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Resolve 16

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David Mathis
Resolve 16
on Apr 5, 2019 at 4:23:36 am

Just a few more days until the new version comes out!

https://www.blackmagicdesign.com/


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Michael Gissing
Re: Resolve 16
on Apr 5, 2019 at 4:49:00 am

Another NAB, another tour de force from Blackmagic coming up no doubt. The versions have been coming thick & fast.

The other day I dropped some Nikon raw stills into a Resolve project and they played. Even had access to RAW parameters on the Color page. I must have missed the memo but it seems some new features just appear without notice. I'm really pleased to see more codecs and formats appearing. I must test other stills RAW files. Very handy not to have to bounce to Affinity or Ps to process RAW stills. Maybe Resolve will eventually become the tool of choice for still people.


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Oliver Peters
Re: Resolve 16
on Apr 5, 2019 at 12:02:46 pm

Seems like the new battle for editor hearts and minds these days is between Premiere Pro and Resolve. FCPX and Media Composer holding their own with their respective markets.

Oliver

Oliver Peters - oliverpeters.com


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Andrew Kimery
Re: Resolve 16
on Apr 5, 2019 at 2:26:11 pm

Another NAB where everyone talks about Resolve... and then no one currently using PPro, X or Avid actually switches to Resolve as their full time NLE. ;)


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Steve Connor
Re: Resolve 16
on Apr 5, 2019 at 4:37:20 pm

[Andrew Kimery] "Another NAB where everyone talks about Resolve... and then no one currently using PPro, X or Avid actually switches to Resolve as their full time NLE. 😉
"


I know 2 Editors who have switched already! This is obviously a BIG update, although Resolve point updates are bigger than some NLE's major updates.

Perhaps they've done a deal with Apple for their Pro Apps :)


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Shawn Miller
Re: Resolve 16
on Apr 5, 2019 at 5:22:49 pm

[Andrew Kimery] "Another NAB where everyone talks about Resolve... and then no one currently using PPro, X or Avid actually switches to Resolve as their full time NLE. ;)"

I know a number of people (including myself) who are using Resolve in addition to their main NLE. I wonder if more of us will be wandering into Resolve for straight editing tasks more often as the software gets more mature. I'm definitely anxious to see what BMD have done with r16. On a side note, I'm worried about the future of Fusion Studio, they seem to have abandoned it for Fusion embedded (my term).

Shawn



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Chip Doss
Re: Resolve 16
on Apr 5, 2019 at 9:20:11 pm

Andrew, I think your point was good for last year but I know a lot of people who are using Resolve (Customers) as an equipment reseller and system designer we keep a pretty close pulse on industry changes. I don't know that many adopted it vs. Ppro or others until Resolve 15. I personally forced myself to use it and stay out of any Adobe products in my last project. I had a few moments that I got lost and had to watch a video or two, but after that I was doing well. I have not been this happy since DPS VelocityQ

Chip Doss
Edgemont Video, Inc.
http://www.edgemontvideo.com


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Michael Gissing
Re: Resolve 16
on Apr 5, 2019 at 10:25:37 pm

It's much easier to get a person to switch from an EOL'd favourite than what Resolve is doing. Premiere was in the right place to benefit most from Legends demise. Resolve is certainly eating into the Pr world in my neck of the woods. The key seems to have been the big improvement in performance, especially with DR15.

One thing that has surprised me is that the Resolve edit & mix panels are not available. As a company that makes money out of hardware, I did expect they would have it out by now. I have always been a fan of edit & fader panels. Once people get to use them and see what I have enjoyed for years with Fairlight there might be a rush to Resolve. Editors always just drooled when they sat in with me doing sound post seeing a proper controller with transport controls & dedicated keys compared to keeping a head full of ASCII shortcuts.


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Oliver Peters
Re: Resolve 16
on Apr 5, 2019 at 10:29:12 pm

[Michael Gissing] "One thing that has surprised me is that the Resolve edit & mix panels are not available."

I suspect that my never happen. The market is small and BMD keeps changing menu location items. Hard to keep up.

