DaVinci Resolve 12.1: Remote Rendering, Native Display Support & More

by JamesNYCNovember 10. 2015 13:34

With the release of DaVinci Resolve 12, the former color suite has turned into a full blown NLE. This has been further expanded with version update 12.1; giving editors the ability to select clips when using the blade tool, extend freeze frames, use faders on generators and titles, perform negative time-code offsets and much more.

Since it's initial release in September(2015), DaVinci Resolve 12 has been downloaded by more customers than any other version of the NLE software and has become the industry's fastest growing video editor. DaVinci Resolve is now used on virtually all major films, television shows and commercials! "We've listened to feedback from professional editors and colorists and are excited to give them this free update which includes even more of the features they've been asking for!"

Here is a list of the many changes in 12.1:

  • Remote rendering on DaVinci Resolve Studio
  • Support for native display color 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

 

DaVinci Resolve 12.1 is available now as a free update to both versions of DaVinci Resolve. You can find the download for it at www.BlackmagicDesign.com

 

Blackmagic Design Announces DaVinci Resolve 12.1 Update Now Available

Fremont, California – November 12, 2015 – 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 color 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 colorists 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 colorists, DaVinci Resolve 12.1 update adds the ability to color 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 color, 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 colorists 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 color 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

About DaVinci Resolve 12

DaVinci Resolve 12 is the only software that lets customers edit, grade and finish projects all in a single tool. DaVinci Resolve lets professional editors work in a comfortable, familiar way while also giving them an entirely new toolset, along with DaVinci’s legendary image processing technology, that will help them cut and finish projects at higher quality than ever before. The familiar multi track timeline, customizable interface and keyboard shortcuts make it easy for editors to switch to DaVinci Resolve 12. Best of all, with DaVinci Resolve 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.

DaVinci Resolve Versions

DaVinci Resolve 12 is available for Mac, Windows and Linux computers with 3 versions available:

DaVinci Resolve 12 is free for customers to download and is a full professional editing and color grading system that is suitable for independent users working on SD, HD and Ultra HD projects. The free version supports all of the same file formats and has the same exact image quality as the paid version of DaVinci Resolve. The free version is designed for editors and colorists who need a dependable and professional tool to grow their business.

DaVinci Resolve 12 Studio is $995 and has all of the same features as the free version, but also adds support for multiple GPUs, 4K output, motion blur effects, temporal and spatial noise reduction, 3D stereoscopic tools, remote rendering, and collaboration tools that let multiple users work on the same project at the same time. DaVinci Resolve 12 Studio is recommended for professional studios and collaborative workgroups.

DaVinci Resolve Advanced Panel is $29,995 and includes the Linux, Mac and Windows version of DaVinci Resolve 12 Studio, along with the award winning DaVinci Resolve hardware control surface. Designed with input from professional colorists, the DaVinci Resolve Advanced Panel lets colorists manipulate multiple parameters simultaneously, giving them more control and creative options than is possible with a standard mouse and keyboard.

Availability and Price

DaVinci Resolve 12 and DaVinci Resolve 12 Studio are available now for download from the Blackmagic Design web site free of charge for all DaVinci Resolve customers.

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Watch a Video Walkthrough of the Canon XC10

by JamesNYCMay 8. 2015 13:19

Canon XC10 is a compact form-factor camera with a 1” sensor that shoots 4K UHD to Cfast and 1920×1080 HD to SD cards in Canon's new XFAVC codec.

There's a built-in 24-240mm equivalent lens with a manual zoom and face detection when shooting video. It runs on LP-E6 batteries, offers a 3.5mm jack microphone input and has a maximum ISO of 20,000.

Intriguingly it's also useable as a stills camera and has a mechanical shutter for taking 12MP stills in photo mode. There's also an articulating attachment for the rear screen that turns it into a viewfinder for judging focus when shooting handheld.

Canon plans to ship the camera in June for $2,499.

Canon's Paul McAniff gives rather lack luster run down on the new Canon XC10. We can only imagine how much more informative this video could have been IF Canon had properly informed and trained there sales rep.

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The Changing Face of Avid: Audio is king and Media Composer is free

by JamesNYCApril 28. 2015 11:59

 

RedShark News' David Shapton reports from Avid's press conference this weekend which heralded several important announcements and updates.
He writes, "The Avid press conference on Saturday morning was a fascinating confirmation that we live in a time of extreme technological change and that Avid is now an IT company - and it makes more audio than video hardware. It also announced first thing on Monday morning that it's spending around $60m buying realtime graphics company Orad...Essentially, with the exception of its hardware, Avid's products are becoming services, available from the internet."

Read the full story here.

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Avid Announces Free Version of Media Composer

by JamesNYCApril 13. 2015 22:47

Avid recently announced a free version of it’s popular video editing software. Media Composer | First is coming sometime in 2015, but has released some information on what to expect.

Media Composer | First will be a trimmed down option of the full version of Media Composer. The concept is to make video editing more accessible to those just learning or who do not have the funds for purchasing a full NLE.

