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Steve Connor
OT Resolve 14
on Apr 24, 2017 at 1:40:00 pm

BMD press conference will be on shortly but a number of pictures have been appearing on forums showing that it now has a "Fairlight" tab!


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Steve Connor
Re: OT Resolve 14
on Apr 24, 2017 at 4:14:37 pm

Press conference streaming live now! https://www.blackmagicdesign.com


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Steve Connor
Re: OT Resolve 14
on Apr 24, 2017 at 5:01:13 pm

Price drop for full Resolve Software to $299!


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David Mathis
Re: OT Resolve 14
on Apr 24, 2017 at 5:05:37 pm

Is their a cost to upgrade the current Studio version?


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Ricardo Marty
Re: OT Resolve 14
on Apr 24, 2017 at 6:41:56 pm

[David Mathis] "Move to Apple Final Cut Pro X Forum"

$299.00 for ver. 14, currently in beta or for the 12.5.
Good thing there is no dongle required.

Ricardo Marty


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Shawn Miller
Re: OT Resolve 14
on Apr 24, 2017 at 5:05:37 pm

[Steve Connor] "Price drop for full Resolve Software to $299!"

The audio and performance enhancements are insane!

Shawn



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Craig Seeman
Re: OT Resolve 14
on Apr 24, 2017 at 5:25:28 pm

[Shawn Miller] "The audio and performance enhancements are insane!"

Now we know how they're using their Fairlight acquisition.



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Tim Wilson
Re: OT Resolve 14
on Apr 24, 2017 at 5:27:48 pm

[Craig Seeman] "[Shawn Miller] "The audio and performance enhancements are insane!"

Now we know how they're using their Fairlight acquisition."


Yes to these! I'm blown away! And the drop to $299?!?! And the UPGRADE of the FREE edition to basically include everything except collaboration.

I've just posted the press release: https://news.creativecow.net/story/888317

Read carefully. Be sitting somewhere safe before you begin.


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Steve Connor
Re: OT Resolve 14
on Apr 24, 2017 at 5:39:28 pm

Free version doesn't include some of the effects including that cool new Face Tracker! Can't think of a reason NOT to buy the Studio version at that price though!


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David Lawrence
Re: OT Resolve 14
on Apr 24, 2017 at 6:27:32 pm

[Steve Connor] "Can't think of a reason NOT to buy the Studio version at that price though!"

Yes! This is crazy good news!!!

_______________________
David Lawrence
art~media~design~research

linkedIn: http://lnkd.in/Cfz92F
vimeo: vimeo.com/album/2271696
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facebook: /dlawrence
twitter: @dhl


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Ricardo Marty
Re: OT Resolve 14
on Apr 24, 2017 at 6:46:55 pm
Last Edited By Ricardo Marty on Apr 24, 2017 at 7:30:28 pm

For 299. (or free) you get fusion advance and fairlight. Plus a powerfull nle.

Wonder what's happening in the minds of the powers that be at adobe or avid?

Now davinci will be everywhere that counts.

Kind of makes adobe production apps look like a lesser product. except PS and AE


Ricardo Marty


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Gerry Fraiberg
Re: OT Resolve 14
on Apr 24, 2017 at 8:00:39 pm

[Ricardo Marty] "Kind of makes adobe production apps look like a lesser product. except PS and AE"

And then there is Affinity Photo as a Photoshop alternative.

https://affinity.serif.com/en-us/photo/

- Gerry Fraiberg
Media Handyman - videographer, editor, photographer, voice over artist.
______________________________________________
http://www.visionandvoice.ca
❖ ❖ ❖


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Morten Ranmar
Re: OT Resolve 14
on Apr 24, 2017 at 8:51:52 pm

But exchanging AE with Fusion is not quite as easy...

- No Parking Production -

Adobe CC2014, 3 x MacPro, 3 x MbP, Ethernet File Server w. Areca ThunderRaid 8


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andy patterson
Re: OT Resolve 14
on Apr 26, 2017 at 8:41:11 am

[Ricardo Marty] "For 299. (or free) you get fusion advance and fairlight. Plus a powerfull nle.

Wonder what's happening in the minds of the powers that be at adobe or avid?

Now davinci will be everywhere that counts.

Kind of makes adobe production apps look like a lesser product. except PS and AE"


It makes the offerings from Apple look like a lesser product as well. You forgot to mention that. How come?

BMD has come a long way. Perhaps BMD will invest in photo editing and graphic design software before Apple. That is what you might want to be concerned about especially if BMD can allow for seamless integration. Don't act like Apple is untouchable. Having said that for some Adobe will still be the way to go and for others Apple will still be the way to go.


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Andrew Kimery
Re: OT Resolve 14
on Apr 27, 2017 at 5:27:24 am

[andy patterson] "It makes the offerings from Apple look like a lesser product as well. You forgot to mention that. How come? "

I think Apple gets a pass from 'needing to worry' because Apple doesn't need the creative market in order to keep the lights on. Adobe and Avid, on the other hand, do so a race-to-the-bottom software price war could impact Adobe and Avid greatly yet not impact Apple at all. I mean, Apple could start selling X for $0.99 and the overall revenue drop would probably be a fraction of a percent to Apple's overall bottom line.


