Blackmagic Design DaVinci Resolve Panels

I started my editing career in the era of linear editing suites, where dedicated control panels ruled. CMX keyboards, Grass Valley switchers, ADOs – you name it. These enabled operational speed and experienced editors could drive these rooms like a virtuoso pianist. Much of that dexterity has been lost, thanks to the ubiquity of software-based user interfaces for applications running on general purpose computers and controlled by a mouse. But Grant Petty and Blackmagic Design have set out to change that. At the beginning of March, he introduced two new color correction control panels as companion tools to the company’s DaVinci Resolve editing and grading solution. According to Petty more people are using Resolve to edit than to color correct. By introducing these new panels, he hopes to get more of these users involved in the color correction side of Resolve.

Blackmagic Design now offers three DaVinci Resolve panels: Advanced ($29,995), Mini ($2,995) and Micro ($995). Obviously, the Advanced panel is for serious, dedicated color correction facilities with the traffic to support that investment. It’s a large, three-module console with four trackball/ring controls in the center section. The Mini and Micro panels are designed to be more portable than the Advanced panel. The Mini is essentially a three-trackball subset of the center section of the larger panel. The Micro is the trackball section of the Mini, without the Mini’s tilted backplane. If you are an editor who uses Resolve for color correction, but that’s less than 50% of your workload, then the Micro is probably the right panel for you. If you color correct more than 50%, then the Mini is the better bet. However, these panels are designed for more than just editors. If you work as a DIT (digital imaging technician) in the field or on-set, you most likely use Resolve, making these panels the perfect addition to your toolkit.

Taking the Mini for a spin

Blackmagic Design loaned me a Resolve Mini panel for about two weeks for this review. I have to say, it was love at first sight. These panels continue with Blackmagic’s modern industrial design style. This has earned them an international Design Team of the Year award from the Red Dot Awards last year. The Mini panel is a well-constructed metal console with precision trackballs, rings, knobs and buttons. (The panel also uses some high-impact plastic in its construction.) With packaging, it weighs 24 pounds, thus it’s more “transportable” than portable. If you want something to toss into a gig bag, then the Micro would be the panel to buy. The Mini is better for facility use; however, it’s easy enough to move between rooms as needed.

The smaller Micro is bus-powered over USB, but the Mini includes several connection and power options. Communications can be over ethernet or USB/USB-C. Power options include standard AC wall power, 12 volt 4-pin, or ethernet PoE. Like other Blackmagic Design products, you have to supply your own power chord, but the Mini does include a USB-to-USB-C adapter chord. To run the panel, you need to install Resolve Studio (paid) or Resolve (free), version 12.5.5 or later. And yes, these panels only work with Resolve. Connection is drop-dead easy. Just power it up and plug in the USB cable to any available USB port on your computer (or looped off of a connected device, like a monitor). Then select the panel in Resolve’s preferences. This ease of installation is refreshing, without any of the finickiness of other protocols, like EUCON. The one downside for editors is that this panel only controls the color mode of Resolve. There are no dedicated controls for editing, importing or exporting. So you won’t be able to shed the keyboard and mouse completely.

Everything at your fingertips

The main section of the panel includes three trackballs for hue control and rings for luminance control. Generally these correspond to shadow, mids and highlight ranges of the image. Across the top of this flat section are twelve knobs for additional color controls. Push in the knobs to reset their adjusted values. On the right are buttons to move through nodes, clips and stills, along with play/stop buttons. The slanted backplane of the Mini panel features two five-inch, high-resolution LCD menu/control displays, fifteen buttons on either side, eight soft keys across the top, and eight knobs under the displays. The buttons on the left select the portion of the interface that you need to deal with, like primary correction, tracking, sizing, blurs, etc. The buttons on the right are to add nodes, copy and paste, move through stills and keyframes, and toggle the computer display to a full screen viewer.

Resolve’s primary color correction window is pretty deep, requiring paging through different sections of the control window, such as primary bars, primary wheels, log, raw and more. There’s actually a fourth control wheel for offset in addition to lows, mids and highs. Much of this is exposed to the panel. For example, you can use the knobs to adjust the primary bars, while also moving the trackballs, which would normally adjust the primary wheels. Across the bottom of Resolve’s primary window are additional controls for contrast, saturation and more, which spread across two pages of that interface window. These controls are all active on the Mini by using the twelve knobs located above the trackballs. In some cases, you’ll need to change the part of the interface that appears on the two LCDs. This is enabled by the two arrow keys in the upper left corner of the panel. However, switching pages on the panel is required less often than when you only use the mouse with the interface.

The offset function (the fourth primary wheel and fourth trackball on the Advanced panel) can be accessed by selecting the offset key located above the middle trackball. In that mode, the left ring controls temperature, middle ring controls tint and right ring controls level. The right trackball controls color balance.

