Could Fairlight be your next DAW?

When I review audio plug-ins and software, it’s from my perspective as a video editor. I’m not a recording engineer or mixer; however, I do dabble with music mixes as a hobbyist and to improve my audio chops. As such, I occasionally delve into digital audio workstation software, such as Sound Forge, Audio Design Desk, and others. My favorite is Apple Logic Pro, but as a DaVinci Resolve and Adobe user, I also have Fairlight (part of Resolve) and Adobe Audition. I touched on the Fairlight page in some detail as part of my Resolve Studio 18 review, but in this post I want to focus on it purely from the perspective of a DAW user on music projects.

Blackmagic’s reimagining

When Blackmagic Design acquired the assets of Fairlight, the software was refreshed and developed into the Fairlight page within DaVinci Resolve. Even though it’s nested inside of a video editing and grading tool, Fairlight is capable of being a standalone audio application. No need to ever have video enter into the equation.

Fairlight is integrated into both DaVinci Resolve (free) and Resolve Studio ($295). The Studio version can be activated on two computers at the same time. Nearly all Fairlight features and effects are the same in both versions, with the exception of ATMOS and spatial audio mixing/monitoring, which requires the Studio version. If your only interest is stereo recording and mixing, then Resolve is one of the only, truly free DAWs on the market. No significant feature restrictions and no Blackmagic hardware required. Plus, it works in Windows, Linux, and macOS.

Along with this software development, Blackmagic Design has expanded the ecosystem of companion Fairlight products. These include an accelerator card, a modular chassis, control surfaces, controllers, and an audio interface. The Fairlight page also supports Blackmagic’s two editor keyboards. You can run Fairlight without any external hardware, yet it’s scalable up to a complete recording studio rig. On a Mac, any Core Audio device will do, so recording into Fairlight and monitoring the output is compatible with simple USB audio interfaces, like Focusrite, PreSonus and others.

Understanding the interface

The Fairlight interface is compatible with single and dual-display set-ups and uses UI panels that can be turned on and off or slid onto the screen as needed. You can show or hide individual pieces of the mixer, as well. Unfortunately in a single display system, like an iMac, you cannot display the mixer panel full-screen. A project with 20 to 30 or more source tracks, requires left to right scrolling. However, since the 18.1 update, the meter bridge panel allows for two rows of meters.

The mixer uses a channel strip format for each track, which includes input/output/send routing, effects, and a built-in parametric equalizer and compressor. This is much like the channel strip of a traditional analog studio console, like an SSL or Neve. Unlike some other DAWs, you can also change the signal order of effects, EQ, and dynamics (compression) within each channel strip.

Modern plug-ins

Resolve includes Fairlight FX audio plug-ins that cover most common needs. But since this software is targeted towards the film and TV customer, it doesn’t include music-centric plug-ins, like the guitar amp and pedal emulations offered in Logic Pro. That focus is true of the plug-in presets, as well. For example, the factory preset choices in the compressor will be for dialogue and not musical instruments, like a drum kit or guitar. That doesn’t mean you can’t do music with these plug-ins. Presets are just suggestions anyway, so you should tweak based on what sounds right to you.

Fairlight does not color the sound. The sonic character, interface, and plug-in design take a clean, modern approach. There are no vintage options and none of the plug-ins are designed as skeuomorphic emulations of studio gear synonymous with classic recordings from the 70s. After all, film re-recording mixers have never been particularly precious about certain consoles or outboard gear from ages ago. Other than maybe a love for old Nagras, I doubt there’s much fondness for old audio gear like mag dubbers. At least not in the same way that music recording engineers still like to use analog recorders in the signal chain.

If you do want vintage tools, then Fairlight supports third-party AU and VST plug-ins. However, as with other video applications, I’ve found that some of the skeuomorphic effects don’t always work or look right. For example, I often use the free VU meter from TBProAudio. In Fairlight, only the AU version will appear as intended. And if you own an M1 or M2 Mac, then double-check that your favorite third-party plug-in is natively supported.

Fairlight isn’t just for audio post

Avid’s Pro Tools is the 800-pound gorilla. But, many Pro Tools users are often frustrated with the cost of staying current and dealing with Avid as a company. While such concerns may or may not be justified, Pro Tools isn’t the only game in town. Unless you need to interchange Pro Tools projects, there are plenty of alternatives. And that’s where Fairlight comes in. First of all, if audio post for film and TV is your primary focus, then Fairlight is up to the task. Resolve will import XML, FCPXML, and AAF files for both color and sound finishing. Fairlight includes an ADR recording routine, a free sound effects library, and a foley sampler plug-in. But let me focus on Fairlight as a music DAW.

I started with multitracks of song covers available from Warren Huart’s “Produce Like A Pro” YouTube channel. I didn’t record my own tracks, other than to test how recording might work. I’m a big believer that a great mix is achieved by doing 90% of the work at the time of the studio recording. It’s not about building the sound through plug-ins and tricks, but getting the right blend of gear, mics, and performance from the players. That was already there in the multitracks, so the mix was more about the right balance of these elements.

