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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40% of All Camera Sensors Sold in 2014 Were Made by Sony

by JamesNYCMay 1. 2015 06:55

Sony is not well known for making smartphones or cameras, but it’s playing a larger role in those industries than than many people may be aware: the company’s image sensor business has been growing in recent years. In 2014, Sony manufactured 40% of all the sensors sold across the globe.

The Wall Street Journal has published a fascinating look at how Sony is banking on image sensor manufacturing as one of the core pillars of the company. Instead of focusing on selling Sony-branded electronics, as the company did in past decades, Sony is now working at getting its technologies inside other companies’ hit products.

For example, every iPhone 6 contains two camera sensors made by Sony, and every sale of the phone generates up to $20 for the company, according to the WSJ report.

The latest iPhone and Samsung Galaxy smartphones both contain Sony camera sensors.

Back in February, Sony sorted its different businesses into three tiers depending on priority. Image sensors was placed into the highest tier, and Sony says it’s investing over $1 billion in its sensor factories in order to meet global demand. Sony’s camera business fell into the middle tier.

Although its own cameras may not be the company’s top priority now, photographers have a friend at the top: Sony’s CEO, Kazuo Hirai, reportedly refers to himself as a “camera nut.”

It just remains to be seen whether Sony can remain the leader in image sensors in both quantity and quality. If it can, Sony will have established itself as one of the cornerstones of the world of digital photography.

 

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Sony introduces two updated zoom lenses for its A-mount camera systems

by JamesNYCApril 23. 2015 14:29

Today, Sony lifted the veil on two new Zeiss zoom lenses to add to its lineup of A-mount glass. The two new lenses are the standard zoom 24–70mm F2.8 ZA SSM II and the wide-angle zoom 16–35mm F2.8 ZA SSM II.

Both the 24–70mm F2.8 ZA SSM II and 16–35mm F2.8 ZA SSM II rely on the same optical formula as their predecessors. However, as similar as they are in build, a number of improvements have been made across the board, making them more than worthy enough of their ‘Mark II’ nomenclature.

The first difference is an improved subject tracking function, which is said to be 4x better than their predecessors thanks to changes made to the quiet, SSM (Super Sonic wave Motor) autofocus drives and associated electronics used inside the two lenses.

New coatings have also been applied to the Zeiss optics, which are said to further reduce ghosting and flaring in images.

Lastly, both lenses are now dust and moisture resistant, which should give you a little more piece of mind when taking your gear out in more challenging environments.

The two new models are designed to be used with Sony’s A-mount cameras, including their popular α99 and α77 II models. However, they can also be used with any E-mount Sony cameras with Sony’s LA-EA4 Adaptor.

The new 24–70mm F2.8 ZA SSM II standard zoom and 16–35mm F2.8 ZA SSM II wide-angle zoom lenses will be available June 15th for $2100 and $2250, respectively. You can pre-order yours now at B&H through the above links.

 

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Sony FE 55mm F1.8 ZA Carl Zeiss Sonnar T*

by JamesNYCJanuary 19. 2014 06:25

The Sony FE 55mm F1.8 ZA Carl Zeiss Sonnar T* is one of the first lenses for Sony's fledgling full frame mirrorless system, and designed as a fast 'normal' prime to complement the Sony Alpha 7 and 7R. However at around $999, it costs several times as much as the 50mm F1.4 options for DSLR systems.

The FE 55mm F1.8 ZA Carl Zeiss Sonnar T* is one of the first three lenses available for Sony's full-frame E-mount system, having been announced alongside the Alpha 7 and 7R camera bodies. It's a slightly long 'normal' prime designed for everyday photography, and its relatively fast F1.8 aperture makes it a good choice for selective focus work or shooting in low light. Its 7-element, 5-group optical design includes three aspherical elements to minimise aberrations, which is unusual for this type of lens.

The 55mm is a large-ish lens for its type (it's 71mm / 2.8" long), but even so, when coupled with the A7 or A7R it's still more compact than comparable full frame SLR options (as the cameras themselves are slimmer). It's also decidedly expensive, at around $999 at the time of writing. It's pretty clear that this isn't going to be quite the same proposition as the inexpensive 50mm F1.8 primes available for full frame SLRs - it costs several times as much as the average 50mm F1.4.

The FE 55mm F1.8 can also be used on Sony's APS-C E-mount bodies, on which it will behave like a classic short telephoto 'portrait' lens. However most users of these cameras will probably find theSony E 50mm F1.8 OSS to be a better choice, as it's much cheaper and includes optical image stabilisation, while offering decent optical quality too.

Headline features

  • 55mm focal length
  • Fast F1.8 maximum aperture
  • FE lens for full frame Sony E-mount cameras (also works on APS-C E-mount models)

The 55mm F1.8 lives up to its Carl Zeiss branding, returning truly superb test results on the Alpha 7R. It's extremely sharp, shows little chromatic aberration or distortion, and has entirely acceptable levels of vignetting. In fact it comes very close indeed to the astounding (but $4000) Zeiss Otus 55mm F1.4.

 

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