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DaVinci Resolve 16 and older 15 and 14
  • DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and new fonts that help reduce eye strain and make it easier to work for long sessions. The new interface is scalable and has been designed to look great on high DPI monitors, such as retina displays. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace.

    The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. DaVinci Resolve 12 can synchronize camera angles based on timecode, audio waveforms, or in/out points. The source monitor displays a grid containing the camera angles and plays them all back in sync while the editor makes cuts to the audio and/or video.

    In addition to multi-camera editing, DaVinci Resolve 12 also features several enhancements to the core editing tools. All trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming of clips, even if they’re on the same track. Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer.

    DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback performance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing.

    Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Customers can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer, or by using new “Favorites” for one click access to commonly used media folders on disk.

    DaVinci Resolve colorists will find incredible new tools that give them even more creative grading options than ever before. Resolve 12 improves upon DaVinci’s legendary advanced color science by adding support for DaVinci’s own color managed timelines as well as ACES 1.0 transforms, making it easier to get consistent results, especially when working in facilities with managed pipelines.

    The core grading and color correction tools have also been improved with a new, easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade.

    DaVinci Resolve 12 also now supports remote rendering so customers working in larger facilities can distribute rendering jobs to other Resolve systems that are on the same shared database and shared storage.

    With dramatically improved editing, DaVinci Resolve 12 now has the ability to integrate with other NLEs even better. Edit timelines can “round trip” to other editing software and more of settings, plug-ins and edits are preserved. For example when importing XMLs from Final Cut Pro X, DaVinci Resolve 12 can now import multi-cam clips and preserve all the original camera angles. Also, audio support is greatly improved to match the audio timeline in Final Cut Pro X. This makes collaborative workflows better and allows different people in a facility to use the tools they prefer instead of being forced into an inflexible company wide platform.

    “DaVinci Resolve 12 is an incredible release that we think both editors and colorists are going to love,” said Grant Petty, CEO, Blackmagic Design. “We’ve built in the features customers have been asking for and, with the addition of multi-cam and some of the other great new editing features, we think that Resolve is perfect for both creative editing and finishing. It’s still the only system that lets customers switch from editing to grading with the click of a button, giving them the fastest, highest quality no compromise workflow. Best of all, customers can install DaVinci Resolve Lite and use it on real projects for free. There is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware!”

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  • DaVinci Resolve 16.2.2

    Main changes:

    • Hardware-accelerated H.265 Main10 renders on supported Macs.
    • Blackmagic RAW clip LUT name can now be viewed in clip metadata.
    • Ability to assign frame rate on YouTube, Vimeo and renders.
    • Support for marking comments in markers as complete.
    • Nudge keyboard actions can be used in the sync clip dialog.
    • Support for exporting .srt files without formatting.
    • Support for RED 7.3.1 SDK.
    • Support for the Rec.709-A gamma option for QuickTime player compatibility.
    • Preference to automatically tag Rec.709 clips as Rec.709-A.
    • Addressed level shifts playing some short H.264 clips on Mac systems.
    • Addressed loss of audio transition when trimming clips in the timeline.
    • Addressed issues with stabilization not being available in the inspector.
    • Addressed issues with incorrect channel order for audio waveform display.
    • Addressed an issue with previewing in Fusion when in proxies mode.
    • Addressed an issue with using reference sizing with timeline wipe.
    • Addressed an issue with aspect ratio metadata in some MXF renders.
    • Multiple performance and stability improvements.
  • DaVinci Resolve 16.2

    Blackmagic Design today announced DaVinci Resolve 16.2, a new update to the company’s popular edit, color, visual effects and audio post production software that includes major Fairlight updates for audio post production. This new update also includes many improvements for color correction, editing and more so is recommended for all users.

    DaVinci Resolve 16.2 is available for download now from the Blackmagic Design web site.

    This new update has major new updates for editing in the Fairlight audio timeline when using a mouse and keyboard. This is because the new edit selection mode unlocks functionality previously only available via the audio editor on the full Fairlight console, so editing is much faster than before. In addition, the edit selection mode makes adding fades, cuts and even moving clips only a mouse click away. New scalable waveforms let users zoom in without adjusting the volume. Bouncing lets customers render a clip with custom sound effects directly from the Fairlight timeline.

    Adding multiple clips is easier as they can now be added vertically to the timeline, not just horizontally, making it easier to add multiple tracks of audio at once. Multichannel tracks can now be converted into linked groups directly in the timeline so users no longer have to change clips manually and reimport. There's added support for frame boundary editing which improves file export compatibility for film and broadcast deliveries. Frame boundary editing now adds precision so users can easily trim to frame boundaries without having to zoom all the way in the timeline. Modifier keys are now supported so clips can be duplicated directly in the timeline using the keyboard and mouse. Users can also copy clips across multiple timelines with ease.