Achieving a successful mix

Fairlight works with as many tracks and busses as are created in your timeline. My standard layout for mixing is to use summing busses. You can create as many as you need. The 35 tracks for this song include drums, percussion, bass, piano, electric and acoustic guitars. I route each set of instrument tracks to a buss dedicated to that group, even if there’s only one instrument track in that group. These six busses are then routed to a submix buss, which in turn is routed to the master buss for output. This allows for gain staging and quickly balancing  levels. The default Fairlight layout automatically routes the first buss (drums in my case) as the output to the speakers and on the Deliver page. Be sure to change each of these to your master buss for the proper intended output.

My goal was to come out with a result that hit desired loudness targets and sounded good to me, mainly using the stock plug-ins. You’re going to adjust levels, but most of the effects center around EQ, compression, and reverb. Each of these is adequately covered by the complement of Fairlight FX. If you have singers, then there are also vocal processing effects, like de-essing. However, an investment in iZotope RX is certainly a useful add-on. For example, RX includes a specific tool to remove or reduce guitar squeaks and string noise. The Resolve 18.1 update added many audio-centric features, including a new voice isolation feature. It works well for any vocal situation and in my opinion has fewer negative artifacts than most of the competing options.

In my test mix, I adjusted level, panning, EQ, and compression on each channel strip. At the buss level, I added more EQ and compression, plus some reverb. The last stage was a multiband compressor and a brick wall limiter on the submix buss. Only meter plug-ins were added to the master buss. Of course, Fairlight includes its own useful set of meters for level and loudness.

Fairlight is actually quite good for music production, editing, and mixing. Since it’s built into an NLE, the project supports multiple mixes. You can have bins and timelines to organize the tracks and mixes for various different songs, as well as different versions of each mix. Resolve 18 added new cloud collaboration tools, however, you can easily collaborate on mixes by exporting a timeline file to send to a colleague. Assuming the other system has access to the same audio files and third-party plug-ins (if used), then it’s simply a matter of importing that timeline file.

Processing for this number of tracks and effects was easily handled by my iMac. It could have handled more, including more intense third-party plug-ins, like Gullfoss, Ozone, FabFilter, or Sonible. If you really need to go BIG, then Blackmagic Design promises up to 2,000 real-time tracks for the full Fairlight hardware installation! So if Pro Tools isn’t in the cards for you, then look over Fairlight and Resolve. It might just be right for your music mixing needs.

Additional thoughts

Some of the comments I received on the PVC version of this article (see link below) pointed out that Fairlight does not include such music-centric tools as MIDI and a piano roll, like some other DAWs do. While this is true, these are tools used by music creators working with synthetic instruments, like software samples for guitar, strings, drums, etc. That’s not a universal requirement, especially if you record and mix live performers using real instruments. Certainly if you need those specialized features, then other DAWs are a better fit for you.

It’s important to remember that digital audio workstation (DAW) software is used for a wide variety of audio production tasks. Such productions are often recorded and edited with tools that do not include some of these music features either. For example, Adobe Audition is widely used in the production of podcasts and radio commercials. So while Fairlight might not fit all needs, there’s little harm in trying a free application and then seeing where that leads.

Want to try mixing in Fairlight for yourself, but don’t have the tracks? Check out these 50 free, downloadable multitrack song sets from Warren Huart. I’ve only scratched the surface, so be sure to check out Blackmagic’s Fairlight training series.

This review also appears at Pro Video Coalition.

©2023 Oliver Peters

NLE Tips – Proxy Hacks

Editors often think of the clip within the edit application’s browser as the media file. But that clip is only a facsimile of the actual media. It links to potentially three different assets on the hard drive – the original camera (or sound) file, optimized media, and/or proxy media.

Optimized media. You may decide to create optimized media when the original media’s codec or file format is too taxing on your system. For example, you might convert a media file made up of an image sequence into an optimized movie file using one of the ProRes or DNx codecs. When you create optimized media, that is often the media used for finishing instead of the original camera media. For sake of simplicity I’ll refer to original media from here on, but understand that it could be optimized media or original camera files.

Proxy media. There are many reasons for creating proxy media – portability, system performance, remote editing, etc. Proxy media is usually lightweight, more highly compressed, and of a lower resolution than the original media. Nearly all editing applications enable users to edit with lightweight proxy media in lieu of heavier, native camera files. When proxy media has been created, then the media clip in the NLE’s browser can actually link to both the original camera file, as well as the proxy media file. Software “toggles” in the application can seamlessly swap the link from one type of media file to the other.

The NLEs that offer proxy editing workflows integrate routines to transcode and automatically switch the links between proxy and original camera files on the hard drive. DaVinci Resolve 18 is the newest in this group with the addition of the Blackmagic Proxy Generator application. However, that tool only works with Resolve Studio 18 downloaded from Blackmagic Design’s website. The Generator is an addition to Resolve 18 and augments the built-in transcoding tools. In either case, you don’t have to use the built-in routines nor the Blackmagic Proxy Generator. You can encode proxies using different software and even different computers. Then you can attach those proxies to the clips in the editing application at a later time.

Creating external proxy media

Proxies can be created with any encoding software. I like Apple Compressor, which includes a category of presets specifically designed for proxy media generation. The presets can be modified according to your needs.  For instance, you can add a LUT and effects, like a timecode overlay. This makes it easy to know when you are toggled to the original or the proxy media within the NLE.