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Scott Witthaus
Re: OT Resolve 14
on Apr 26, 2017 at 12:46:49 pm

[Ricardo Marty] "or 299. (or free) you get fusion advance and fairlight. Plus a powerfull nle.

Wonder what's happening in the minds of the powers that be at adobe or avid?
"


What Symphony should have been. Can' be happy in Avid-land, but they did release their free starter version, MC|First.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Ricardo Marty
Re: OT Resolve 14
on Apr 26, 2017 at 4:10:48 pm

Quite true but how can they justify the cloud model for video production in light of what bmd offers? These tools are already in most post houses and editing facilities. Not to mention pricing What about the collaborative features. (dont use these)

I think adobe will have to start giving out a free version to compete. avid has just started with composer and protools free

Ricardo Marty


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Daniel Frome
Re: OT Resolve 14
on Apr 27, 2017 at 1:29:26 am

[Ricardo Marty] "Wonder what's happening in the minds of the powers that be at adobe or avid?"

We are learning to edit on Resolve, that's what.


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Brian Seegmiller
Re: OT Resolve 14
on Apr 24, 2017 at 10:13:37 pm

If DaVinci Resolve keeps doing these updates they may just as well be king of the NLEs.


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Michael Gissing
Re: OT Resolve 14
on Apr 25, 2017 at 12:05:41 am

Even I am surprised at how quickly they have included Fairlight features. For me there are a few things I want to clarify like sound FX library management & search tools. But for me with the Fairlight controllers and FPGA card I can now do everything on the one machine and tweak grade and mix without running to another room and computer.

So this is huge folks, particularly with the performance improvements. I don't know why it is OT. It may well be the topic of NAB.


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Herb Sevush
Re: OT Resolve 14
on Apr 25, 2017 at 12:14:25 pm

[Michael Gissing] "his is huge folks, particularly with the performance improvements. I don't know why it is OT. It may well be the topic of NAB."

I agree. To have all these tools within the ap as opposed to linked to the ap is a huge advantage. I have been putting off trying Resolve because of the reputed slowness and demands for massive GPU, but these announcements may have me re-thinking my future editing path.

Herb Sevush
Zebra Productions
---------------------------
nothin' attached to nothin'
"Deciding the spine is the process of editing" F. Bieberkopf


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Daniel Frome
Re: OT Resolve 14
on Apr 25, 2017 at 1:14:36 pm

I tried it this morning. It's finally fast enough to "edit" for real on my laptop.


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Chris Harlan
Re: OT Resolve 14
on Apr 26, 2017 at 5:49:48 pm

I was putting it off too. It's much more nimble now. I got a pretty full demo on the NAB floor, and the sluggishness problems seem to be gone. It was running well on an iMac.


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Chris Harlan
Re: OT Resolve 14
on Apr 26, 2017 at 7:32:57 am

I got a half an hour demo with it at NAB. Its a magnificent piece of software. I still prefer Premiere as an NLE, but it has some real cool stuff. AND, it no longer slogs--it now runs well on lesser systems. I'll drop 3 hundred on it. Its a really nice tool.


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andy patterson
Re: OT Resolve 14
on Apr 27, 2017 at 5:35:03 am

The timeline comparison tool at 9:50 looks a lot like pancake editing. I would like to add people are excited about the new audio capabilities in DaVinci Resolve (DR). I am not saying the audio capabilities of Premiere Pro are as good as Davinic Resolve I am saying the GUI looks familiar. I don't doubt with DR you can have tracks on the bottom and the mixer above. With Premiere you can have the audio mixer to the left side the right side or stacked above. I imagine both DR and Premiere will allow for a total customized layout yet Premiere gets bashed for having a cringe worthy GUI. Wouldn't DR's audio editing GUI be cringe worthy? How you can go from a video editing GUI to an audio editing GUI and then to a color grading GUI in DR reminds me of Premiere Pro. I am not saying the color grading capabilities of Premiere Pro are as good I am saying the workflow is very similar. A simple click of the mouse and you have a totally different GUI geared towards the task at hand. I should also add that DR uses tracks. Premiere Pro gets bashed for using tracks. There are a lot of similarities between DR and Premiere Pro as one should expect. I wonder if BMD is thinking about developing a photo/graphic design program? Having said that I can only hope BMD will force Adobe to drop the price of the CC membership to $14.99 a month. Adobe cannot ignore what the competition has to offer for video editiors.








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Michael Gissing
Re: OT Resolve 14
on Apr 27, 2017 at 6:40:51 am

[any paterson]" I am not saying the audio capabilities of Premiere Pro are as good as Davinic Resolve I am saying the GUI looks familiar."

The GUI is a blend of Resolve's look and Fairlight's GUI but what Fairlight brings is a vast improvement over any NLE's audio. We are talking about a 1000 track DAW with multiple bussing with bus formats from 3D, Dolby Atmos, 22.2, 7.1, 5.1 etc all with the ability to fold down formats to produce multiple deliverables - all controlled by total automation of everything including VST plugins. It allows clip stacking on tracks, full EQ and dynamics processing on everything. Don't judge it by the GUI.

When you realise that the dedicated controller and mix panels are also part of Fairlight inside Resolve and the fact that Resolve removes the whole round tripping that many of us currently use then you begin to understand how significant this is. An NLE and grade/ finishing tool that for the first time ever includes audio facility for any level of program making including cinema.


