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DaVinci Resolve 16 and older 15 and 14
  • DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and new fonts that help reduce eye strain and make it easier to work for long sessions. The new interface is scalable and has been designed to look great on high DPI monitors, such as retina displays. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace.

    The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. DaVinci Resolve 12 can synchronize camera angles based on timecode, audio waveforms, or in/out points. The source monitor displays a grid containing the camera angles and plays them all back in sync while the editor makes cuts to the audio and/or video.

    In addition to multi-camera editing, DaVinci Resolve 12 also features several enhancements to the core editing tools. All trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming of clips, even if they’re on the same track. Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer.

    DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback performance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing.

    Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Customers can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer, or by using new “Favorites” for one click access to commonly used media folders on disk.

    DaVinci Resolve colorists will find incredible new tools that give them even more creative grading options than ever before. Resolve 12 improves upon DaVinci’s legendary advanced color science by adding support for DaVinci’s own color managed timelines as well as ACES 1.0 transforms, making it easier to get consistent results, especially when working in facilities with managed pipelines.

    The core grading and color correction tools have also been improved with a new, easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade.

    DaVinci Resolve 12 also now supports remote rendering so customers working in larger facilities can distribute rendering jobs to other Resolve systems that are on the same shared database and shared storage.

    With dramatically improved editing, DaVinci Resolve 12 now has the ability to integrate with other NLEs even better. Edit timelines can “round trip” to other editing software and more of settings, plug-ins and edits are preserved. For example when importing XMLs from Final Cut Pro X, DaVinci Resolve 12 can now import multi-cam clips and preserve all the original camera angles. Also, audio support is greatly improved to match the audio timeline in Final Cut Pro X. This makes collaborative workflows better and allows different people in a facility to use the tools they prefer instead of being forced into an inflexible company wide platform.

    “DaVinci Resolve 12 is an incredible release that we think both editors and colorists are going to love,” said Grant Petty, CEO, Blackmagic Design. “We’ve built in the features customers have been asking for and, with the addition of multi-cam and some of the other great new editing features, we think that Resolve is perfect for both creative editing and finishing. It’s still the only system that lets customers switch from editing to grading with the click of a button, giving them the fastest, highest quality no compromise workflow. Best of all, customers can install DaVinci Resolve Lite and use it on real projects for free. There is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware!”

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  • On keyboard

  • What's new in DaVinci Resolve 16.1.2

    • Support for additional audio track formats for IMF and DCP renders
    • Improved decode and encode performance for Kakadu DCP and IMF formats
    • Support for CUDA based R3D with the latest RED SDK on Windows and Linux
    • Adds Blackmagic RAW support for latest Blackmagic URSA Broadcast update
    • Support for new audio only and video only editing modes on the cut page
    • Added in and out buttons in the user interface on the cut page
    • Support for audio playback when trimming on the cut and edit pages
    • Improved zoom buttons for the timeline on the edit page
    • Improved smart indicator in the cut page for when using in and out points
    • Viewer resize icon on the cut page now correctly resizes the whole viewer
    • Cut page divider between timeline and viewer can now be moved via the divider
    • Close up edits in the cut page now vary the close up from 20% to 40% randomly
    • Search dial is more responsive when using the DaVinci Resolve Editor Keyboard
    • Removed auto jog mode on scroll with the DaVinci Resolve Editor Keyboard
    • Better responsiveness using shuttle with the DaVinci Resolve Editor Keyboard
    • Double press to clear in and out on the DaVinci Resolve Editor Keyboard
    • Improved performance in collaborative projects with multiple DaVinci systems
    • Support for monitor name in the workspace menu display options
    • Support for copy/paste in Dolby Vision mid tone offset values between clips
    • New scripting APIs to move media items, LUTs, markers, copy grades and more
    • Now uses 2 up view in sync bin when using live overwrite editing
    • Fixes a bug that caused the clip dividers in the source tape to scroll with audio
    • Opening the media folder in the cut page will re-sync to that folder contents
    • Multiple performance and stability improvements
  • @MikeLinn Thanks Mike. You got this up quick -only 21 views when I looked

  • Sync Bin really does change everything about multi-cam workflow for me. This is another intelligent addition by Black Magic!

  • Here's a video using the 16 Beta 7 - which is the final version before 16.1

    Essentially it is about how to organise your clip into timelines and compound clips to keep everything logical, titles, scenes, diagrams etc.

    If you've not used the Fairlight section, it is effectively a multichannel mixer and effects processor, the channels are set in the edit page, so if you end up moving stuff around in this page, you could find your audio going down channels you didn't expect - which doesn't happen so much if you get organised with timelines!

  • Resolve 16 beta 7 has been available for about a week now. I have updated after discovering that this is the first version which includes a Resolve 16 reference pdf in the help files. Previous versions have only included the Resolve 15 version. Incidentally I have been finding most of the betas I have tried to be pretty stable.

  • Beta 5 Now available " Jul 03, 2019 5:28 am With thanks to everyone who has participated in the public beta program, today we are pleased to announce that DaVinci Resolve 16 Studio beta 5 and Fusion 16 Studio beta 5 are now available on our support web site. https://www.blackmagicdesign.com/suppor ... and-fusion

    We believe this release candidate is ready for you to migrate to and so we strongly encourage all beta users to update to this beta version as we move closer to GM."" ,,, The beta 5 free version is also there.

  • Today, I had a go with the 'Find People' function of Resolve 16 (B4). I was catergorising a set of video clips from a trade show. I would say that it was 85% effective. Most errors were people in the distance.

  • Here's a walk through of Resolve 16 Beta 3 --- and of mild interest it was completed in R16B4.

    The main takeaway for me is that using Fusion no longer brings a project to its knees - you can continue to work as frames of Fusion are completed in the background.

    The Fairlight section still has some oddities - like I couldn't get presets to work between timelines, but this is minor:

  • DaVinci Resolve beta 4 out. "We strongly encourage all beta users to update to this beta version as we move closer to GM we would like your feedback on beta 4."

    https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=92687&sid=eb210a36d106af7ab639852d30c4e478

  • I got Nikon Z6 few days ago and I wanted to edit test footage in Davinci as it can be a good opportunity to migrate from Premiere. Unfortunately Davinci ignores Z6 mov files and I cant upload them. I did not find anything online except: "same files are not supported but it is easy fix by converting them" LOL

    Update Reinstall helps

  • Resolve 16 - Premiere Pro comparison

  • DaVinci Resolve 16 and Fusion 16 - beta 2 PostMon May 06, 2019 5:18 am https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion

  • Our interview