Before creating any proxy files, make sure that your original files all have unique file names. Rename any duplicates or those with generic file names, like Clip001, Clip002, etc. There are several key parameters needed for successful relinking between original and proxy media. These include matching names, frame rates, timecode, lengths, and audio channel configurations. Some applications let you force a relink when some of these items don’t match, but it will usually be one file at a time.

Frame sizes can be smaller, since that’s an aspect of any proxy workflow. For example, if you start with 4K/UHD original media, but you create half-size HD proxies. The embedded metadata in the proxy file informs the NLE so that the correct size is maintained when switching between the two. Likewise, the codecs do not need to match. You can have 4K/UHD ProRes HQ originals and HD H.264 proxy media (I prefer ProRes Proxy). The point is to have proxy media with smaller file sizes, which play back more efficiently on your computer.

When you transcode proxy media files in Compressor or any other encoding application, it’s best to render them into a folder specifically called Proxy. This can be anywhere you like, but it’s best to have it near your original camera files. If you have multiple camera file folders – organized by camera roll, day, camera model, etc – then there are two options. You can either have one single Proxy file for all renders or have a separate subfolder called Proxy within each camera roll folder.

Dealing with externally-created proxies in different editing applications

Final Cut Pro – There is a setting to switch between Proxy Preferred and Original/Optimized. When you create external proxies, highlight the original camera clips and relink to the proxy media in the Proxy folder(s). Once proxies have been linked, then you can seamlessly switch between the two types of media.

Premiere Pro – There is a similar toggle button accessible in the timeline tools panel. The linking steps are similar to Final Cut Pro. Highlight the originals and then Attach Proxies. Navigate to the Proxy folder(s) and attach that media. The toggle button lets you switch back and forth between media types.

DaVinci Resolve Studio 18 – This update changed the proxy workflow as well as added the Generator application. You can still use the older proxy generation method. If so, then set the encoding parameters and location in your project settings. If you encode using the Blackmagic Proxy Generator app or an external application, then it’s a different process. The advantage to using Blackmagic Proxy Generator is that you can set up watch folders for automatic encoding.

The default location when using the Blackmagic Proxy Generator app or Resolve’s internal routine places a Proxy subfolder inside the folder of each roll of original media. When that condition exists, then original clips added into the Media page automatically include links to both the original and the proxy media. In fact, the Proxy subfolders don’t even show up in Resolve’s browser when searching for media. When both types of media are present, then the Resolve clip icons reflects that duality.

When you transcode externally with Compressor or another app, then media placed into individual Proxy subfolders will also automatically link inside Resolve. However, if you render to a single, unified Proxy folder, then you’ll need to manually relink the proxy files to the originals in the Media page. Like the other two NLEs, you can do this as a batch function by navigating to the Proxy folder.

I hope these pointers will be a useful guide the next time you decide to use a proxy media workflow.

©2022 Oliver Peters

DaVinci Resolve Speed Editor

Since the beginning of nonlinear editing, developers and accessory providers have added custom keyboards and controllers that emulated the film and videotape systems they replaced. Avid had the MUI, Lightworks used a flatbed-style controller, and Contour Design offers the ShuttlePRO. In 2019 Blackmagic Design launched DaVinci Resolve 16 along with a companion DaVinci Resolve Editor Keyboard. Its design is reminiscent of CMX or Sony keyboards used in high-end linear edit suites.

The larger keyboard was followed by a smaller edition dubbed the DaVinci Resolve Speed Editor. This controller is close to what you might have seen in a linear ENG edit bay with someone cutting news packages on two Sony BVU-800 3/4″ decks. The Editor Keyboard is designed to work Resolve’s cut and edit pages, but the Speed Editor is primarily for the cut page. However, the transport controls work with all the pages and mark and trim commands operate on the edit page, as well.

Speed Editor retails for $395 and includes a license key for DaVinci Resolve Studio. It operates over Bluetooth, but firmware updates and charging require a USB-C connection. It will pair with Resolve (version 17 or 18), but not other apps nor the Finder. Although you can perform much of the cut page editing operation from Speed Editor, it won’t entirely replace your keyboard and mouse or trackpad. The design is right-handed, but since you can place it to the left or in front of an external keyboard, it’s easier for a left-hander to utilize than the QWERTY-style Editor Keyboard.

The main selling point for me is the knob, aka the Search Dial. As with the Editor Keyboard dial, it has a similar tactile feel and the ballistics of using a Sony tape machine. Of course, you are dealing with files not tape, so it can easily stop on a dime. There’s shuttle, jog, and scroll control. Shuttle locks in the speed and is best for moving through lots of material. I found myself mainly using scroll and jog. If you use it on the Fairlight page, then jog emulates the analog tape experience of “reel rocking” to find an exact edit point. For me, the quality of the Search Dial experience surpasses any of the other Eucon or USB peripherals.

Cut page

You can’t review Speed Editor without giving some coverage to the cut page itself. This is an alternative editing model introduced with DaVinci Resolve 16. At a casual glance, the design and operation is like a mash-up of Final Cut Pro and LumaFusion.

The cut page design is optimized for fast editing. I applaud that effort, which is largely successful. However, the waters are muddied with Sync Bin – an alternate multicam editing method. In my opinion, the edit page is a far better tool for multicam projects. Quite frankly, the software development that Blackmagic put into this, as well as the real estate taken up in the Speed Editor keypad for multicam, should have been applied in other ways, like mappable function keys.