    DaVinci Resolve 16.2 also includes support for the Blackmagic Fairlight Sound Library with new support for metadata based searches, so customers don’t need to know the filename to find a sound effect. Search results also display both the filename and description so finding the perfect sound effect is faster and easier than before.

    Finding audio effects is also faster with automatic sorting that will separate them first by category, and then by native or third party plugins. Effects can also be marked as a favorite so they move to the top of the list, making navigation easier than ever.

    MPEG-H 3D immersive surround sound audio bussing and monitoring workflows are now supported. Additionally, improved pan and balance behavior includes the ability to constrain panning.

    The extensive Fairlight audio editing also has index improvements. The edit index is now available in the Fairlight page and works as it does in the other pages, displaying a list of all media used, simply click on a clip to navigate directly to its location in the timeline. The track index now supports drag selections for mute, solo, record enable and lock as well as visibility controls so customers can quickly swipe through a stack of tracks without having to click on each one individually. Audio tracks can also be rearranged by click and dragging a single track or a group of tracks in the track index.

    This new release also includes improvements in AAF import and export. AAF support has been refined so AAF sequences can be imported directly to the timeline in use. Additionally, if the project features a different time scale the AAF data can also be imported with an offset value to match. AAF files that contain multi channels will also be recognized as linked groups automatically. The AAF export has also been updated and now supports industry standard broadcast wave files. Audio cross fades and fade handles are now added to the AAF files exported from Fairlight and will be recognized in other applications.

    For traditional Fairlight uses, this new update makes major improvements in importing old legacy Fairlight projects. This includes improved speed when opening projects with over 1000 media files, this means projects are imported faster than before.

    This new software also improves audio mixing. A new EQ curve preset for clip EQ in the inspector allows removal of troublesome frequencies. New FairlightFX filters include a new meter plug-in that adds a floating meter for any track or bus to keep an eye on levels even if the monitoring panel or mixer are closed. There’s also a new LFE filter designed to smoothly roll off the higher frequencies when mixing low frequency effects in surround.

    Working with immersive sound workflows using the Fairlight audio editor has been updated and now includes dedicated controls for panning up and down. Additionally, clip EQ can now be altered in the inspector on the editor panel. Copy and paste functions have been updated and now all attributes are copied, including EQ, automation and clip gain. Sound engineers can set up their preferred workflow including creating and applying their own presets for clip EQ. Plugin parameters can also be customized or added so users have fast access to their preferred toolset.

    Clip levels can now be changed relatively, this allows users to adjust the overall gain while respecting existing adjustments. Clip levels can also be reset to unity, easily removing any level adjustments that may have previously been made. Fades can also be deleted directly from the Fairlight Editor, making it faster to do than before. Sound engineers can also now save their preferred track view so they get the view they want without having to create it each time. More functions previously only available via the keyboard are now accessible using the panel, including layered editing. This also means that automation curves can also now be selected via the keyboard or audio panel.

    Continuing on with the extensive improvements to the Fairlight audio, there has also been major updates to the audio editor transport control. Track navigation is now improved and even works when nothing is selected. Users can navigate directly to the timecode entry window above the timeline from the audio editor panel, and there is added support for high frame rate timecodes. Timecode entry now supports values relative to the current CTI location, so the playhead can move along the timeline relative to the position rather than a set timecode.

    Support has also been added so the colon key can be used in place of the user typing 00. Master spill on console faders now lets users spill out all the tracks to a bus fader for quick adjustments in the mix. There’s also more precision with rotary controls on the panel and when using a mouse with the use of a modifier key. Users can also change the layout and select either icon or text only labels on the Fairlight editor. For legacy Fairlight users, they can now use the traditional Fairlight layout they may be more familiar with. Moving around the timeline is even quicker with added support media left and media right selection keys to jump the playhead forwards and back.

    This update also improves editing in DaVinci Resolve. Loading and switching timelines on the edit page is now faster with improved performance when working with a large number of audio tracks. Compound clips can now be made from in and out points so editors can be more selective with what media they want directly in the edit page. There is also support for previewing timeline audio when performing live overwrites of video only edits. Now when trimming, the duration will reflect the clip duration as customers actively trim so customers can set a specific clip length. Support for a change transition duration dialog.

    The media pool now includes metadata support for audio files with up to 24 embedded channels. Users can also duplicate clips and timelines into the same bin using copy and paste commands.

    Customers using collaborative workflows in the color page now have greater stability for their workflows. Support for running the primary DaVinci Resolve screen as a window when dual screen mode is enabled

    Smart filters now let users sort media based on metadata fields, including keywords and people tag so users can find the clips they need faster.

    "We are excited about this update as it has more new features for audio post production," said Grant Petty, Blackmagic Design CEO. "These new features allow complex audio post production work in the Fairlight page using a simple mouse and keyboard. That allows many more people to add professional audio quality to their work because DaVinci Resolve is a free download. That’s very exciting.