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andy patterson
Re: OT Resolve 14
on Apr 27, 2017 at 8:10:09 am

[Michael Gissing] "[any paterson]" I am not saying the audio capabilities of Premiere Pro are as good as Davinic Resolve I am saying the GUI looks familiar."

The GUI is a blend of Resolve's look and Fairlight's GUI but what Fairlight brings is a vast improvement over any NLE's audio. We are talking about a 1000 track DAW with multiple bussing with bus formats from 3D, Dolby Atmos, 22.2, 7.1, 5.1 etc all with the ability to fold down formats to produce multiple deliverables - all controlled by total automation of everything including VST plugins. It allows clip stacking on tracks, full EQ and dynamics processing on everything. Don't judge it by the GUI."


You totally missed the point I was making. I even stated I am not saying Premiere's audio capabilities are as good as DR. I was pointing out the GUI looks similar. The GUI of Premiere Pro gets bashed all the time and it does look like DR has a pancake editing mode. It sucked when Premiere had it but now pancake editing will be cool. My comments are about the GUI only not the capabilities. Having said that Premiere Pro's audio mixer does do surround sound very similar to DR and did it back in Premiere Pro 1.0. You can ad EQ effects to Premire Pro's audio board as well. As I stated I know DR has better audio capabilities. The Lumetri Panel in Premiere Pro is good but there are some cool things DR has that Premiere's Lumetri panel lacks. As I stated I am talking about the GUI not the capabilities.

[Michael Gissing] "When you realise that the dedicated controller and mix panels are also part of Fairlight inside Resolve and the fact that Resolve removes the whole round tripping that many of us currently use then you begin to understand how significant this is. An NLE and grade/ finishing tool that for the first time ever includes audio facility for any level of program making including cinema."

Did you actually read my post? Did I say Premiere Pro has better audio capabilites than DR? I did no such thing. I am talking only about the GUI not the capabilities. I am fully aware that DR makes good use of BMD hardware for color grading as well. Having said that I like BMD. I like their cameras, their ATEM products, their capture cards etc. In case you don't know it I have a BMD Intensity Shuttle. I have been to BMD's website many times looking at all their products. I am well aware of Blackmagic Design and their products but my comment was about the GUI similarities between DR and Premiere Pro. That is not to say that Avid and DR don't have similarities as well. For some reason Avid and Adobe get bashed but BMD does not. I doubt anyone is going to say the pancake editing mode of DR is stupid even though they say it about Premiere Pro. Do you think anyone is going to say DR's GUI is cringe worthy even though the GUI is very similar to Premiere Pro? I am not talking about capabilities only the GUI. Do you see my point?








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Michael Gissing
Re: OT Resolve 14
on Apr 27, 2017 at 8:34:08 am
Last Edited By Michael Gissing on Apr 27, 2017 at 8:42:55 am

[andy patterson]"I am not talking about capabilities only the GUI. Do you see my point?"

Yes. And did you get my point that capabilities plus dedicated controllers are actually what matters. I get you are upset that people criticise a GUI and use it to diss an NLE. GUI matters but capability matters more as long as the GUI doesn't get totally in the way.


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Eric Santiago
Re: OT Resolve 14
on Apr 27, 2017 at 1:33:14 pm

I can't wait to test this out.

But I always fear this app will be bloated as versions go.

Then what?

They release a stand-alone grading app :)


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Jeremy Garchow
Re: OT Resolve 14
on Apr 27, 2017 at 4:30:49 pm

[Eric Santiago] "They release a stand-alone grading app :)"

Yep:







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Peter Gruden
Re: OT Resolve 14
on Apr 27, 2017 at 5:01:42 pm

[Michael Gissing] "Yes. And did you get my point that capabilities plus dedicated controllers are actually what matters. I get you are upset that people criticise a GUI and use it to diss an NLE. GUI matters but capability matters more as long as the GUI doesn't get totally in the way."

Main page GUI may look similar - and in Premiere it looks a lot better than it used to - but Fairlight is very different from Premiere Pro and from DaVinci own audio engine for that matter. Fairlight was made by audio people. The understanding of the audio workflow is different, more in line with Pro Tools and Nuendo. I hope that Blackmagic will be able to replace DaVinci audio with Fairlight completely.



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Scott Witthaus
Re: OT Resolve 14
on Apr 27, 2017 at 9:28:30 pm

Looking at this release more. Interesting, and I will certainly download a free copy, but I can't see myself using the Fairlight page hardly ever. Or even some of the more advanced color correction tools. So you can get a $299 software but now need audio suite quality monitors and color correction monitors? No thanks, I will let the audio and color houses do that.

I don't know. The term bloated was used in this thread and I have to agree. I was expecting to be blown away after reading the posts but not so much. Maybe if you work in multiple editor, colorist and audio projects its a big deal. And maybe that's where BMD wants to play, but that's not my workflow. Good to see that the performance has gotten better!

Just my humble opinion of course.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Ricardo Marty
Re: OT Resolve 14
on Apr 27, 2017 at 11:08:48 pm

For me the speed, price and editing toolset makes it. I think that Fairlight is much more than I need from what little I know of it.
Today I work with audition don't know if fairlight can be a substitute. But I guess all those tools plus
it collaborative capabilities will suite many specially in the multi bay houses.