Another design issue I have, is that the cut page nomenclature and editing tasks are inconsistent with the edit page. For example, there is no traditional Insert or Overwrite command and no Delete (lift) – only Ripple Delete (extract). Ripple Overwrite is actually a replace function and Source Overwrite is tied to the alternate way of editing multicam projects. All clips are assembled as interleaved video/audio clips; however, you can’t trim audio and video separately on those clips to create L-cuts and J-cuts.

I could continue, as there are other missing features that I believe are essential for any editor. But let me dive into Speed Editor and explain how you can use it and the cut page to your advantage.

Fast editing

Speed Editor works best when you use it for fast assembly in the cut page. Buttons are grouped according to function. (Read about the specific details in the DaVinci Resolve manual, Chapter 49). When starting from a fresh timeline, it’s best to first select the Source button and Append clips to the timeline. The raw footage is presented in the Source Tape mode. Clips are organized chronologically into a virtual timeline that you can shuttle, scroll, or play through. In other words, Resolve has automatically arranged the clips into a stringout making it easy to find the relevant shots. The Source Tape mode is much faster than hover scrubbing over individual clips. It is unique to Resolve and reproduces the fluid experience of cutting with two VTRs.

Once the initial assembly is done, click the Timeline key and go through your sequence to trim shots or roll edit points. There are single buttons to add dissolves, wipes, and smooth cuts (morph transitions). The timeline is track-based, so press the Place On Top key to add picture cutaways and additional audio. Any clip with video is edited to a higher track, while an audio-only clip is placed onto a lower audio track.

The Speed Editor commands are intelligent operations. For instance, if you select Trim Out to adjust a clip’s out point, the playhead will automatically select the edit point closest to the playhead – either before or after the playhead position. Then move the Search Dial to adjust the trim amount and the rest of the timeline reacts magnetically. Likewise, the Smart Insert command will insert a source clip at the nearest cut, rather than the playhead position. But, there are no “go to in (or out)” or “top” and “tail” edit commands.

If you need to punch into a shot, click the Close-Up button. This places a copy of that clip in sync at the playhead position onto a higher track and scales it larger. Many of the keypad buttons have secondary functions printed on the edge of the key. You can access these with a double-click or click-and-hold. The Close-Up key also enables a position change on the Y-axis. Hold the key and tilt the shot up or down by turning the Search Dial. Unfortunately, you cannot pan the shot on the X-axis nor change the scale value.


Who is the ideal user for the cut page and the Speed Editor? And, has nonlinear editing really gone beyond these types of peripherals? To the first question, I presume Blackmagic Design sees these tools as something that would appeal to beginning editors, ENG editors, and maybe YouTube content creators. When it comes to Speed Editor, you still need to use the mouse and keyboard for certain functions. If so, then is this device necessary? That’s harder to answer, because the Search Dial functions are so good and addictive. While I can do much of the same with a Magic Mouse, there are plenty of editors with repetitive stress issues in their hands and wrists for whom Speed Editor could become an essential tool.

Controllers designed to mimic flatbed or linear tape editing may be a false goal for developers. Modern NLE interfaces are simply more complex. I wish Blackmagic Design had enabled custom mapping for Speed Editor just like a regular keyboard. That’s a lost opportunity that hopefully can be fixed in a future update.

Modern editing is often done on laptops and that’s a sweet spot for Speed Editor. You’ve still got a built-in keyboard and trackpad when you need it, but a lot of the standard editing tasks can be done with a task-appropriate tool. If Resolve is your main NLE, then the small, lightweight Speed Editor is a good companion for powerhouse laptops like Apple’s M1 MacBook Pros.

Check our Darren Mostyn’s YouTube channel for an in-depth look at editing with the cut page and the DaVinci Resolve Speed Editor. Part 1 and Part 2 are here.

©2022 Oliver Peters

Colourlab Ai

An artificial intelligence grading option for editors and colorists

There are many low-cost software options for color correction and grading, but getting a stunning look is still down to the skill of a colorist. Why can’t modern artificial intelligence tools improve the color grading process? Colorist and color scientist Dado Valentic developed Colourlab Ai as just that solution. It’s a macOS product that’s a combination of a standalone application and companion plug-ins for Resolve, Premiere Pro, Final Cut Pro, and Pomfort Live Grade.

Colourlab Ai is comprised of two main functions – grading and show look creation. Most Premiere Pro and Final Cut Pro editors will be interested in either the basic Colourlab Ai Creator or the richer features of Colourlab Ai Pro. The Creator version offers all of the color matching and grading tools, plus links to Final Cut Pro and Premiere Pro. The Pro version adds advanced show look design, DaVinci Resolve and Pomfort Live Grade integration, SDI output, and Tangent panel support. These integrations differ slightly, due to the architecture of each host application.

Advanced color science and image processing

Colourlab Ai uses color management similar to Resolve or Baselight. The incoming clip is processed with an IDT (input device transform), color adjustments are applied within a working color space, and then it’s processed with an ODT (output device transform) – all in real-time. This enables support for a variety of cameras with different color science models (such as ARRI Log-C) and it allows for output based on different display color spaces, such as Rec 709, P3, or sRGB.

