This flexibility comes at a bit of a cost, but not in dollars. With a completely revamped UI, Resolve 12 now includes a capable NLE with an open timeline that supports a remarkably wide range of frame rates, formats, and resolutions, including direct playback of Sony’s XAVC-I, ARRIRAW, and Panasonic LongG, an increasingly popular format, especially in Asia, that is still not supported to any significant degree on the major NLE platforms. On Equals (2015), a futuristic love story produced by Ridley Scott, the VFX crew used Resolve extensively to scale, composite, and manipulate the rear-projection image across the back of a 15-meter apartment set on a Singapore soundstage. Nevertheless, beyond its well-recognized color-correction and -grading tools, Resolve 12 now offers complete NLE functionality in 2D and 3D, comprehensive media management with extensive metadata support, and audio editing (albeit rather rudimentary) with VST and AU plug-in compatibility.įor the better part of a decade, Resolve has been the preferred color-grading tool for users across a wide spectrum, from corporate and industrial applications to feature films. Resolve may not be, currently at least, the most appropriate or most competent tool for every task. Wouldn’t it be extremely convenient to stay with one tool from soup to nuts - from ingestion and editorial through output to a broad range of formats, including digital cinema? With the introduction of Resolve 12 we can do precisely that. Sure, there may be more powerful and sophisticated editing platforms, but many of us are already using DaVinci Resolve for grading and finishing. The same applies to our post-production tools. Like our long-neglected health club memberships - no matter how fabulous and snazzy the club might be, if it is too inconvenient or far away we are not likely to take advantage of it.
The New Can-Do-Everything Update from Blackmagic Design
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