Ricardo Marty


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Michael Gissing
Re: OT Resolve 14
on Apr 28, 2017 at 12:13:49 am

What editors will find is that the Fairlight toolset spilling into the normal edit timeline will change the way you approach audio. Stacked clips on a track, once you've used them, is so powerful. I've raved before how this technique solves the classic clip overwrite problem but as a way of organising and editing, I find it very powerful. So even if you don't venture onto the Fairlight page often, the methodology and bussing, plugin management and the way it temp groups will make basic editing much more powerful.

As to fears of bloat, excellent point. For years I have preferred stand alone software and applications on dedicated computers that don't run email, web browsing or having too many other programs on board grabbing memory or processor cycles running in the background. But with cheap grunt, the fear of bloat is now far less than the time and interchange translation issues I have worked around for years. This new version allows me to retire a grunty PC and a server. So a little bloat delay has to be balanced against a whole lot of other issues like the need for multiple computers and the time wasted moving projects via OMF, AAF etc. I might look seriously at a Linux setup and upgrading one PC to the latest grunt CPU and GPUs. If you need to get performance out of an old laptop then sure consider other edit software.


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David Lawrence
Re: OT Resolve 14
on Apr 29, 2017 at 2:39:47 am

[Michael Gissing] "What editors will find is that the Fairlight toolset spilling into the normal edit timeline will change the way you approach audio. Stacked clips on a track, once you've used them, is so powerful."

Michael- having never tried the Fairlight toolset, I'm excited to learn more. Other then simply digging in and working with it, are there any learning resources you can recommend to help get up to speed?

_______________________
David Lawrence
art~media~design~research

linkedIn: http://lnkd.in/Cfz92F
vimeo: vimeo.com/album/2271696
web: propaganda.com
facebook: /dlawrence
twitter: @dhl


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Michael Gissing
Re: OT Resolve 14
on Apr 29, 2017 at 3:16:30 am
Last Edited By Michael Gissing on Apr 29, 2017 at 3:39:51 am

[David Lawrence] "Michael- having never tried the Fairlight toolset, I'm excited to learn more. Other then simply digging in and working with it, are there any learning resources you can recommend to help get up to speed?"

Hmm. I will have a look online. Having used it for so long and being involved in the development of the software and its predecessor dSP, I guess I should be making tutorials. But I haven't so I will ask my friends at Fairlight if there are any good resources out there. The new Resolve manual doesn't have much about Fairlight editing techniques but it does mention layering. If you can get hold of an old Fairlight manual you can at least read about how the software works. There are many questions I am going to direct to the Fairlight team about SFX libraries, opening old Fairlight projects etc so I can help passing on some of that info. I'll ask if I can put up the old Fairlight manual. All links to the old Fairlight site are now redirected to Blackmagic and I can't find anything with a general Goggle search.

This is clearly an issue for many so keep an eye on this thread in the Blackmagic forum https://forum.blackmagicdesign.com/viewtopic.php?f=21&start=0&t=58772

I did find some old stuff on youtube. They do show some edit functionality but using the dedicated hardware. There's a range of vids in this series which at least show something.






And here's a fun one showing how Fairlight directly imported FCP Legend XMLs eight years ago






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Michael Gissing
Re:Resolve 14
on Apr 30, 2017 at 1:00:52 am
Last Edited By Michael Gissing on Apr 30, 2017 at 1:01:12 am

Looks like the Redshark team thought Resolve 14 was the standout from NAB

https://www.redsharknews.com/production/item/4572-redshark-awards-nab-2017

Two awards - Innovation and best Editing


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Tim Wilson
Re: Re:Resolve 14
on May 1, 2017 at 6:56:04 pm

[Michael Gissing] "Looks like the Redshark team thought Resolve 14 was the standout from NAB"

Me too!

Quite a few other folks as well, including the venerable, pioneering, and all-around awesome Marco Solorio at One River Media, who was raving about it on his Instagram account. They were such passionate and eloquent posts that I wound up screencapping them and retweeting from the COW's official account.

You can click to open them in a larger window to read them, but I also pasted the text below. Keep in mind that this is social media stuff typed into his phone from the show floor, and not his typical level of finesse, but you'll definitely get a feel for how excited he is. I'll have my own lengthy write-up later, but for now, I'll also add a comment or two.




Say hello to our future audio post-production solution! 🙌 For YEARS I've been begging the audio gods for a solution that would finally do away with our ProTools limitations and problems (which includes our large 40-channel ProControl mixing console) and FINALLY the answer has been RESOLVED.

YES, PUN INTENDED.

Blackmagic Design's DaVinci Resolve now fully incorporates the EXTENSIVE Fairlight DAW solution right within Resolve. Everything from mono to 22.2 surround and a slew of countless other powerful features (1000 real-time tracks with EXTREMELY low latency, anyone?). My excitement for this is unparalleled (including the fact that it's COMPLETELY MODULAR both vertically and horizontally). [ed note: emphasis added]

As some of you know, my audio background stretches back to the 80's and 90's, where I got my professional start in the industry, as a chief engineer in a couple of Bay Area recording studios and to this day maintain a solid audio foundation in our workflows. I absolutely CANNOT WAIT to start using this once it's finally available for release (they're still adding features and making it ready for prime time).