- Oliver

Oliver Peters - oliverpeters.com


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Michael Gissing
Re: Resolve 16
on Apr 6, 2019 at 1:01:17 am

They are available to back order on B&H but they don't have a picture. If they are based on the Fairlight edit panel the buttons are self labeling and based on software so they can easily be customised and changed as software changes. They do sell the old Fairlight EVO mixer panels which include the controller and faders which work with Resolve's edit page, not just the Fairlight page.

I would be surprised if they didn't make the desktop panels. They won't get dedicated Fairlight people like me to use Resolve as the primary DAW if they don't. Picture editors might put up with mouse ASCII hell but we won't.


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Eric Santiago
Re: Resolve 16
on Apr 6, 2019 at 5:51:49 pm

Going through the posts on the update and did a quick view of an MZed course.
I can't see how anyone would have issues using the editor in Resolve since it looks so much like FCPX to me.
I only live in Media/Color/Delivery pages in Resolve maybe its time I start using the Edit page ☺

Where I am based, I only get older NLE projects coming at me.


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Steve Connor
Re: Resolve 16
on Apr 8, 2019 at 5:15:25 pm

Resolve 16 Beta available now ☺

Lots to talk about in the new release, including what other Editors seem to be calling "FCPX Mode" :)


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Dom Silverio
Re: Resolve 16
on Apr 8, 2019 at 5:17:05 pm

[Steve Connor] " including what other Editors seem to be calling "FCPX Mode" :)"


LOL


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Steve Connor
Re: Resolve 16
on Apr 8, 2019 at 5:41:58 pm

Amazing Frame io integration in the Studio Version of Resolve

https://blog.frame.io/2019/04/08/davinci-resolve-in-frameio/


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Mark Suszko
Re: Resolve 16
on Apr 8, 2019 at 6:48:51 pm

Just saw the Resolve 16 demo and it melted my face clean off. That is an incredible package, blows Premiere away and looks very competitive to FCPX.


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Steve Connor
Re: Resolve 16
on Apr 8, 2019 at 6:54:35 pm

[Mark Suszko] "Just saw the Resolve 16 demo and it melted my face clean off. That is an incredible package, blows Premiere away and looks very competitive to FCPX."

Playing with the beta now, very smooth on my 2015 i7 MacBook Pro. MUCH smoother than PPro

I could definitely live with it as my full time NLE if I ever move from FCPX.


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Neil Goodman
Re: Resolve 16
on Apr 8, 2019 at 7:25:09 pm

Id say at this point of the game FCPX has to do something huge to gain any more traction.

Its been in limbo a little too long with the last innovative feature being roles/ lanes - things have seemed pretty flat in regards to development, especially since all the other NLES are moving at an insane pace of development these days...even Premiere which is the least fun to use for me is at least trying out new things.

Davinci is looking good, kind of the best of all words with Premiere/ FCPX looking interface and Avid style trimming.


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David Mathis
Re: Resolve 16
on Apr 8, 2019 at 7:59:06 pm

Definitely will be awesome! Now if FCPX could allow for batch syncing of dailies and provide a Track Tetris timeline for feature or documentary editing.


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Andrew Kimery
Re: Resolve 16
on Apr 8, 2019 at 7:47:40 pm

Wow, hard pass on the $1000 keyboard.

https://www.blackmagicdesign.com/products/davinciresolve/keyboard


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Mark Suszko
Re: Resolve 16
on Apr 8, 2019 at 8:07:46 pm

The keyboard looks well thought-out, with ergonomic, haptic, "retro" touches an old 141 operator like myself can appreciate. I wouldn't need it at home, but, I can definitely see work situations where speed and accuracy are key could benefit from the keyboard. Sad you have to pay extra for the Neural Engine effects, but the price for that non-free version still makes it cheaper than FCPX bundled with Compressor and Motion and Logic. Their marketing guys are shrewd.


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Andrew Kimery
Re: Resolve 16
on Apr 8, 2019 at 8:35:38 pm

[Mark Suszko] " but, I can definitely see work situations where speed and accuracy are key could benefit from the keyboard."

More so than spending a few hundred dollars on keyboard w/extra programmable keys and a USB jog/shuttle? From what I can tell all the extra buttons on the BM keyboard are repeats of default keys (like I/O) or things than can be mapped to a custom short cut. And I assume it's a forgone conclusion that this keyboard (aside from the standard keys) won't work outside of Blackmagic.

