Blackmagic Design updates DaVinci Resolve to 17.3

Blackmagic has updated it’s DaVinci Resolve software to 17.3.

The big feature is 3x faster with Apple Silicon M1 enabling 8k editing and grading. As well as H.265 encoder enhancements.

It also includes the ability to rotate garbage mattes.

Another great sounding free update. Can’t wait to give it a try.

Chadwick Shoults and his creative video tips, 10 Mind Blowing Tips to Edit Faster in DaVinci Resolve is a must view

I stumbled across this video and was literally blown away. Great tips, and a must listen.

And you can check out his site Creative Video Tips, and his tutorials are awesome, you can also see his videos directly on YouTube. Well worth the time to check out if you use DaVinci regularly.

Some videos by Daria Fissuon who wrote black magic design training on DaVinci Resolve 17

Daria Fissuon literally wrote the DaVinci Resolve 17 Training Guide, and she has some great tips and tricks for using DaVinci.

From Casey Faris

Aslo from Casey Faris’s YouTube Channel

And this one from Craig Beckta at FStoppers which I need to watch again, because she goes into how to setup and export your videos to deal with the Mac Color shift, which is huge!!!!

OWC on which used Mac for Video Users

Brian Levin at Other World Computings Rocket Yard Blog has a great article on the pros and cons of various used Macs for video editors.

A great article and something to consider because of the lack of pro M1 computers with more than 16 GB of combined ram, and the possibility than sone plug ins or software might not yet work in an M1.

Video Editor Chris Salters with 2 levels if remote Collaboration Worklows for any budget

Trailer editor Chris Salters has posted 2 remote collaboration workflows, one free and one including a second computer. Great to see an almost free solution and a much more robust solution as well as solutions better than Zoom though much more expensive (starting at $399 a month). 

I like that he sets up a solution that will work with other programs as well.

The budget solution creates a new video monitor which means you are eating more of your precious video memory, which worries me a little, but for screening should be ok.

And the other solution requires another computer and some hardware, so might be more for where companies can provide hardware.

Adobe Desperately needs to enable reading of iXML in Audio Tracks in Premiere Pro

 

Adobe Premiere Pro desperately needs to add support for iXML audio date for secondary audio in Premiere Pro. Currently when you add your external audio in Premiere Pro you get zero of the Metadata that the Audio Recordist has added, you just get the audio.

This is the same Audio in DaVinci Resolve, in which the engineer has added Mix and TrkA and TrkB to the metadata! Why can’t we see this in Premiere?

Being able to see which track is what would make my whole life so much easier. Especially with lav and boom and mix. If the data is there, Premiere Pro should be able to read it for sure, and export it for the mixer to see as well.

Now this is in various places on Adobe Voice, but I have voted for them all but this hasn’t gotten enough votes for sure. 11 votes here. 5 Votes here. And 20 votes here.

Adobe please add ability to see both video and audio waveform in viewer window like DaVinci Resolve

 

Now as full fledged editor I still much prefer Adobe Premiere Pro over DaVinci Resolve. DaVinci Edit is functional, but just doesn’t feel as fully functional, and I like that I can setup the windows on Premiere Pro however the hell I want to, while I am much more forced into how they want me to do it on DaVinci, and that is my big complaint with Final Cut Pro X, engineers forcing you to do things there way. Also I am not a big fan of the new Cut Page. It feels very Final Cut Pro X to me. Yes I like how you can quickly scan through a folder as if it is a single sequence, but the actual editing is just not how I edit, and I would much rather have an edit control surface for the Edit page than for the Cut Page.

That being said there is certainly one feature in DaVinci’s Edit page that is far superior to Premiere Pro’s the Monitor window and the ability to overlay your Audio on the video either in zoomed in or the full audio. To activate this click on the 3 dots on the upper right of the viewer window and you can seelct either show zoomed Audio Waveform or Show Full Clip Audio Waveform. 

Premiere is either or, and you can do that in Resolve, but I just find this so much faster.

Either Video

Or audio in Premiere

But both together is such a time saver! Please Adobe I hope they adopt this soon.

There are over 500 votes for this at Adobe Voice, but if you agree please add your opinion. This is a timesaving feature that I really love and would love to see added to premiere.

BlackMagicDesign updated DaVinci Resolve to version 17.2

 

BlackMagicDesign has updated DaVinci Resolve to version 17.2

These are the new features for the Studio Version.

What’s new in DaVinci Resolve 17.2

  • Dramatically improved application startup performance.
  • Live save is now on by default.
  • Support for custom naming for individual timeline clips.
  • Support for adding transitions by double clicking or dragging to viewer.
  • Support for decoding AV1 clips on Windows.
  • Accelerated AV1 decodes on supported Intel, NVIDIA and AMD platforms.
  • Support for decoding MKV clips.
  • Support for exporting IMSC-1 compatible TTML captions in IMF clips.
  • Support for option to include project name subfolder in media management.
  • Support for pasting HDR and color warper attributes in the Color page.
  • Support for Fusion template bundles.
  • Support for applying and managing crossfades in the Fairlight timeline.
  • Support for a batch fade and crossfade editor in the Fairlight page.
  • Support for persisting Fairlight edit mode between application restarts.
  • Support for moving audio clips to match timeline timecode position.
  • Support for setting handles when performing audio only renders.
  • Support for controlling track processing order in the Fairlight mixer.
  • Support for accessing Fairlight patch and link in the edit and deliver page.
  • Ability to show or hide specific audio I/O ports for patching in Fairlight.
  • Support for Fairlight console firmware 1.6 with full FlexBus mixing support.
  • Improved waveform displays in the Fairlight timeline.
  • Improved auto scroll behavior when dragging clips in the Fairlight timeline.
  • Support for ACES color science 1.2.
  • Support for selecting per-clip ACES DCTLs from context menu.
  • Support for new IDTs for the Canon EOS-R5 cameras.
  • Option to use white point adaptation in project settings for RCM workflows.
  • Option to use white point adaptation in Resolve FX color space transform.
  • Support for codec passthrough when rendering IMF JPEG2000 clips.
  • Support for trimming Sony Raw and XAVC MXF in media management.
  • Support for reading gyroscopic metadata on Sony Venice clips.
  • Ability to update RMD metadata files for R3D clips.
  • Improved spatial and temporal deinterlace quality.
  • Improved curves range display for position and zoom on the edit timeline.
  • Improved color management for Blackmagic RAW Gen 5 color science.
  • Improved decode performance for 8K H.265 clips on Apple Silicon systems.
  • Improved scripting API with the ability to import custom frame sequences.
  • Improved scripting API with the ability to delete timelines.
  • Improved scripting API with the ability to query current page.
  • Improved scripting API with the ability to add generators and titles.
  • Improved scripting API with the ability to specify render alpha options.
  • Improved scripting API with the ability to switch layout presets.
  • Improved scripting API with the ability to quit the application.
  • Improved iXML data support with AAF export workflows.
  • General performance and stability improvements.