I still have a lot more to see at NAB in the next few days, but this, THIS is currently my top pick of the show. I spent 90% of day 1 at the Blackmagic booth and Fairlight is partially to blame, LOL! So excited! Expect an extensive article write-up in the coming weeks!


Take note of things like up to 22.2 surround and 1000 real-time tracks. This is serious, serious stuff.

Also note that the 1000 rt tracks are with the support of a $6000 accelerator card (may sound like a lot to a video person, but trust me, in audio world, this is fantastic news, at a classically BMD-disruptive price), but Grant Petty says that a "typical" computer should be able to hand 60 tracks in real time with no problem.

Of course, not everyone needs that much audio power, but it's "free" with Resolve, which now costs $295, and does vastly more for free now than it did before, so even the FREE version is a major "price reduction"! 😅

Honestly, if the story was just "Blackmagic Design releases a software-only Fairlight for free, or $295 for the full version, supporting 60 tracks in real time, with an optional acceleration card and a completely modular, expandable control surface" -- THAT would be the biggest story at NAB in any year since....well, since Blackmagic did something like this with DaVinci.

Note again that Marco mentions the "COMPLETELY MODULAR" (his all caps) board. To me, the second biggest story at NAB happened before NAB, also with Blackmagic and the introduction of the Resolve Mini Panel. The flypack and rackmount crowd is going nuts for Mini, but for me, this hits the sweet spot between exposing the full range of Resolve's power for editing, with a control surface at a size and cost that an editor can relate to.

That is, even if they couldn't afford the $29,995 Resolve Advanced Panel, most of the colorists I know feel its priced about right for what it does and how it feels. This has always been the cruiser class....but there's no way in hell that I'd consider it. But the much smaller Mini Panel for $995? The absolutely most no-brainer product I've seen in ages.

So if Grant comes up with a compelling price on a board that I can right-size according to my own needs, I think that that lights the fuse on something big.

This is starting to get into my stuff rather than Marco's, but I do want to note that there's no precedent for this story, the (apparently so far) elegant integration of a massive new toolset, while dramatically boosting performance (no bloat here fellas, not at these speeds), and demolishing the price.... although the DaVinci acquisition and dropping the price of Teranex from $70,000 to $1395 while adding features and formats and reducing the size were quite the prequels! Still, this is way, way past those imo.

Back to Marco a couple of days later:



With NAB 2017 officially complete, I can officially and undeniably confirm that Blackmagic Design's integration of Fairlight into DaVinci Resolve is, by far, my top pick of the show. Nothing else even came close in terms of wow factor for me.

As a longtime sound/mix engineer (with our own mixing/recording studio services), this is a MAJOR deal for us. We've been extremely upset with Avid's legacy user support for 2-3 years now and ultimately cut our ties with ProTools about a half year ago (after being a professional ProTools users for about 20 years). With Fairlight being a solid DAW solution for decades now and Blackmagic embracing their "magic" into the synergy, nothing but positive results are abound (think DaVinci Resolve acquisition part 2).

I was able to really dig into the hardware and talk to the Fairlight engineers about everything and the excitement from both sides was huge. Expect an upcoming article from me highlighting some of the advancements involved, which should be released next week. Let the good times roll and a HUGE congratulations to Blackmagic and Fairlight for their accomplishment... in less than 6 months time no less!!!!


That Grant pulled this off basically in the span from the week before IBC in September to now is INSANITY. It HAS to be black magic. 😅 Again, there's no precedent for the scale of this work, OR the pace of it.

Now, I'm personally not going to turn off the timeclock until we actually cross the finish line, but 2017 is a major turnaround for Blackmagic at NAB: damn near everything but this is shipping now. They certainly get full marks for having the beta ready to download before the show opened. So when Grant says "coming soon" THIS year, it's easy to believe that it's true. Heck, look at all the great stuff shipping BEFORE the show, like the URSA Mini Pro (another of my NAB picks, btw).

I think Marco represents one of BMD's big opportunities, which is to get the attention of unhappy Pro Tools customers. I hope we're past the time of talking about Pro Tools killers --- they don't exist, and it's not going to happen, for the same reason Media Composer is rock solid in its core markets: the people who love it LOVE IT -- but Pro Tools is VERY ripe for a disruption that Avid was, which is to see a huge growth in the size of the pie, with an ever-decreasing slice for PT. There are in fact people who are ready to jump on a sweet deal. A compelling mixing board option could make this a slam dunk for a lot of those folks.

I do suspect that creating new Fairlight fans will be a vastly more fruitful market than PT defectors. Although who knows? Blackmagic may snake over a few PT guys who've been exasperated by trying to work with Media Composer, and will put down the $295 for Fairlight with a nifty modules for video editing and finishing!

I've got some more video-centric thoughts about this later, but there were a lot of folks picking this as their big story of the show, but they were all trying to sound objective. 😅 Fooey on that. Marco was the one guy on social media I saw jumping up and down about this as much as I was, so I was very happy to see it.


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Andrew Kimery
Re: OT Resolve 14
on Apr 28, 2017 at 4:00:55 pm

[Scott Witthaus] "So you can get a $299 software but now need audio suite quality monitors and color correction monitors? No thanks, I will let the audio and color houses do that."