If you prefer to work directly with the Colourlab Ai application by itself – no problem. Import raw footage, color correct the clips, and then export rendered movie files with a baked in look. Or you can use the familiar roundtrip approach as you would with DaVinci Resolve. However, the difference in the Colourlab Ai roundtrip is that only color information moves back to the editing application without the need to render any new media.

The Colourlab Ai plug-in for Final Cut Pro or Premiere Pro reads the color information created by the Colourlab Ai application from an XML file used to transfer that data. A source effect is automatically applied to each clip with those color parameters. The settings are still editable inside Final Cut Pro (not Premiere Pro). If you want to modify any color parameter, simply uncheck the “Use Smart Match” button and adjust the sliders in the inspector. In fact, the Colourlab Ai plug-in for FCP is a full-featured grading effect and you could use it that way. Of course, that’s doing it the hard way!

The ability to hand off source clips to Final Cut Pro with color metadata attached is unique to Colourlab Ai. This is especially a game changer for DITs who deliver footage with a one-light grade to editors working in FCP. The fact that no media need be rendered also significantly speeds up the process.

A professional grading workflow with Final Cut Pro and Colourlab Ai

Thanks to Apple’s color science and media architecture, Final Cut Pro can be used as a professional color grading platform with the right third-party tools. CoreMelt (Chromatic) and Color Trix (Color Finale) are two examples of developers who have had success offering advanced tools, using floating panels within the Final Cut Pro interface. Colourlab Ai takes a different approach by offloading the grade to its own application, which has been designed specifically for this task.

My workflow test involved two passes – once for dailies (such as a one-light grade performed by a DIT on-set) and then again for the final grade of the locked cut. I could have simply sent the locked cut once to Colourlab Ai, but my intention was to test a workflow more common for feature films. Shot matching between different set-ups and camera types is the most time-consuming part of color grading. Colourlab Ai is intended to make that process more efficient by employing artificial intelligence.

Step one of the workflow is to assemble a stringout of all of your raw footage into a new FCP project (sequence). Then drag that project from FCP to the Colourlab Ai icon on the dock (Colourlab Ai has already been opened). The Colourlab Ai app will automatically determine some of the camera sources (like ARRI files) and apply the correct IDT. For any unknown camera, manually test the settings for different cameras or simply stick with a default Rec 709 IDT.

The Pro interface features three tabs – Grade, Timeline Intelligence, and Look Design. The top half of the Grade tab displays the viewer and reference images used for matching. Color wheels, printer light controls, scopes, and versions are in the bottom half. Scope choices include waveform, RGB parade, or vectorscope, but also EL Zones. Developed by Ed Lachman, ASC, the EL Zone System is a false color display with 15 colors to represent a 15-stop exposure range. The mid-point equates to the 18% grey standard.

AI-based shot matching forms the core

Colourlab Ai focuses on smart shot matching, either through its Auto-Color feature or by matching to a reference image. The application includes a variety of reference images, but you can also import your own, such as from Shotdeck. The big advance Colourlab Ai offers over other matching solutions is Color Tune. A small panel of thumbnails can be opened for any clip. Adjust correction parameters – brightness, contrast, density, etc – simply by stepping through incremental value changes. Click on a thumbnail to preview it in the viewer.

The truly unique aspect is that Color Tune lets you choose from eleven matching options. Maybe instead of a Smart model, you’d prefer to match based only on Balance or RGB or a Perceptual model. Step through the thumbnails and pick the look that’s right for the shot. Therefore, matching isn’t an opaque process. It can be optimized in a style more akin to adjusting photos than traditional video color correction.

Timeline Intelligence allows you to rearrange the sequence to group similar set-ups together. Once you do this, use matching to set a pleasing look for one shot. Select that shot as a “fingerprint.” Then select the rest of the shots in a group and match those to the fingerprinted reference shot. This automatically applies that grade to the rest. But, it’s not like adding a simple LUT to a clip or copy-and-pasting settings. Each shot is separately analyzed and matched based on the differences within each shot.

When you’re done going through all of the shots, right-click any clip and “push” the scene (the timeline) back to Final Cut Pro. This action uses FCPXML data to send the dailies clips back to Final Cut, now with the added Colourlab Ai effect containing the color parameters on each source clip.

Remember that Final Cut Pro automatically adds a LUT to certain camera clips, such as ARRI Alexa files recorded in Log-C. When your clips comes back in from Colourlab Ai, FCP may add a LUT on top of some camera files. You don’t want this, because Colourlab Ai has already made this adjustment with its IDT. If that happens, simply change the inspector LUT setting for that source file to “none.”

Lock the edit and create your final look

At this point you can edit with native camera clips that have a primary grade applied to them. No proxy media rendered by a DIT, hence a much faster turnaround and no extra media to take up drive space. Once you’ve locked the edit, it’s time for step two – the show look design for the final edit.

Drag the edited FCP project (new sequence with the graded clips) to the Colourlab Ai icon on the dock to send the edited sequence back to Colourlab Ai. All of the clips retain the color settings created earlier in the dailies grading session. However, this primary grade is just color metadata and can be altered. After any additional color tweaks, it’s time to move to Show Looks. Click through the show look examples and apply the one that fits best.

