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Blackmagic Adds Retina Macbook Pro Support in DaVinci Resolve 9.1 Update

Blackmagic’s DaVinci Resolve 9 has seen a number of updates since its release over the summer, and even though many have been waiting for the full version that comes with their Blackmagic Cinema Camera, the free version, DaVinci Resolve Lite, is almost exactly the same , with just a few limitations in terms of nodes and resolutions. We’ve featured a few tutorials on the software so far, so if you’re unfamiliar with it, be sure to check them out. Click through for all of the additions in the new Resolve version 9.1.

Here is the list of features added to 9.1:


  • Support for Apple Macbook Retina technology.
  • Support in XML for FCP X Audition.
  • Improved XML integration for better workflows between Resolve, FCP X and Final Cut Pro 7.
  • Integration with DeckLink 4K Extreme.
  • Includes CinemaDNG Input Device Transform (IDT) for grading Raw images in ACES workflows.
  • Ability to generate new AAF for MXF audio renders.
  • Improved chase audio feature allowing specification in either frames or seconds.
  • Support for timeline audio when PowerMastering.
  • Playback support for Sony Raw F55/F5 files.
  • Improved rendering times for Sony CineAlta SStP files.
  • Playback support for the Red Mysterium-X Monochrome sensor (software decode only).
  • Playback and render support for DNxHD 100.
  • New ASC CDL metadata extraction from ARRIRAW headers.
  • Matte clips can now be assigned to multiple clips in the Media Pool.
  • Red Rocket can now be disabled from Preferences.
  • NTSC DV playback supports both 4X3 and 16×9 aspect ratios.

A more in-depth description of the changes from their press release:

DaVinci Resolve 9.1 also features support in XML for FCP X Audition, a popular feature in FCP X which provides the ability to stack and scroll through multiple shots in a single location in a timeline, allowing Resolve users to easily transfer files between the systems for a highly efficient workflow. Improvements in mixed frame rate XML integration will allow better workflows between Resolve, FCP X and Final Cut Pro 7 projects. DaVinci Resolve 9.1 also supports improvements for Avid AAF, Sony XAVC and AVC-Intra files and a number of audio and performance improvements.

The new DaVinci Resolve 9.1 also includes an exciting enhancement for the CinemaDNG file format, as used by cameras such as the Blackmagic Cinema Camera. DaVinci Resolve now includes a CinemaDNG Input Device Transform (IDT) for grading RAW images in full ACES workflows.

DaVinci Resolve 9.1 can also now be used with the DeckLink 4K Extreme, Blackmagic Design’s newest addition to the DeckLink family of PCI Express capture cards. DeckLink 4K Extreme includes all the features of the popular DeckLink HD Extreme 3D card, plus UltraHD 4K playback, which is four times the resolution of 1080HD video.

There are plenty of additions that will make a practical difference for users, like the improved XML workflows and the full ACES support, but the addition that could really make a huge difference is the Retina Macbook Pro support. This means that you will now have the ability to use the software at the native resolution of the screen, so the grading process should be that much more precise on set or on location. We’ve already seen some of the advantages of using this with programs like Final Cut, where a full 1080p video can be playing at 1:1 pixels, while still allowing you some screen real estate to work with.

You can head on over to the support page if you already own the software, or try out the free Resolve Lite to get a feel for the program.

What do you think? Have you been using Resolve 9? If so, what do you think of it, and do you think you are working faster than in previous color grading programs?

Link: Blackmagic Support Center — Downloads

Disclosure: Blackmagic Design is a NoFilmSchool advertiser.

Related Posts

  1. Beginner's Guide to DaVinci Resolve 9 and Blackmagic Cinema Camera RAW CinemaDNGs
  2. Blackmagic DaVinci Resolve 9 Beta Now Available to Download (For Free)
  3. Everything You Need to Know to Get Started in Color Correction and DaVinci Resolve 9

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  • This is great. I have an overall feeling it’s running much smoother now.
    Now all I’m missing is support for AVCHD mts support.

  • anybody know how to create display lut in danvici? the retina display is way off Rec709 so you can’t really use it for serious grading. Blacks are way crushed.

    • The MacBook Pro’s Retina Display has great resolution, but inferior color: sRGB = 99%, NTSC = 72%, AdobeRGB = 67%. The color depth is 6-bit + FRC. Although Blackmagic now supports Retina in DaVinci Resolve 9.1… the Retina’s color reproduction is on the low-end for real color correction and grading.

      Here’s an Eizo Color Edge CG275W for comparison: sRGB = 100%, NTSC = 102%, AdobeRGB = 97% and a color depth of 8-bit +FRC.

  • Blackmagic seems to be THE COMPANY for 2013, these guys are just killing it. They are doing what RED did a couple of years ago. You’ve gotta love this company.

    • Black Magic is not killing it with this update, my computer habitually shuts down after the update, and my viewer for clips is smaller. how is this better?

  • I wonder why Black magic change some of Da’ Vinci key shortcuts in each version ???

  • Could someone give me a brief definition of an ACES workflow?

  • I’ve been using it for grading Cinema DNG files from the Ikonoskop for the last 6 months and the program has only got better, the IDT the ACES colour space and the Bmd colour space give me a great starting point for all my grades and provide a beautiful palette to work with.

    I occasionally use AE and Speed Grade but can never get anywhere near the results usually.. Although AE has a few plugins I still need to use for convenience. The interface although daunting at first with resolve really is fast and initiative. I recommend anyone trying it to buy some online training and learn how to use scopes.. Get use to masks and tracking and experiment, you’ll love it.. Tough I’m certain a lot of my satisfaction comes with using the 12bit 4:4:4 DNG files the Ikonoskop lays down.

  • Good to know…

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