I don't follow. If someone mixes with computer speakers and grades on a computer display how does using Resolve 14 vs Avid vs X vs PPro vs Lightworks change anything? Inaccurate monitors are inaccurate monitors regardless of NLE, right?


[Scott Witthaus] "Maybe if you work in multiple editor, colorist and audio projects its a big deal."

And I think that's the sticky wicket; getting the editor, the colorist and the re-recording mixer to all use Resolve. It reminds me of the old 7/SoundTrack Pro relationship (or PPro/Audition) where the weakest link wasn't the interconnectivity but the fact that the guy doing the audio used ProTools and had no intention of switching.

To be honest, I really like the approach Adobe is taking with putting more powerful but 'editor friendly' audio, GFX, and color grading tools inside PPro while still having connections to stand alone programs like Audition and After Effect if you need to do more heavy lifting (SpeedGrade is kinda the failed part of this collection as it just can't compete with a free Resolve). At first blush Resolve seems like it's heading towards bloat-town by trying to put a fully featured NLE, fully featured DAW and fully featured color grading all into one piece of software. Time will tell though. I've already downloaded the Beta and I'll mess around with it, but audio mixing isn't my forte so having the Fairlight Page in there is a bit like casting pearls before swine in my case.

With regards to adoption rate, Apple caused a big shakeup by replacing 7 with X and that pretty much forced all 7 users to pick a new NLE (X, Avid or PPro). Now that the dust has settled I'm not sure if most users/post facilities will be open to changing their primary NLE again w/o extenuating circumstances. Lots of people have been eyeballing and talking about Resolve's improved editing abilities over the last few years, but I still think it's got a lot of 'prove it' before people will see it as a solid, standalone NLE as opposed to a color grading tool that has NLE functionality added to it.


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Scott Witthaus
Re: OT Resolve 14
on Apr 28, 2017 at 4:41:53 pm

[Andrew Kimery] "I don't follow. If someone mixes with computer speakers and grades on a computer display how does using Resolve 14 vs Avid vs X vs PPro vs Lightworks change anything?"

What I am saying is that I am an editor, who (if need be, for non-bcast material) can color a little and mix a little. For me, having to make the investment to REALLY do color and sound doesn't make sense, no matter what software I am cutting on. That's when I go out of house to the color and sound experts who have to make that investment in monitors, scopes, meters, etc..

[Andrew Kimery] "With regards to adoption rate, Apple caused a big shakeup by replacing 7 with X and that pretty much forced all 7 users to pick a new NLE (X, Avid or PPro)."

I disagree with this. I was cutting on Avid and Legacy when X came out. That fateful day in 2011 did nothing to force me to choose a new software right then. I continued to cut on (mostly) FCP7 until I felt X was ready for heavy-lifting editing and then made the move. But the release of X didn't force me to do a thing

[Andrew Kimery] "Lots of people have been eyeballing and talking about Resolve's improved editing abilities over the last few years, but I still think it's got a lot of 'prove it' before people will see it as a solid, standalone NLE as opposed to a color grading tool that has NLE functionality added to it."

Agreed. I still wonder why BMD is doing this.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Andrew Kimery
Re: OT Resolve 14
on Apr 28, 2017 at 5:37:52 pm

[Scott Witthaus] "What I am saying is that I am an editor, who (if need be, for non-bcast material) can color a little and mix a little. For me, having to make the investment to REALLY do color and sound doesn't make sense, no matter what software I am cutting on."

But you can still color a little bit and mix a little bit in Resolve just like you can in any other NLE. It's not like Resolve won't launch unless it detects appropriate color and sound monitoring equipment plugged into it. ; ) If you saying it doesn't make sense for you to make the time investment to learn Resolves color grading and audio mixing features because of they are overkill for your needs, that I can totally understand (and relate to).


[Scott Witthaus] "That fateful day in 2011 did nothing to force me to choose a new software right then. "

I didn't mean to imply it forced people to pick a new NLE exactly on that day, but it did force FCP Legend users to pick a new NLE in the subsequent years.


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Ricardo Marty
Re: OT Resolve 14
on Apr 28, 2017 at 5:54:45 pm

Im sure that bmd is looking for the oneman end to end post house the ones that fell through adobes fingers. Because we dont need all that power but its great to gave it in case you do. We can also contract someone to work these specialties inhouse providing we have system capabilities. However i think bmd is looking at the mid to highend.

Bmd might well be creating a new class of
highend oneman post boutiques. With less than 20k they would be abke to compete providing they have theknow how.

Ricardo marty


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Shawn Miller
Re: OT Resolve 14
on Apr 28, 2017 at 6:43:13 pm

[Ricardo Marty] "Im sure that bmd is looking for the oneman end to end post house the ones that fell through adobes fingers. Because we dont need all that power but its great to gave it in case you do. We can also contract someone to work these specialties inhouse providing we have system capabilities. However i think bmd is looking at the mid to highend."