If you have multiple shots with the same look, apply a show look to the first one, copy it, and then apply that look to the rest of the selected clips. In most cases, you’ll have a different show look for various scenes within a film, but it’s also possible that a single show look would work through the entire film. So, experiment!

To modify a look or create your own, step into the Look Design tab (Pro version). Here you’ll find the Filmlab and Primary panels. Filmlab uses film stock emulation models and film’s subtractive color (CMY instead of RGB) for adjustments. Their film emulation is among the most convincing I’ve seen. You can select from a wide range of branded negative and print film stocks and then make contrast, saturation, and CMY color adjustments. The Primary panel gives you even more control over RGBCMY for the lift, gamma, and gain regions. Custom adjustments may be saved to create your own show looks. Once you’ve set a show look for all of your shots, push the sequence back to Final Cut Pro. Voila – a fully graded show and no superfluous media created in the process.

Some observations

Colourlab Ai is a revolutionary tool based on a film-style approach to grading. Artificial intelligence models speed up the process, but you are always in control. Thanks to the ease of operation, you can get great results without Resolve’s complex node structure. You can always augment a shot with FCP’s own color tools for a power window or a vignette.

The application currently lacks a traditional undo/redo stack. Therefore, use the version history to experiment with settings and looks. Each time you generate a new match, such as with Auto-Color or using a reference image, a new version is automatically stored. If you want to iterate, then manually add a version at any waypoint if a new match isn’t involved – for example, when making color wheels adjustments. The version history displays a thumbnail for each version. Step through them to pick the one that suits you best.

If you are new to color correction, then Colourlab Ai might look daunting at first glance. Nevertheless, it’s deceptively easy to use. There are numerous tutorials available on the website, as well as directly accessible from the launch window. A 7-day free trial can be downloaded for you to dip your toes in the water. The artificial intelligence at the heart of Colourlab Ai will enable any editor to deliver professional grades.

©2022 Oliver Peters

Will DaVinci Resolve 18 get you to switch?

DaVinci Resolve has been admired by users of other editing applications, because of the pace of Blackmagic Design’s development team. Many have considered a switch to Resolve. Since its announcement earlier this year, DaVinci Resolve fans and pros alike have been eagerly awaiting Resolve 18 to get out of public beta. It was recently released and I’ve been using it ever since for a range of color correction jobs.

DaVinci Resolve 18 is available in two versions: Resolve (free) or Resolve Studio (paid). These are free updates to existing customers. They can be downloaded/bought either from the Blackmagic Design website (Windows, Mac, Linux) or through the Apple Mac App Store (macOS only – Intel and M1). The free version of Resolve is missing only a few of the advanced features available in Resolve Studio. Due to App Store policies and sandboxing, there are also some differences between the Blackmagic and App Store installations. The Blackmagic website installations may be activated on up to two computers at the same time using a software activation code. The App Store versions will run on any Mac tied to your Apple ID.

(Click images to see an enlarged view.)

A little DaVinci Resolve history

If you are new to DaVinci Resolve, then here’s a quick recap. The application is an amalgam of the intellectual property and assets acquired by Blackmagic Design over several years from three different companies: DaVinci Systems, eyeon (Fusion), and Fairlight Instruments. Blackmagic Design built upon the core of DaVinci Resolve to develop an all-in-one, post production solution. The intent is to encompass an end-to-end workflow that integrates the specialized tasks of editing, color grading, visual effects, and post production sound all within a single application.

The interface character and toolset tied to each of these tasks is preserved using a page-style, modal user interface. In effect, you have separate tools, tied to a common media engine, which operate under the umbrella of a single application. Some pages are fluidly interoperable (like edit and Color) and others aren’t. For example, color nodes applied to clips in the Color page do not appear as nodes within the Fusion page. Color adjustments made to clips in a Fusion composition need to be done with Fusion’s separate color tools.

Blackmagic has expanded Resolve’s editing features – so much so that it’s a viable competitor to Avid Media Composer, Apple Final Cut Pro, and/or Adobe Premiere Pro. Resolve sports two editing modes: the Cut page (a Final Cut Pro-style interface for fast assembly editing) and the Edit page (a traditional track-based interface). The best way to work in Resolve is to adhere to its sequential, “left to right” workflow – just like the pages/modes are oriented. Start by ingesting in the Media page and then work your way through the tasks/pages until it’s time to export using the Deliver page.

Blackmagic Design offers a range of optional hardware panels for Resolve, including bespoke editing keyboards, color correction panels, and modular control surface configurations for Fairlight (sound mixing). Of course, there’s also Blackmagic’s UltraStudio, Intensity Pro, and DeckLink i/o hardware.

A new collaboration model through Blackmagic Cloud

The biggest news is that DaVinci Resolve 18 was redesigned for multi-user collaboration. Resolve projects are usually stored in a database on your local computer or a local drive, rather than as separate binary project files. Sharing projects in a multi-user environment requires a separate database server, which isn’t designed for remote editing. To simplify this and address remote work, Blackmagic Design established and hosts the new Blackmagic Cloud service.

