November 12, 2015

DaVinci Resolve 12.1 Adds New Editing & Color Improvements, Plus 10-Bit Support in OSX

DaVinci Resolve 12 Editing
Today, Blackmagic Design released version 12.1 of DaVinci Resolve, and it's full of new features and improvements for editors and colorists alike.

Most notably, Resolve 12.1 added a number of editing improvements, many of which are focused on efficient media management. In the new version, you will be able to filter clips more efficiently, manage media groups of selected timeline clips, sort bins and footage more easily, and create better filters for smart bins.

Resolve 12.1 also includes support for native 10-bit viewing in the latest version of OSX. Here's an excerpt from today's press release that explains what this means for editors and colorists using the new iMacs with P3 displays.

DaVinci Resolve 12.1 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.

DavinciResolve12MediaPage

Here's the full list of everything that's new in 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 

Version 12.1 is available now, and you can download it from the Blackmagic website.      

Your Comment

14 Comments

Loving the updates, but I can't help but wonder what if they invested this time into the URSA Mini which has slowly degenerated into a myth. Still, guess I'll be moving over to Resolve for my edits soon!

November 13, 2015 at 1:29AM, Edited November 13, 1:30AM

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Samu Amunét
Director
377

Not to bust your balls to much but this comment always cracks me up.
I always picture one dude at these giant companies doing everything.
Getty- 'Jose why is the Ursa late for shipping?'
Jose- 'This week i had to clean the bathrooms'
'Next week I have to work on upgrades for Resolve'
'And the next week I will do a little work on the Ursa'
These large companies have multiple teams working on multiple projects, and the engineers that design and build the cameras probably have zero idea how to right code for Resolve.

November 13, 2015 at 5:21PM

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Timothy Cook
Self employed storyteller.
163

Yeah, a more reasonable complaint would be that they ought to spend more time making Resolve a better stand-alone product. Diverting Resolve development resources into making it an editor sucks for the majority of users, who simply can't or won't dump their current editing software.

On the other hand, I'd love to see a better alternative to Adobe and Apple. FCP X is just a sloppy mitten of a product, and Premiere (like most Adobe software) is essentially an abandoned core with gimmicks periodically glued onto it to dress it up for a new year. Same old defects, some dumb design errors. Same missing audio-effect UI panels in the mixer. And on and on.

November 21, 2015 at 12:42AM

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David Gurney
DP
1402

I'm gonna fully switch to editing in Resolve for small projects, I don't see a reason why not to right now. Might try to edit my new music video in it.

November 13, 2015 at 4:41PM

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Andy Tokarski
Director, Editor, Colorist
1259

Because its performance sucks. I can easily work with ProRes 4K material in Premiere CS 6 on a 5K iMac; even with effects applied, it'll play back smoothly. Resolve won't even play this material back with nothing done to it.

November 21, 2015 at 12:26AM

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David Gurney
DP
1402

To roundtrip to AE in resolve is it still the XML route only?
Now that PProCC supports my RAW files, and has such a beautifully simple system for incorporating AE, Photoshop etc. Its hard to pass that simplicity up for a NLE suite that is still finding its ground. XML is such a pain in the ass IMO.
Anyone completely switch yet from PPro or FCPX to Resolve for all their editing needs?

November 13, 2015 at 7:08PM

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I still find the edit page too clunky. Can't work fast enough in it. I edit now in pprocc and color in resolve. You're right- the XML method is a proper cunt. Pisses me right off. I often find myself exporting a baked timeline and using the auto splitter import. Time waste and not in any way ideal, especially for 2nd/3rd/4th round amendments from picky advertising clients who don't understand the concept of picture lock (i do use the edit page for amendments but importing a baked timeline of course allows no room for handles).
XML import problems I encounter often are inaccurate time code translations. I have no idea how this happens- apparently something to do with drop frame vs non drop frame time code, however I can't seem to find out if the problem originates in camera with the original TC generated or something I've fucked up in premiere. Anyone got any advise here?

November 14, 2015 at 7:12AM

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Mike Keelin
Editor/Colourist
90

Im also listening. Same problems with time code for my a7s while round tripping. Cant linked in any way.