    DaVinci Resolve 16.2 Features

    • Improved usability in Fairlight timeline editing.
    • Improved Blackmagic Fairlight sound library.
    • New automatic sorting of effects and plug-ins.
    • Improved immersive 3D surround sound bussing and monitoring.
    • Fairlight audio editing track index improvements.
    • Improved AAF import and export.
    • Improved import of older legacy Fairlight projects.
    • Multiple improvements in audio mixing and FairlightFX filters.
    • Major improvements in the Fairlight console audio editor.
    • Improved transport control on the Fairlight console audio editor.
    • New editing features including loading and switching timelines.
    • Improved media pool with faster copy and paste of clips.
    • New color grading features including smart filters and more.
    • Improved file format support for new cameras and standards.

    Availability and Price

    DaVinci Resolve 16.2 is available now for download from the Blackmagic Design web site.

  • 360 videos editing

  • On keyboard

  • What's new in DaVinci Resolve 16.1.2

    • Support for additional audio track formats for IMF and DCP renders
    • Improved decode and encode performance for Kakadu DCP and IMF formats
    • Support for CUDA based R3D with the latest RED SDK on Windows and Linux
    • Adds Blackmagic RAW support for latest Blackmagic URSA Broadcast update
    • Support for new audio only and video only editing modes on the cut page
    • Added in and out buttons in the user interface on the cut page
    • Support for audio playback when trimming on the cut and edit pages
    • Improved zoom buttons for the timeline on the edit page
    • Improved smart indicator in the cut page for when using in and out points
    • Viewer resize icon on the cut page now correctly resizes the whole viewer
    • Cut page divider between timeline and viewer can now be moved via the divider
    • Close up edits in the cut page now vary the close up from 20% to 40% randomly
    • Search dial is more responsive when using the DaVinci Resolve Editor Keyboard
    • Removed auto jog mode on scroll with the DaVinci Resolve Editor Keyboard
    • Better responsiveness using shuttle with the DaVinci Resolve Editor Keyboard
    • Double press to clear in and out on the DaVinci Resolve Editor Keyboard
    • Improved performance in collaborative projects with multiple DaVinci systems
    • Support for monitor name in the workspace menu display options
    • Support for copy/paste in Dolby Vision mid tone offset values between clips
    • New scripting APIs to move media items, LUTs, markers, copy grades and more
    • Now uses 2 up view in sync bin when using live overwrite editing
    • Fixes a bug that caused the clip dividers in the source tape to scroll with audio
    • Opening the media folder in the cut page will re-sync to that folder contents
    • Multiple performance and stability improvements
  • @MikeLinn Thanks Mike. You got this up quick -only 21 views when I looked

  • Sync Bin really does change everything about multi-cam workflow for me. This is another intelligent addition by Black Magic!

  • Here's a video using the 16 Beta 7 - which is the final version before 16.1

    Essentially it is about how to organise your clip into timelines and compound clips to keep everything logical, titles, scenes, diagrams etc.

    If you've not used the Fairlight section, it is effectively a multichannel mixer and effects processor, the channels are set in the edit page, so if you end up moving stuff around in this page, you could find your audio going down channels you didn't expect - which doesn't happen so much if you get organised with timelines!

  • Resolve 16 beta 7 has been available for about a week now. I have updated after discovering that this is the first version which includes a Resolve 16 reference pdf in the help files. Previous versions have only included the Resolve 15 version. Incidentally I have been finding most of the betas I have tried to be pretty stable.

  • Beta 5 Now available " Jul 03, 2019 5:28 am With thanks to everyone who has participated in the public beta program, today we are pleased to announce that DaVinci Resolve 16 Studio beta 5 and Fusion 16 Studio beta 5 are now available on our support web site. ... and-fusion

    We believe this release candidate is ready for you to migrate to and so we strongly encourage all beta users to update to this beta version as we move closer to GM."" ,,, The beta 5 free version is also there.

  • Today, I had a go with the 'Find People' function of Resolve 16 (B4). I was catergorising a set of video clips from a trade show. I would say that it was 85% effective. Most errors were people in the distance.

  • Here's a walk through of Resolve 16 Beta 3 --- and of mild interest it was completed in R16B4.

    The main takeaway for me is that using Fusion no longer brings a project to its knees - you can continue to work as frames of Fusion are completed in the background.

    The Fairlight section still has some oddities - like I couldn't get presets to work between timelines, but this is minor:

  • DaVinci Resolve beta 4 out. "We strongly encourage all beta users to update to this beta version as we move closer to GM we would like your feedback on beta 4."

  • I got Nikon Z6 few days ago and I wanted to edit test footage in Davinci as it can be a good opportunity to migrate from Premiere. Unfortunately Davinci ignores Z6 mov files and I cant upload them. I did not find anything online except: "same files are not supported but it is easy fix by converting them" LOL

    Update Reinstall helps