As I touched on in my Cloud Store Mini review, anyone may sign up for a free Blackmagic Cloud account. When ready, the user creates a Library (database) on Cloud from within the Resolve UI. That user is the “owner” of the Library, which can contain multiple projects. The owner pays $5/library/month for each Library hosted on Blackmagic Cloud.

The Library owner can share a project with any other registered Blackmagic Cloud user. This collaboration model is similar to working in Media Composer and is based on bin locking. The first user to open a bin has read/write permission to that bin and any timelines contained in it. Other users opening the same timeline operate with read-only permission. Changes made by the user with write permission can then be updated by the read-only users on their systems.

Blackmagic Design only hosts the Library/project files and not any media, which stays local for each collaborator. The media syncing workflow is addressed through features of the Cloud Store storage products (see my review). Both collaboration via Blackmagic Cloud and the storage products are independent of each other. You can use either without needing the other. However, since Blackmagic Cloud is hosted “in the cloud” you do need an internet connection. 

There is some latency between the time a change is made by one user before it’s updated on the other users’ machines. In my tests, the collaborator needs to relink to the local media each time a shared project is accessed again. You can also move a project from Cloud back to your local computer as needed.

What else is new in DaVinci Resolve 18?

Aside from the new collaboration tools, DaVinci Resolve 18 also features a range of enhancements. Resolve 17 already introduced quite a few new features, which have been expanded upon in Resolve 18. The first of these is a new, simplified proxy workflow using the “prefer proxies” model. Native media handling has always been a strength of Resolve, especially with ProRes or Blackmagic RAW (BRAW) files. (Sorry, no support for Apple ProRes RAW.) But file sizes, codecs, and your hardware limitations can impede efficient editing. Therefore, working with proxy files may be the better option on some projects. When you are ready to deliver, then switch back to the camera originals for the final output.

The website installer for DaVinci Resolve Studio 18 includes the new Blackmagic Proxy Generator application. This automatically creates H.264, H.265, or ProRes proxy files using a watch folder. However, you can also create proxies internally from Resolve without using this app, or externally using Apple Compressor or Adobe Media Encoder. The trick is that proxy files must have matching names, lengths, timecode values, and audio channel configurations.

Proxy files should be rendered into a subfolder called “Proxy” located within each folder of original camera files. (Resolve and/or the Proxy Generator application do this automatically.) Then Resolve’s intelligent media management automatically detects and attaches the proxies to the original file. This makes linking easy and allows you to automatically toggle between the proxy and the original files.

Regarding other enhancements, the Color page didn’t see any huge new features, since tools like the Color Warper and HDR wheels were added in Resolve 17. However, there were some new items, including object replacement and enhanced tracking. But, I didn’t find the results to be as good as Adobe’s Content Aware Fill techniques.

Two additions worth mentioning are the Automatic Depth Map and Resolve FX Beauty effect. The beauty effect is a subtle skin smoothing tool. It’s nice, but quite frankly, too subtle. My preference in this type of tool would be Digital Anarchy’s Beauty Box or Boris FX’s Beauty Studio. However, Resolve does include other similar tools, like Face Refinement where you have more control.

Automatic Depth Map is more of a marquee feature. This is a pretty sophisticated process – analyzing depth separation in a moving image without the benefit of any lens metadata. It shows up as a Resolve FX in the Edit, Fusion, and the Color pages. Don’t use it in the Edit page, because you can’t do anything with it there. In the Color page, rather than apply it to a node, drag the effect into the node tree, where it creates its own node.

After brief clip analysis, the tool generates a mask, which you can use as a qualifier to isolate the foreground and background. Bear in mind this is for mild grading differences. Even though you might think of this for blurring a background, don’t do it! The mask is relatively broad. If you try to tighten the mask and use it to blur a background, you’ll get a result that looks like a Zoom call background. Instead, use it to subtly lighten or darken the foreground versus the background within a shot. Remember, the shot is moving, which can often lead to some chatter on the edges of the mask as the clip moves. So you’ll have to play with it to get the best result. Playback performance at Better Quality was poor on a 2017 iMac Pro. Use Faster while working and then switch to Better when you are ready to export or render.


Complex visual effects and compositing are best done in the Fusion page. Fusion is both a component of Resolve, as well as a separate application offered by Blackmagic Design. It uses a node-based interface, but these nodes are separate and unrelated to the nodes in the Color page. Fusion features advanced tracking, particle effects, and a true 3D workspace that can work with 3D models. If you have any stereoscopic projects, then Fusion is the tool to use. The news for Fusion and the standalone Fusion Studio 18 application in this update focuses on GPU acceleration.

Before the acquisition by Blackmagic Design, eyeon offered several integrations of Fusion with NLEs like DPS Velocity and Avid Media Composer. The approach within Resolve is very similar to those – send a clip to Fusion for the effect, work with it inside the Fusion UI, and then it’s updated on the timeline as a Fusion clip. This is not unlike the Dynamic Link connection between Premiere Pro and After Effects, except that it all happens inside the same piece of software.

If you are used to working with a layer-style graphics application, like After Effects, Motion, or maybe HitFilm, then Fusion is going to feel foreign. It is a high-end visual effects tool, but might feel cumbersome to some when doing standard motion graphics. Yet for visual effects, the node-based approach is actually superior. There are plenty of good tutorials for Fusion, for any user ready to learn more about its visual effects power.