Hardware controls for coloring I get. Hardware controls for audio mixing I get. But this? At first blush I don't get why it costs $1000.


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Mark Suszko
Re: Resolve 16
on Apr 8, 2019 at 9:06:12 pm

Andrew, do you go back far enough to remember the feel of real machine controlled, tape-based edit bays? I do. Maybe it's only nostalgia. But I swear I was faster than a speeding bullet, using the EECO EMME edit controller with jog shuttle wheel, and later, the Grass 141. The EMME's jog shuttle "ballistics" were unmatched in it's day. It was my scalpel, and it made me a speedy, precise surgeon on my edits. It also had a build quality like fine furniture; lovely wooden enclosure. The 141 was chunkier and less elegant, but the fat buttons, grouped by function, made it easy to use without looking away from the screen.

No doubt that effective editing can be the case with a cheaper, more typical all-purpose computer keyboard too, in the hands of a well- practiced user. But I'm partial to custom interfaces with some haptics. I'm like those purists that love the IBM keyboards or a nice Yamaha weighted keyboard piano.

Some of the cost of the Resolve keyboard, I can understand, comes from less common components like the electronic clutch on the jog wheel. To make that work right and be "bulletproof", under heavy daily operations, it's going to add cost. Also, the high end Cherry or whatever brand keyboard switches come at a premium, as they are harder to buy in bulk. I'm sure BM are making a good profit margin on the keyboards, but it may not be as high as people suspect, due to sourcing the higher-end components.


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Andrew Kimery
Re: Resolve 16
on Apr 8, 2019 at 10:18:11 pm
Last Edited By Andrew Kimery on Apr 8, 2019 at 11:16:37 pm

[Mark Suszko] "Andrew, do you go back far enough to remember the feel of real machine controlled, tape-based edit bays?"

Barely (mainly basic deck to deck editing w/a Sony edit controller that I can't remember the name of).

[Mark Suszko] "But I'm partial to custom interfaces with some haptics. I'm like those purists that love the IBM keyboards or a nice Yamaha weighted keyboard piano."

I am as well which is why I prefer using a control surface while grading and a Logitech G-13 gamepad while editing (my actual keyboard gets very little use outside of text entry).

[Mark Suszko] "Also, the high end Cherry or whatever brand keyboard switches come at a premium, as they are harder to buy in bulk. "

Gaming keyboards using Cherry MX Brown or Red switches can be had for $60 or $70. Even keyboards used by pro players will only be $100-200 (and most of that extra cost is in the custom RGB lighting, not the switches). A gaming keyboard and this JLCooper Transport control would get you more programable buttons *and* be cheaper than the BM keyboard.
https://www.bhphotovideo.com/c/product/725423-REG/JLCooper_ECLIPSE_TX_MIDNI...

BM is selling a keyboard with some extra buttons and a jug/shuttle for over $1000. It feels like an expensive piece of nostalgia for former linear editors. It doesn't seem to grant nearly the amount of additional functionality as, say, their Micro panel which is also $1025. Does the keyboard help when I'm doing color? Mixing Audio? Doing GFX/FX? Titles? Even if I only work in the Cuts Tab I'll probably have to do a bit of all of those things before the edit is ready to send out the door.

I agree using keyboard shortcuts is faster than mousing around the GUI, but to that end why would I move my hand to the far left of the ESC key to do an Insert Edit instead of keeping my hands on the home row and just hitting the default Insert Edit keyboard shortcut? Why Would I move my hand left of the Caps Lock to mark I/O instead of just using I/O? And since the KB short cuts are printed on the keycaps you can't even reprogram the keyboard to make it more functional w/o turning it into a confusing mess.

A keyboard with a bunch of soft-keys that are OLED screens (so you don't have to manually label them) would be much more useful and much closer to being worth $1025. For a few hundred bucks it might be a good deal, but for over a grand I'd expect much greater functionality. I know the housing is made of metal, is the entire keyboard of a 'hardened' design (i.e. it's designed to take a pounding in the field and not miss a beat)? If that's the case then I can understand a higher price (but even then $1025 still seems excessive).


