using the ARRI Full Res Debayer.

– Added support for smaller font sizes on burn-ins.

– Added support for keyboard shortcut for loop on the Edit Page.

– Improved HEVC/H.265 decode performance on Mac in DaVinci Resolve Studio.

– Improved H.264 decode performance on Windows.

– Improved Varicam, MPEG4, AVC and AVC-Intra MXF decode performance on Mac and Windows.

– Improved compressed OpenEXR decode performance.

– Added support for RED SDK v6.1.

– General performance and stability improvements.

As we’re now on the countdown to NAB2016 we cant wait to see what new toys the guys are working on behind the scenes. In the mean time, you can check out the latest version by downloading from Blackmagic’s support site here.

Check out our DaVinci Resolve mini-site here to see our recommended specifications, customer stories and more news about Resolve! Or get straight in touch by emailing davinci@jigsaw24.com!

The all new improved DaVinci Resolve 11.1.3 update is here

The all new improved DaVinci Resolve 11.1.3 update is here

Blackmagic Design have released a brand new software update for DaVinci Resolve. Version 11.1.3 brings a load of performance improvements and enhancements, as well as Rocket-X support, and is available to download now for free for all DaVinci Resolve and DaVinci Resolve Lite users.

Here’s what’s new:

– Improved Media and Edit page playback performance.

– Improved tracker stability.

– Improved render stability for long renders.

– Improved trace intensity for scopes.

– Added Rocket-X support for Monochrome clips.

– General performance and stability improvements.

And those all-important system requirements…

Minimum system requirements for Mac:

– Mac OS X 10.8.5 Mountain Lion.

– 12GB of system memory is recommended and 8GB is the minimum supported.

– Blackmagic Design Desktop Video version 10.1.1 or later.

– CUDA Driver version 6.5.18.

– NVIDIA Driver version – As required by your GPU.

– RED Rocket-X Driver 2.1.19.0 and Firmware 1.3.19.7 or later.

– RED Rocket Driver 1.4.36.0 and Firmware 1.1.17.3 or later.

Minimum system requirements for Windows:

– Windows 7 Pro 64 bit with SP.

– 112GB of system memory is recommended and 8GB is the minimum supported.

– Blackmagic Design Desktop Video version 10.1.1 or later.

– NVIDIA/AMD Driver version – As required by your GPU.

– RED Rocket-X Driver 2.1.19.0 and Firmware 1.3.19.7 or later.

– RED Rocket Driver 1.4.36.0 and Firmware 1.1.17.3 or later.

Minimum system requirements for Linux:

– CentOS 5.4.

– 32GB of system memory is recommended and 16GB is the minimum supported.

– Blackmagic Design Desktop Video version 10.1.1 or later.

– NVIDIA Driver version 331.67.

– RED Rocket-X Driver 2.1.19.0 and Firmware 1.3.19.7 or later.

– RED Rocket Driver 1.4.36.0 and Firmware 1.1.17.3 or later.

DaVinci Resolve 11.1.3 is available to download now from the Blackmagic Design website.

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