Just how limited will it be? Well, one thing to note is that there will be a limited number of projects available, projects will be stored in the cloud, and there will be limited cloud storage space. Additional project and storage space will be available as an extra purchase. Avid does have a FAQ up on their website, and had this to say about limitations of the software:

READ MOE HERE

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Canon Responds to Format Trends

by JamesNYCApril 13. 2015 12:59

 

Larry Thorpe of Canon U.S.A.’s Imaging Technologies & Communications Group, Professional Engineering & Solutions Division has been listening to the company’s camera and lens customers.

“I see three major format sizes dictating most of what is being done with lenses and cameras today: the large-format, Super35, there’s no question that’s very hot. And good old 2/3-inch is rock solid in applications like sports and still a lot of broadcast studios, and some ENG and EFP. And then down in the small format, the 1/3-inch and variants on that, we see it still briskly growing, especially in broadcast news.”

Canon is a player in lenses for all three of the camera types he mentioned, but only makes digital video cameras in the large-format and 1/3-inch sensor arenas.

Canon recently introduced three new DSLRs: the EOS 5DS and EOS 5DS R, which pushed open a new era of still camera resolution with 50 megapixel sensors, and the EOS 7D Mark II, with a host of still photography tools such as the ability to shoot 20-megapixel still photos at 10 frames per second.

“Of course that does not have much bearing on the video capabilities,” said Chuck Westfall, advisor, Canon U.S.A.’s Strategic Research & Development, Future Product & Solution Plan Division, “but we’re seeing that there’s a tremendous level of interest in these cameras as general purpose tools that can do more in terms of high resolution for stills, while maintaining full HD capability.”

 

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Red's latest 'Weapon' is an 8K full-frame camera

by JamesNYCApril 13. 2015 12:35

Red launched the first mainstream 4K camera when 1080p seemed like overkill, and now that this whole 4K thing might work out, it's got an 8K RAW model. The Weapon 'Vista Vision' features a mind-boggling 8,192 x 4,320, 35-megapixel sensor that can do up to 75 fps, widescreen 8K. The chip is also 40.96 x 21.6mm or Vista Vision-sized, considerably larger than the full-frame sensor on a camera like the Nikon D810. Video can be recorded in RAW and scaled-down ProRes formats simultaneously, just as with the company's 6K Weapon models.

So, how much does it cost to be on par with Peter Jackson and James Cameron? A helluva lot. If we're reading the (rather confusing) pricing correctly, you'll need to order the company's 6K Weapon Woven CF "brain," or bare camera for a cool $49,500, then add another $10,000 for the 8K sensor upgrade. That makes $59,500 by our counting, plus whatever your accessories, storage and lenses cost. The upgrade price is only good until the end of NAB on April 16th, after which time it'll be $20,000. If you already own a Red Scarlet or Epic camera, you can get credits in various amounts towards the Weapon models.

Other specs are still unknown, as is the exact shipping date. Red actually launched its 6K Weapon camera just a few months ago, and it's still not shipping. We're not sure who exactly needs 8K, since there aren't a lot of TVs out there in that format -- but it might look great blown up to IMAX size. Red said the sensor would arrive by the end of the year.;

8K VISTA VISION FORGED WEAPON from RED Digital Cinema on Vimeo.

 

See more video - RED at NAB 2015

 

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At $2,500, Canon’s New 4K Camcorder Is Actually a Bargain

by JamesNYCApril 10. 2015 12:43

Most of Canon’s camera designs are pretty straightforward. But the company has also thrown some interesting and super-weird models into the mix over the years: The tubular 35mm film Autoboy Jet, the submarine-themed PowerShot D10, and the buttonless and belt-buckle-sized PowerShot N among them. But 99 times out of 100, Canon’s design sense skews conservative.

 Not this time, and it’s nice to see that Canon can still bring the funk. The new Canon XC10 ($2,500) splits the difference between a camcorder and a camera, although Canon is billing it primarily as a camcorder. The company says the XC10 was built with roving journalists in mind. It captures 4K video and 12-megapixel stills with its mechanical shutter and 1-inch-type sensor—the same size sensor found in Sony’s RX100 cameras and AX100 4K camcorder. This time, that imager is baked into a body that looks like it should be comfortable to use when shooting both stills and video, and that’s a rarity.

 Sensor size isn’t the only trait this hybrid video-and-photo machine shares with Sony’s hardware. Its adjustable swiveling handgrip and unique body hearken back to retro jams such as the Sony Cybershot DSC-F828 and its predecessors. The XC10 is a little more advanced, though.

 At its highest resolution setting, it captures 3840×2160 video at 30 frames per second. It will also record 1080p clips at up to 60fps, and 720p clips at up to 120fps for those slow-motion sequences. For the Ultra HD video, the camera uses Canon’s proprietary XF-AVC codec, which is also used in its just-announced Cinema EOS C100 Mark II professional camera. Here’s the kicker: That codec supports a bitrate of up to an insane 305Mbps. That should mean absurd detail.