EDIT:
I also think there is a big difference between the feeling of a jog/shuttle hooked up to tape decks (where you are directly controlling the variable speed playback of the transport controls) and a jog/shuttle hooked up to an NLE (where the NLE software is doing it's best to interrupt your mechanical input and create playback that corresponds to it). As an aside, this is one of the differences Murch talks about in "In the Blink of an Eye"; when you shuttle though video/film you are literally seeing every frame at high speed, when you shuttle though an NLE you are only seeing a small subset of frames because the NLE doesn't playback every frame.

A deck's playback is always going to be consistent, where as NLE playback will change depending on the software version, the hardware used and the codec of the source footage. And since this keyboard seems aimed at the Cut Page I imagine you will be dealing with a lot of camera codecs and it's going to take fast machine to allow you to quickly shuttle back and fourth through inter-frame codecs like that and get silky smooth responsiveness. I think this is part of the reason why jog/shuttles never really made the leap from linear editing to non-linear editing. Another reason is that since we are using a non-linear editor we can literally skip to any point in time instantly so having a dedicated controller tied solely to linear access was less important (JKL seemed to fit the bill).


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Michael Gissing
Re: Resolve 16
on Apr 8, 2019 at 11:33:52 pm

[Andrew Kimery] "A keyboard with a bunch of soft-keys that are OLED screens (so you don't have to manually label them) would be much more useful and much closer to being worth $1025."

Hmm. This is my first eyes on this controller and it's a hard no for me too. Compared to what I'm using with stand alone Fairlight, this is a hybrid ASCII with a jog shuttle. Certainly not what I was expecting and not something that I would buy. It needs self labeling (preferably user programmable) keys like the Fairlight Xynergi panel.


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greg janza
Re: Resolve 16
on Apr 8, 2019 at 8:08:53 pm

[Andrew Kimery] "Wow, hard pass on the $1000 keyboard.
"


Unless that keyboard can allow me to work while sunning at the beach, it's insanely overpriced. Hell, I thought my Das Keyboard was expensive at $150.

tallmanproductions.net


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Trevor Asquerthian
Re: Resolve 16
on Apr 8, 2019 at 9:00:47 pm

[greg janza] "Unless that keyboard can allow me to work while sunning at the beach, it's insanely overpriced."

Decent jog/shuttle could be worth $1000.



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Oliver Peters
Re: Resolve 16
on Apr 8, 2019 at 11:31:24 pm

Some impressions from the show. Resolve 16's "cut" page is an additional fast cutting mode. It seems about as close to FCPX as they could legally get, but with improvements. There is a 2-level timeline view. The top (small) timeline is the full-length view, whereas the bottom, detailed view can stay zoomed in. This makes navigation throughout the timeline faster, because you don't have to zoom in and out all the time.

The system detects when you are close to a cut. So if you within the right distance and go to add a dissolve, it automatically applies it to the right cut point. In multicam work, you can drop a master shot down and then add cutaways. The system automatically knows where to add the cutaway (presumably based on sync sound or TC).

There is a version of content-aware video fill in the color page.

The keyboard is very much like a Sony BVE9100, only updated. Solid, metal construction, with a jog/shuttle knob that has proper ballistics (not like the various USB controllers that are out there). Very much like it felt on an actual 9100, although you can argue whether skimming in FCPX is still a faster way to work. Both Peter Wiggins and I were there (we've both worked a 9100 in another life) and the keyboard has a very familiar feel to both of us. Apparently it requires a lot of power, so it's USB-C and there's internal power caching for the knob. It's probably not cheap to manufacture. This is definitely not just another high-end Logitech-style keyboard. Is it worth $995? Depends on the individual I suppose. But it IS geared around fast, keyboard-driven cutting and trimming.

Oliver

Oliver Peters - oliverpeters.com


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Michael Gissing
Re: Resolve 16
on Apr 8, 2019 at 11:37:12 pm

Thanks for the user feedback Oliver. And it answers yesterdays questions about whether it is coming but frankly I am disappointed given the control ergonomics IP that they inherited from Fairlight & dSP.


