NAB 2015: Blackmagic Design Announces DaVinci Resolve 12, To Come in July

by Karin Gottschalk1 Comment

Blackmagic Design announced version 12 of its industry-leading color grading plus editing software package DaVinci Resolve and the list of additions and improvements seems as lengthy as the list of new features and updates that went into Resolve 11.

DaVinci Resolve continues to advance well beyond the dedicated color grading suite that it was when Blackmagic Design bought DaVinci back in 2009. Blackmagic’s Grant Petty engineered major disruptions to the post-production industry when he acquired Resolve then radically dropped its price. He is doing something similar in turning a former grading-only tool into an NLE-plus-color-grading-suite and releasing a free version to boot.

The list of improvements and new features is far too long to reproduce here and the press release below does not cover absolutely everything either. Best to watch the “What’s New” movie on the DaVinci Resolve 12 product page along with its companion shorts on editing, multi-cam editing and color correction. Those who are completely new to Resolve will benefit from working through all of the many product pages that cover each aspect and each room within the software.

If you have held back from trying out Resolve when it was purely color grading software or even in its current version, Resolve 11, now that it contains so many editing features too, then I encourage you to dive in head first to version 12 when it hits Blackmagic Design’s product download page come July 2015. I know others have said so too, but it certainly looks to me that the DaVinci engineers have been inspired by the interface and toolset in Apple’s impressive, very contemporary non-linear editor Final Cut Pro X.

NAB 2015: Blackmagic Design announces DaVinci Resolve 12, to come in July 2015. Click To Tweet

The two biggest differences? Resolve 12 will be available on Windows and Linux as well as Macintosh computers. And version 12’s color grading toolset and improved speed and usability are second to none.

Even if you love FCPX’s magnetic timeline to bits as I do, and have no deep desire to standardize on Resolve 12 for editing, it will continue to be extraordinary value when considered as a giant, self-contained color grading plug-in for FCPX or other NLEs. In both Resolve’s free and paid versions.

Blackmagic Design Announces DaVinci Resolve 12

Via Blackmagic Design Press Release:

NAB 2015, Las Vegas, USA – April 13, 2015 – Blackmagic Design today announced DaVinci Resolve 12, a major upgrade with over 80 new features for professional editing and color grading. This new update includes a new modern interface, multi-cam editing, powerful new media management tools, an entirely new professional audio engine with support for VST/AU plug-ins, shot matching, 3D keyer, new 3D perspective tracker, enhanced curve editing and much more.
 
DaVinci Resolve 12 will be demonstrated on the Blackmagic Design NAB 2015 booth at #SL219.
 
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.

Blackmagic Design DaVinci Resolve 12 image

Blackmagic Design Press Release, continued

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!”
 
Availability and Price
The update to DaVinci Resolve 12 will be available in July for download from the Blackmagic Design website free of charge for all current DaVinci Resolve customers.
 
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

(cover photo credit: snap from Blackmagic Design)


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Comments

  1. justjacksonn

    BlackMagic owned the show this year. Last year, the Ursa was “underwhelming” to me due to it’s size, cost and same 4K sensor. This year, holy moly they came out with a big bang! Not only does it upgrade to 4.6K sensor, it picks up 120fps in RAW at that size.. that alone may be worth the cost of the camera, although it’s still too big for my taste. Then comes the Mini.. and WOW everything the big boy is minus a few screens. This is the camera to beat in my opinion. $5K for the 4.6K camera body.. only two things are a “why did you do it this way”. First, while I realize the camera is already a fantastic deal (barring any issues with the actual 13 to 15 stops sensor not being true 13 to 15 stops.. e.g. the 4K 12-stop was reported to be a “True” 7 stop or so DR), but the shoulder/mount package for 400 bucks, while very nicely done, I think should be part of the package. Ultimately you’re going to buy it because you’ll want to mount this camera to a tripod anyway, and with the dual functionality of just clicking it off the tripod and propping it right up on your shoulder, complete with non-OLED eye piece included with the camera, it’s a no brainer that everyone (or at least most) will buy this option. So why not just include it..maybe up the price a little..but I doubt those items cost $100+ to manufacturer. The second thing is the 60fps vs the Ursa 120fps. If they are the same brain/sensor, with the same dual card recording feature, why limit the mini to 60fps? The only reason is to have a reason to spend 2K more and buy the big camera. I bet that if they upped the speed to 120fps, this camera would sell 100 to 1 over the big Ursa camera. Maybe even 1000 to 1. The big one only adds a few more screens (that I can see) but weighs way more, requires a much more expensive tripod to hold it, etc. I am not a movie producer myself… but the workflow seems “odd” to me that you would have 2 to 3 people hovering around a camera for audio, video, etc. It seems more likely you’d be seeing someone on set with a stand-alone audio recorder (sound designs anyone?), and possibly a line out from the external to the line in on the camera just to have better audio sync in post production.

    Next up..the small micro cameras. Both are incredible devices.. with the only issue being..why make the 4K a stream only and not record it? Is it because the SD cards can’t record 4K? I would have thought ProRes 4K would allow for a 95mbs SD card to record it, but maybe I am wrong. I only say that because mounting the 4K camera on a Drone like the 1080P version would be incredible if it could record. Maybe there is a way to stream the 4K to a remote recorder and all is not loss. Still.. it’s also a shame it’s not the new 4.6K sensor, but for the price.. no way could they do that or they may lose sales to the Mini Ursa! :D

    I am curious, what does this do for the pocket camera. Will it drop in price for good.. or stay at the $1K mark? I wouldn’t mind getting my hands on one of those for 500 bucks again! Wish I could have at the time! But then you add the MetaBones adapter for 600 and couple fast SD cards and now you’re up to 1500+ anyway.

    Alright, lastly, Resolve 12!!! I have been using Adobe Premiere for way more money than I would ever like to spend cause I don’t use it that often. If only Adobe got smart and allowed us a $3 per month per app deal.. or better yet, an OnDemand option where we pay for what we use.. with it being like 10c per hour of use per app. So looking at what Resolve 12 is bringing to the table, especially being able to run it on Linux.. is VERY exciting. It will be hands down the best Linux editor available soon.. I suspect they’ll get a huge uptake on that alone given how many people love the stability, speed and price of Linux, and often render farms are done in linux anyway. If they can port Fusion 8 to Linux (and not just Mac) in July, having both products run on Linux is insane! Now all I need is a good GTX900 video card (or will my AMD W5000 workstation card with OpenCL be good enough?) and I am possibly able to move off of Windows. I keep Windows around for Adobe + some video games.. with laptops these days more than fast enough to handle most video games..I am thinking my beastly 32GB 8-core AMD + W5000 workstation system might finally be able to move over to Linux for good! Fingers crossed this will be possible!

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