Good news is, I just finished editing a commercial, and its actually a very good interface. Gotta learn the shortcuts etc still. Only real problem I see is After Effects, that might be a lot more work.

November 14, 2015 at 3:25PM

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Gerbert Floor
DP / Director / Camera / Editor
233

Could it be a Sony thing? I'm getting it with F55 footage...
Maybe I should play around a bit more with the edit page - could save a lot of headaches with TC and XMLs. Yeah the lack of AE would be annoying. I opened FUsion the other day but it looked way too confusing!

November 15, 2015 at 5:45PM

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Mike Keelin
Editor/Colourist
90

The workflow is bafflingly inept.

I mean... all you really need to do is finish your edit in Premiere, and then use its media manager to copy all the source files to a folder. You should be able to open all those in Resolve, color-correct them, write them back out, and then reconnect your timeline events to the now-corrected clips in Premiere. This seems like it would be the most common, basic workflow. Yet Resolve makes it a giant pain in the ass.

Also, FCP XML is an incompetent mess. Its structure reveals a total ignorance of not only NLE design, but sensible data design. No wonder that it originated at Macromedia, a purveyor of shitty software on the Mac... and a perfect target for acquisition by Apple. The poor programming acumen and lack of foresight on that team fit perfectly with other design blunders perpetrated by Apple over the years. It's hokey from top to bottom, and now the industry is saddled with this garbage as some kind of "standard."

November 21, 2015 at 12:32AM, Edited November 21, 12:32AM

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David Gurney
DP
1402

All those features seem useless to me, as long playing back media, right after they have been added to the time line cannot be played back.

I did several tests with low res proxy files.
While in Premiere, the added files can be played back in the time line,
in Resolve, I have to wait a couple of seconds before the media get ready to work with. I don't know if there is kind of calculation process runs in the background, but this is an issue which makes edits in Resolve impossible.

And another feature I really like to see here is: Customizable Windows!

Why the hell I have to stuck with that fixed layout?

I need a fullscreen preview on one screen,
while I would like to manage time line, media bins, CC controls etc in way I want and which fits my needs.

November 14, 2015 at 5:18AM, Edited November 14, 5:22AM

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JeffreyWalther
Steadicam Operator
1407

You need to have a blackmagic gfx card to get a full screen output from Resolve like you describe. They are about $130 from B+H

November 14, 2015 at 2:37PM

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Dylan Sunshine Saliba
Cinematographer
114

This should be a standard features as it is in PPro.
And, customizable window layouts should be a standard feature.
And it should be fast.

November 15, 2015 at 3:59PM

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JeffreyWalther
Steadicam Operator
1407

This is my ramble from a previous Resolve post, thought I'd share it here too.. :

I've actually been testing Resolve 12 for the last few projects from start to finish and I'm fairly impressed with the edit page now. Still needs some tweaks and performance isn't quite the same as PPro, also missing some key shortcuts from PPro, (del)including the invaluable "Ripple Trim Next/Previous Edit to Playhead" (http://nofilmschool.com/2013/06/premiere-pro-tutorial-keyboard-shortcuts...)(/del) (Had a discussion about this on BMD Forum and there _is_ ripple trim in Resolve(!) see here: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=30128). But all things considered, for simple edit projects, I'm happy to continue with Resolve, but would probably use PPro for anything more complex edit-wise. Of course Resolve's other strengths are just too good to overlook and will sway my decision heavily on each project..

Just on edit<->grade workflow in Resolve - It just so seamless in the final stages to go back and fort between edit and grade pages and tweak both simultaneously as you need without having to export anything, worry about footage mismatch or having to perform last minute paperclip & chewing gum fixes in Resolve which doesn't match PPro edit etc. There was definitely a moment of 'I'm sure I'm not supposed to be able to do this' followed by pure delight when I first went back and forth between the two pages and seeing all the grade changes in your edit page and tweaking the edit accordingly (even swapping takes if the grade revealed issues).

I know people probably say (as I would've in the past) that you have to have a picture-locked edit before you go to grade, but that's just not realistic these days on sometimes massively evolving projects.

November 15, 2015 at 5:00AM, Edited November 15, 5:01AM

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PJ Palomaki
Cinematographer | Motion Graphics
423