I think it depends on what that one person band (see what I did there) mostly focuses on. Folks who mostly edit have many more software choices than folks who mostly create motion graphics for instance. If you had watched the live stream from the Cinema 4D booth at NAB this year for example, you might have noticed that, of all the presenters who talked about the compositing side of their workflow, no one talked about using anything other than Photoshop, no one mentioned using any other vector drawing programs than Illustrator, and only a few people (I believe) talked about compositing video in anything but After Effects, even more interesting, of those folks who talked about using Nuke with C4D, not one of them did any animation in Nuke. These people ranged from individual freelance motion graphics/VFX artists to small post houses that do high end mograph/VFX for film and television. Resolve and Fusion are great, and I use them fairly often, but for my day job (a single person band for in house corporate production), the Adobe suite is just faster, easier and better integrated with the tools I use the most.

[Ricardo Marty] "Bmd might well be creating a new class of
highend oneman post boutiques. With less than 20k they would be abke to compete providing they have theknow how."


Maybe for color or audio centric workflows... but for motion graphics/VFX centric projects, I'm not sure Resolve/Fusion will find a foothold any time soon.

Shawn



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Simon Ubsdell
Re: OT Resolve 14
on Apr 28, 2017 at 7:26:05 pm

[Shawn Miller] " for motion graphics/VFX centric projects, I'm not sure Resolve/Fusion will find a foothold any time soon."

I think you could be right about that (for now), but from my standpoint (which combines motion graphics plus VFX plus editing plus finishing for cinema) Resolve/Fusion represents almost exactly what I have been wanting for more than fifteen years. (Or at least everything I have been wanting at the right price point - the Studio versions of Resolve and Fusion are a very modest investment for what they earn for me.)

I still use Ae and Ps and Ai and Id a lot, as well as Motion and FCP X and Premiere and Media Composer, but increasingly Resolve/Fusion is the hub where it all comes together.

I suspect though that atypical workflow combinations like mine will become the norm in the near future and that's where BMD are poised to take advantage.

Simon Ubsdell
tokyo productions
hawaiki


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Shawn Miller
Re: OT Resolve 14
on Apr 28, 2017 at 8:14:03 pm
Last Edited By Shawn Miller on Apr 28, 2017 at 8:23:08 pm

[Simon Ubsdell] "I suspect though that atypical workflow combinations like mine will become the norm in the near future and that's where BMD are poised to take advantage."

I would love to hear about your atypical workflow combinations!

I can see more VFX centric artists gravitating towards Fusion and Resolve, but again, I think it might depend on what percentage of VFX vs mograph work they do. Fusion is great and I really like it... but I think AE's animation tools are just easier to use - I also wonder how many motion graphics folks would trade their favorite AE only plugins for the flexibility and power of Fusion! ☺

Shawn



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Mike Parfit
Re: OT Resolve 14
on Apr 28, 2017 at 6:46:56 pm

I agree with Ricardo.

We've been editing in Resolve for a couple of years and I love it. Our goal is to produce broadcast quality work, and perhaps theatrical again some day, with a large in-house component. We go out to focused talents for any part of the work when necessary and like that process (which is why we still need Resolve to deliver to Pro Tools better) but we prefer in-house control where possible. As is often said, colour is a tool to manage emotions, and for us having Resolve's colour power one click away from the timeline makes managing colour a seamless part of editing. But I have spent a great deal of time learning Resolve's colour tools, which I also love, so I'm not pushing any auto buttons.

If that means we're trying to be a high-end boutique, so be it, though in looking around the edit suite, it doesn't feel particularly boutiquey, I'm afraid.


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Scott Witthaus
Re: OT Resolve 14
on Apr 28, 2017 at 7:53:43 pm

[Andrew Kimery] "But you can still color a little bit and mix a little bit in Resolve just like you can in any other NLE."

But if I can do that in an NLE I like better than Resolve, why switch? I will download this latest version of Resolve just to have a working knowledge of it (not that I see any freelance Resolve gigs in the near future) but it will be tied for second as far as NLE's go (for now).

All a matter of comfort level, preference and workflow.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Ricardo Marty
Re: OT Resolve 14
on Apr 28, 2017 at 8:04:20 pm

Im no color grader but the things that cab be done with davinci color outclases anything that any nle color tool can do. Its a quetion of added value. This is all about impressing the client

Ricardo Marty


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Shawn Miller
Re: OT Resolve 14
on Apr 28, 2017 at 8:22:18 pm

[Ricardo Marty] "Im no color grader but the things that cab be done with davinci color outclases anything that any nle color tool can do. Its a quetion of added value. This is all about impressing the client

Ricardo Marty"


Sure... how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though? I'm not sure most clients can even spot the difference between Premiere and Resolve to be honest. ☺

Shawn



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Scott Witthaus
Re: OT Resolve 14
on Apr 28, 2017 at 9:18:15 pm

[Shawn Miller] "how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though?"

Exatly. Or X and a plug-in for that matter.

[Shawn Miller] "I'm not sure most clients can even spot the difference between Premiere and Resolve to be honest"

You're right, and quite honestly my clients don't give a hoot what I cut on, as long as they get their story, on time, budget and to their clients satisfaction.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Ricardo Marty
Re: OT Resolve 14
on Apr 28, 2017 at 9:47:02 pm

At this moment maybe not many. But its only a question time and nesecesity

Ricardo Marty


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Andrew Kimery
Re: OT Resolve 14
on Apr 28, 2017 at 9:50:33 pm

[Scott Witthaus] "But if I can do that in an NLE I like better than Resolve, why switch?"