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Andrew Kimery
Re: Resolve 16
on Apr 8, 2019 at 11:45:26 pm

[Oliver Peters] "There is a 2-level timeline view. The top (small) timeline is the full-length view, whereas the bottom, detailed view can stay zoomed in. This makes navigation throughout the timeline faster, because you don't have to zoom in and out all the time."

The two level view looked cool. It reminded me of the timeline view in the Touch Bar of the MBPs.


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Steve Connor
Re: Resolve 16
on Apr 10, 2019 at 5:34:53 pm

Has anyone else played around with R16 yet? they weren't kidding when they called the "Cut" page FCPX mode - it's magnetic!


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Steve Connor
Re: Resolve 16
on Apr 10, 2019 at 7:17:25 pm

It's also very smooth, dare I say even smoother than X? Definitely going to try a few projects on this when it gets a little more stable.


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Michael Gissing
Re: Resolve 16
on Apr 10, 2019 at 10:35:05 pm

I'm going to look at it tomorrow. I have to be sure I'm able to jump back if necessary so I have some database and project backups to mange before that is possible.

I did see someone's YouTube that showed how to install 16 on a Mac and keep the two versions & databases running. I might try that on my WIN PC so I can easily have current projects safeguarded but play with 16.


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greg janza
Re: Resolve 16
on Apr 11, 2019 at 5:06:01 am
Last Edited By greg janza on Apr 11, 2019 at 4:01:19 pm

Something that doesn't get mentioned enough in these discussions about new NLE releases is how fully developed post ecosystems really can't participate in the testing of the waters.

A robust post facility with multiple seats is fully committed to whatever software they've decided to go with. Currently for many facilities working in corporate communications that's Adobe. For films and tv it's Avid.

In addition, these operations rely heavily on the local freelance pool of talent to fill their editorial needs. And when looking from this perspective there would have to be a very good reason to switch since it would involve not only changing the software but also it would require mandating to freelancers that they all become proficient on new software.

When FCP7 exited the scene it was a forced re-assessment of what software should be used but now that Adobe has become the dominate platform (and Avid continuing it's long time domination in tv/film) there would appear to be very little motivation to abandon a fully developed ecosystem.

I'm not saying that Resolve isn't a fantastic piece of software. It is and I would be happy to work on it. But when working with larger operations this just isn't going to happen any time soon.

tallmanproductions.net


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Michael Gissing
Re: Resolve 16
on Apr 11, 2019 at 10:58:46 pm

[Greg Janza] "...there would appear to be very little motivation to abandon a fully developed ecosystem."

It's true that Adobe got a gift with the EOL of FCP Legend. But they have had to develop the product to keep customers with a subscription model. Blackmagic have developed Resolve in ten years to be a rival and of course they have to combat the inertia of entrenched ecosystems as they have come from behind in the edit area. But they have the same advantage that Adobe had. Resolve is already entrenched in many facilities to do grade & finish much like Adobe had a foot hold with AE & Ps. So both had their NLEs in by stealth when the vacuum was created. It would only take Apple or Adobe to drop the ball and those facilities will realise that they have an alternative NLE already in their system and it solves the big issue of transference from edit to grade & audio finish by starting in Resolve.

So I see that the switch could be faster than Pr taking over FCP7 seats. Outside of big facilities, the fact that Resolve is free or dirt cheap and cross platform is turning many individuals away from X & Pr. I'm seeing it in the freelancers who run their own suites and feed work to me. I think 16 might accelerate further this drift.


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Mark Suszko
Re: Resolve 16
on Apr 12, 2019 at 12:09:22 am

The line I used to use was: Premiere was a dongle people bought so they could use AfterEffects.


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Eric Santiago
Re: Resolve 16
on Apr 12, 2019 at 3:05:25 pm

[Mark Suszko] "The line I used to use was: Premiere was a dongle people bought so they could use AfterEffects.
"


Still is for some.
It took a while for me to use it as a starter project.
I think we all lucky that we have so many choices and not breaking the bank kind.
I remember years ago having to buy an SGI Visual Workstation (Windows) and was forced to get Premiere for that.
I think it was around 2K at the time (I could be wrong).
Again go back to Media 100 and the old Avid man that stuff was expensive.


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