In order to handle all that data per second, the XC100 won’t work with your average SD card to capture 4K video. It uses a CompactFlash-sized CFast 2.0 card—a 64GB SanDisk card and reader is included with the camcorder—although you can use SDHC/SDXC cards for 1080p and 720p recording.

 

It’s a fixed-lens camcorder, making it sort of a step-down non-interchangeable companion to the CX100 series, and its optics range from 24mm wide angle to 240mm telephoto (10X) with a maximum aperture of F2.8 to F5.6 at the respective ends. Manual focus is adjustable via a control ring around the lens, and there’s a physical mode dial and control wheel on the grip for tweaking manual, shutter-, and aperture-priority controls. An adjustable 3-inch tilting touchscreen around the back lets you tap to focus and access deeper menu selections, and there’s a separately sold clip-on unit to turn that screen into an EVF.

One thing that’s missing for anyone thinking about picking this thing up as an independent-filmmaking tool: There are no XLR mic inputs. There are stereo mics built in, and a hot shoe on the top of the camera for other lower-end mics, but you’ll need a step-up Cinema EOS camera for XLR.

Compared to those higher-end EOS cameras, the $2,500 XC10 seems like a bargain. Just keep in mind that it has a much smaller sensor than a full-frame 4K-capable shooter such as the EOS-1D C. And compared to Sony’s similarly sensored 4K Handycam AX100, it’s a thousand dollars more. Just like it splits the difference between a still camera and a camcorder, the XC100 will also split the difference between a consumer camcorder and a professional-level model when it comes out in June.

 

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Using the New Film Tools in Magic Bullet Looks

by JamesNYCApril 9. 2015 13:08

Magic Bullet Suite 12 includes the all-new Magic Bullet Film, an easy-to-use effect that gives your footage the real look of motion picture film, thanks to hundreds of feet of 35mm film we shot, processed, scanned, and measured.

This film simulation is also included in Magic Bullet Looks, where we broke it into two separate Tools — one for simulating camera negative stocks, and one for print film stocks. You can use these together, or on their own, and optionally in combination with the other powerful Tools in Looks. Here's how.

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DaVinci Resolve 11 and Resolve 11 Lite Rleased by BlackMagic today

by JamesNYCJune 27. 2014 02:55

BlackMagic’s DaVinci Resolve has for along time been the industry leader in color grading software for movie industry professionals. When the company released the free version of Resolve lite several years ago movie makers around the country began to take notice, and began using it on independent or  low-budget projects; from music videos to feature documentaries.

What’s New

The release of DaVinci Resolve 11 beta, now delivers a full featured non-linear editing system (NLE) to manage everything from media management through editing and grading through finishing, all in one powerful, high-end system.

Editing in Resolve 11

For those movie makers whose NLE loyalty remains with Adobe Premiere Pro or Apple’s Final Cut Pro X, Resolve 11 brings improved round trip collaboration features. These allow indie directors cutting their movies in PPro and FCP X to easily move their edit to a post-production company for final color grading and finishing. Perfect when independent documentaries and features find backing for mainstream release.

Color Grading in Resolve 11

BlackMagic DaVinci Resolve 11 Enhancements

Resolve 11′s improved collaboration workflow tools enable editors and colorists to work on different workstations simultaneously while sharing the same timeline. This allows feature film and television creative teams to work faster and in sync.

BlackMagic has also improved DaVinci Resolve 11′s color correction tools. Its new color grading and RAW image controls will be especially welcomed by stills photographers who are in the process of becoming digital cinematographers and directors.

This new version includes controls already familiar to RAW photo processing software users - highlight and shadow recovery, mid-tone detail enhancement, color boost, saturation, lift, gain and contrast. Some hybrid stills/video photographers have reportedly been using Resolve Lite for stills images. This new version should tempt many more to do that and apply it to their video footage too.

DaVinci Resolve 11 has now also become an on-set asset management tool through secure backup and saving of your digital camera files via its new clone tool. The tool copies memory cards, media drives and camera packs to multiple back up drives at the same time. Clone backups can be done with DaVinci Resolve Lite 11 on your Mac Book Pro or Windows laptop or through DaVinci Resolve 11 full version in your video village.

These enhancements are just the tip of the iceberg. For more information go to the BlackMagic Design DaVinci Resolve pages. If you are new to DaVinci Resolve, it's a good idea to get a feel for things by trying out the full version by downloading DaVinci Resolve 11 Lite.

Compare the features of DaVinci Resolve

Learn more about DaVinci Resolve 11

Learn more about DaVinci Resolve 11.0 Beta

Learn more about DaVinci Resolve Lite 11.0 Beta

Compare DaVinci Resolve 11 Beta with DaVinci Resolve Lite 11 Beta

DaVinci Resolve 11 Configuration Guide

DaVinci Resolve 11 Manual

DaVinci Resolve Keyboard Shortcuts

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