Welcome back! In this series of articles we've been taking a look at the huge success of DaVinci Resolve 12, which has become immensely popular since its release in 2016. Over the last year, Resolve has been adopted by the post-production community (including some big Hollywood names) as a fantastic way to combine traditional non-linear editing (NLE) with all of the powerful colour grading tools that the DaVinci Resolve software has been known for since back in 1984.
In part one, we focused on the editing and grading aspects of the software, but there's much more to the program than just those two elements. In part two, we'll explore other areas including file maintenance and audio, as well as an update on what the latest version (12.5) brought to the already brilliant package.
Resolve is able to treat image sequences and associated audio as a single file.
Manage files and eliminate proxies
Good storage and file management are some of the most important parts of any post-production workflow. Files need to be exactly where they are supposed to be, and your software has to be able to access slices of footage, audio or other data at the press of a button. When these basic processes work well, the actual work of editing and grading becomes much easier. DaVinci Resolve has always been known for its ease of file management, but version 12 took that to a whole new level with native RAW support.
Effectively, this means that Resolve is able to treat image sequences and associated audio as a single file, eliminating the headache that can accompany working with native image sequences. There are other NLEs that offer similar support, but DaVinci Resolve manages to make the whole thing appear pretty much seamless, reducing administrative work and allowing you to get on with the creative business of structuring an edit and making it look great.
Working with audio
It's easy to focus exclusively on the image side of the editing process – especially with Resolve's grading capabilities – but it's important to keep audio in mind as well. We all know that poor audio can completely ruin a film. While some still prefer to export tracks to a dedicated digital audio workstation (DAW) like Pro Tools or Adobe Audition, it's undeniably easier to keep the entire project in one window and one file.
DaVinci Resolve 12's audio capabilities are extensive, supporting all sorts of channel formats, alongside AU and VST plug-ins so audio engineers can continue using their preferred products. There are also a few very modern features, such as an ability to use plug-ins on whole tracks or just specific clips. This feature has only recently been added to Pro Tools, and even then it isn't as complete an upgrade as the version DaVinci Resolve 12 boasts.
Blackmagic Design's step to ensure users of Resolve are equipped with the right tools is a great step towards wider adoption of HDR.
With such wide success experienced by version 12 of the software, it's no surprise that developers Blackmagic Design have looked to build on Resolve with another update. This arrived in the form of version 12.5, which introduced over 1,000 upgrades and some 250 new features. Many of these were focused on the editing side of things, with new tools and customisable keyboard shortcuts. The shortcuts are particularly helpful, as it's possible to set DaVinci up in the same way as whatever NLE you might have used previously – smoothing the transition if you decide to adopt it as your primary software.
There's also a look towards the future with version 12.5, thanks to HDR grading tools. As we've discussed before on this blog, HDR is the future of video, and Blackmagic Design's decision to ensure users of Resolve are equipped with the right tools is a great step towards wider adoption of HDR and better end products for the industry.
That concludes our series looking back at a year of DaVinci Resolve 12 (and 12.5). To find out more about the software, contact DVT today.
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