There are a few things to be aware of with Fusion. The image in the Fusion viewer and the output through UltraStudio to a monitor will be dark, as compared with that same image on the Edit page. Apparently this has been an ongoing user complaint and I have yet to find a color management setting that definitively solves this issue. There is also no way to “decompose” or “break apart” a Fusion composition on the timeline. You can reset the clip to a Fusion default status, but you cannot revert the timeline clip back to that camera file without it being part of a Fusion composition. Therefore, the best workaround is to copy the clip to a higher track before sending it to Fusion. That way you have both the Fusion composition and the original clip on the timeline.

In addition to visual effects, Fusion templates are also used for animated titles. These can be dropped onto a track in the Edit page and then modified in the inspector or the Fusion page. These Fusion titles function a lot like Apple’s Motion templates being used in Final Cut Pro.


Fairlight Instruments started with a popular digital audio workstation (Fairlight CMI) at the dawn of digital audio. After Blackmagic’s acquisition, the software portion of Fairlight was reimagined as a software module for audio post built into DaVinci Resolve. The Fairlight hardware and control surfaces were modularized. You can definitely run Fairlight in Resolve without any extra hardware. However, you can improve real-time performance on mixes with heavy track counts by adding the Fairlight Audio Core accelerator card. You can also configure one or more Blackmagic control surfaces into a large mixing console.

Taken as a whole, this makes the Fairlight ecosystem a very scalable product line in its own right that can appeal to audio post engineers and other audio production professionals. In other words, you can use the Fairlight portion of Resolve without ever using any of the video-centric pages. In that way, Resolve with Fairlight competes with Adobe Audition, Avid Pro Tools, Apple Logic Pro, and others. In fact, Fairlight is still the only professional DAW that’s actually integrated into an NLE.

Fairlight is designed as a DAW for broadcast and film with meter calibration based on broadcast standards. It comes with a free library of sound effects that can be downloaded from Blackmagic Design. The Fairlight page also includes an ADR workflow. DaVinci Resolve 18 expanded the Fairlight toolset. There’s new compatibility for FlexBus audio busing/routing with legacy projects. A lot of work has been put into Dolby Atmos support, including a binaural renderer, and an audio Space view of objects in relation to the room in 3D space.

On the other hand, if you are into music creation, then Fairlight lacks software instruments and music-specific plug-ins, like amp emulation. The MIDI support is focused on sound design. A musician would likely gravitate towards Logic Pro, Cubase, Luna, or Ableton Live. Nevertheless, Fairlight is still quite capable as a DAW for music mixes. Each track/fader integrates a channel strip for effects, plus built-in EQ and compression. Resolve comes with its own complement of Fairlight FX plug-ins, plus it supports third-party AU/VST plug-ins.

I decided to test that concept using some of the mixes from the myLEWITT music sessions. I stacked LEWITT’s multitrack recordings onto a blank Fairlight timeline, which automatically created new mono or stereo tracks, based on the file. I was able to add new busses (stem or submaster channels) for each instrument group and then route those busses to the output. It was easy to add effects and control levels by clip, by track, or by submaster.

Fairlight might not be my first choice if I were a music mixer, but I could easily produce a good mix with it. The result is a transparent, modern sound. If you prefer vintage, analog-style coloration, then you’ll need to add third-party plug-ins for that. Whether or not Fairlight fits the bill for music will depend on your taste as a mixer.


Once again, Blackmagic Design has added more power in the DaVinci Resolve 18 release. Going back to the start of this post – is this the version that will finally cause a paradigm shift away from the leading editing applications? In my opinion, that’s doubtful. As good as it is, the core editing model is probably not compelling enough to coax the majority of loyal users away from their favorite software. However, that doesn’t mean those same users won’t tap into some of Resolve’s tools for a variety of tasks.

There will undoubtedly be people who shift away from Premiere Pro or Final Cut Pro and over to DaVinci Resolve. Maybe it’s for Resolve’s many features. Maybe they’re done with subscriptions. Maybe they no longer feel that Apple is serious. Whatever the reason, Resolve is a highly capable editing application. In fact, during the first quarter of this year I graded and finished a feature film that had been cut entirely in Resolve 17.

Software choices can be highly personal and intertwined with workflow, muscle memory, and other factors. Making a change often takes a big push. I suspect that many Resolve editors are new to editing, often because they got a copy when they bought one of the Blackmagic Design cameras. Resolve just happens to be the best application for editing BRAW files and that combo can attract new users.

DaVinci Resolve 18 is a versatile, yet very complex application. Even experienced users don’t tap into the bulk of what it offers. My advice to any new user is to start with a simple project. Begin in the Cut or Edit page, get comfortable, and ignore everything else. Then learn more over time as you expand the projects you work on and begin to master more of the toolkit. If you really want to dive into DaVinci Resolve, then check out the many free and paid tutorials from Blackmagic Design, Mixing Light, and Ripple Training. Resolve is one application where any user, regardless of experience, will benefit from training, even if it’s only a refresher.

I’ve embedded a lot of links throughout this post, so I hope you’ll take the time to check them out. They cover some of the enhancements that were introduced in earlier versions, the history of DaVinci Resolve, and links to the new features of DaVinci Resolve 18. Enjoy!

©2022 Oliver Peters