I dunno, I'm not advocating switching. I'm just trying to get the nucleus of your comment about going with Resolve necessitating buying high quality audio and color grading monitors. A few years ago I worked on a web series and it was graded in Resolve using an Apple monitor plugged into the nMP. Given that the free version of Resolve is so good I'd venture a guess that the majority of Resolve users are using the free version and *not* using a proper grading monitor.


[Shawn Miller] "Sure... how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though?"

I think it depends on the complexity of the grade and if the editor already knows how to use Resolve. For simple color correction on short videos with tight turn around times I really like the Lumetri color panel. If I'm doing something more complex/creative I can get more done faster in Resolve (especially if it's a long form project). But a while back I took almost a two year break from editing and focused on color grading so it's fairly easy for me to put that hat on again.

I used to color grade inside of FCP Legend, and I could get very good results with FCP, but it took more work and more time to get the results I wanted. Once I started using Color (and later Resolve) my time on task when down and the quality of the end results when up. But, again, horses for courses. I think there are times when something like Lumetri is the best solution and some times when something like Resolve is the best solution.


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Shawn Miller
Re: OT Resolve 14
on Apr 28, 2017 at 10:37:16 pm
Last Edited By Shawn Miller on Apr 28, 2017 at 10:39:51 pm

[Andrew Kimery] "[Shawn Miller] "Sure... how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though?"

I think it depends on the complexity of the grade and if the editor already knows how to use Resolve. For simple color correction on short videos with tight turn around times I really like the Lumetri color panel. If I'm doing something more complex/creative I can get more done faster in Resolve (especially if it's a long form project). But a while back I took almost a two year break from editing and focused on color grading so it's fairly easy for me to put that hat on again.

I used to color grade inside of FCP Legend, and I could get very good results with FCP, but it took more work and more time to get the results I wanted. Once I started using Color (and later Resolve) my time on task when down and the quality of the end results when up. But, again, horses for courses. I think there are times when something like Lumetri is the best solution and some times when something like Resolve is the best solution."


Totally agree - I'm not much of an 'either or' person myself, so it makes sense to me that some tools fit some projects better than others. I was mostly responding to the notion that editors will necessarily reach for Resolve because it's more powerful than the Lumetri color panel or similar tools. I have a sneaking suspicion that folks who mostly edit for a living won't be looking to go as far down the grading path as you have.. but that's just my opinion. ☺

Shawn



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Andrew Kimery
Re: OT Resolve 14
on Apr 28, 2017 at 11:00:03 pm

[Shawn Miller] "I have a sneaking suspicion that folks who mostly edit for a living won't be looking to go as far down the grading path as you have.. but that's just my opinion. ☺ "

I agree. Which is why I think the "Resolve is poised to take over" talk is premature until Resolve proves that it can be top notch NLE because, to your point, people who edit for a living are looking for an NLE first and everything else second.


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Scott Witthaus
Re: OT Resolve 14
on May 2, 2017 at 9:41:08 am

[Andrew Kimery] " I think the "Resolve is poised to take over" talk is premature until Resolve proves that it can be top notch NLE because, to your point, people who edit for a living are looking for an NLE first and everything else second."

Exactly.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter


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Michael Gissing
Re: OT Resolve 14
on Apr 29, 2017 at 1:55:52 am

[Scott Whitthaus]"I still wonder why BMD is doing this."

Perhaps because they have been listening to editors for years who want a tool that is for many applications a true one stop shop. Many have claimed this over the years but I suspect Blackmagic are doing it because they feel that time and interchange pain are worth addressing. They have clearly been improving the NLE side for a few years now and Fairlight is a drop in. Also they are doing it because they can.

For me the integration is absolutely what I want in a finishing tool. If editors are happy with the NLE parts and start originating a project in Resolve that I then finish, I get rid of the great speed bump and anxiety of moving projects from editorial to finishing. I'm sure Blackmagic see their place as a finishing tool first and foremost which is evidenced by their acquisitions - da Vince, Fusion and Fairlight. As to bloat they may well suffer that. With cheap modern SSD drives, powerful CPU/GPU, I am less fearful of bloat slowing me down than the agony of interchange.

One of the reasons I originally chose FCP4.5 was that was what most of my client editors were cutting on and I could take over the project and handle grade and finishing using the same software. Audio went out to Fairlight. So now I have a tool that for the first time bundles all the tools to cut and finish into one.


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Andrew Kimery
Re: OT Resolve 14
on May 2, 2017 at 12:15:53 am

[Michael Gissing] "One of the reasons I originally chose FCP4.5 was that was what most of my client editors were cutting on and I could take over the project and handle grade and finishing using the same software. Audio went out to Fairlight. So now I have a tool that for the first time bundles all the tools to cut and finish into one."

Now you just need most of your client editors to decide Resolve is the best NLE for them and you'll have it made in the shade. ;)


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Michael Gissing
Re: OT Resolve 14
on May 2, 2017 at 12:36:02 am

[Andrew Kimery]"Now you just need most of your client editors to decide Resolve is the best NLE for them and you'll have it made in the shade. ;)"


Less important these days with fairly reliable xml translation but yeah I can dream. Mostly I am excited at having a real finishing tool that handles audio properly.


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