Resolve is built around controls that may or may not be present in other applications. For example, it is designed as a YRGB system, meaning you can gang level and color controls, but can also correct Y (luminance) lift/gamma/gain levels independent of color (RGB). In addition to standard three-wheel color corrections, you also have contrast/pivot control, as well as some photographic-style enhancements. These include color boost (like a vibrance control), mid detail (softens or sharpens the image), plus blurs. In you are using Resolve Studio, then temporal noise reduction is active. From what I can tell, this is the only control not active when using the panel with the free version of Resolve.

Resolve uses an elaborate curves system, which you would think would be difficult to implement with knobs and buttons. However, Blackmagic has done a wonderful job. The normal curve levels (ganged or independent channels) can be adjusted by six of the knobs under the LCD displays. These work at preset intervals of 0, 20, 40, 60, 80 and 100% along the curve path from dark to light. If you use hue curves, you start with one of six preset colors selected from the panel. Then an “input hue” knob lets you change the selected color left or right within its hue range, based on the last color knob selected. Custom curves also offer a YSFX tool. This is an adjustment to shrink and even invert the curve range. The extreme opposite setting results in a negative image.

There are plenty of other tools. Resolve has a powerful point-cloud tracker, which can also be accessed from the Mini. One handy feature is the ability to automatically add a node with a preset box or circle window. Once applied, then you adjust the window. Although you can step through keyframes, it still requires the mouse to add or delete keyframes. You also have to delete nodes via mouse and not from the panel. Some keys, like FX and User are available for future expansion.

In practice

I spent about a week with the panel, working on and off with some test projects. Needless to say, I enjoyed the process, but there are a few things I wish were different.  The Mini panel is really designed for full-time color grading. If you have a desk layout for editing, then there probably isn’t enough extra space to situate the Mini is an optimal location. For instance, if you wanted to place the panel between your keyboard and display, then the Micro would be a better option. There is no power switch, so the panel is always on. Fortunately, it’s fan-less and quiet, even when on. There are no illumination controls for the displays or the backlit keys. That’s fine in a normally lit room, but might be too bright for some, if you keep the light level very low in the suite.

I’d like to see more versatile transport control. Resolve supports faster-than-real-time playback and scrubbing, but the control panel only gives you 1X play in the forward or reverse directions. It would be nice to have better transport control from the panel. Resolve functions, like adding LUTs, can’t be handled from the panel. The controls to select HSL qualifiers for secondary color correction include eyedroppers, but you still need to use the mouse to graphically pick the right area of the screen. It would be nice if you could do this with the trackball. These are minor points and by no means deal breakers.

A dedicated color correction panel will not only make you a faster colorist – it will also make you a better one. More controls are front and center, which means you are likely to discover and use processes that you would otherwise miss if you simply relied on the mouse or a pen and tablet. You have two hands to control the panel. As with any other tactile task, such as audio mixing with a mixing board, your hands will soon know instinctively what to adjust without having to look at the panel. You can stay more focused on your video display and the scopes. Grading is not only faster, but it’s more intuitive.

Some are going to baulk at the price, no matter how reasonable these portable panels are. To place that into context, at $2,995, the Mini is still less expensive than a decked out Mac Pro or MacBook Pro, which might be your main editing/grading workstation. Plus they work with the free version of Resolve. So if color correction is part of your business model and Resolve is your color correction tool of choice, then either of these two DaVinci Resolve panels is easily justified. The more I’ve been using the Resolve Mini, the more I like it. It’s the Porsche of small grading control panels – solid, stylish and powerful.

Originally written for Digital Video magazine / Creative Planet Network

©2017 Oliver Peters

NLE as Post Production Hub

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As 2009 closed, I wrote a post about Final Cut Studio as the center of a boutique post production workflow. A lot has changed since then, but that approach is still valid and a number of companies can fill those shoes. In each case, rather than be the complete, self-contained tool, the editing application becomes the hub of the operation. Other applications surround it and the workflow tends to go from NLE to support tool and back for delivery. Here are a few solutions.

Adobe Premiere Pro CC

df2316_prproNo current editing package comes as close to the role of the old Final Cut Studio as does Adobe’s Creative Cloud. You get nearly all of the creative tools under a single subscription and facilities with a team account can equip every room with the full complement of applications. When designed correctly, workflows in any room can shift from edit to effects to sound to color correction – according to the load. In a shared storage operation, projects can stay in a single bay for everything or shift from bay to bay based on operator speciality and talent.

While there are many tools in the Creative Cloud kit, the primary editor-specific applications are Premiere Pro CC, After Effects CC and Audition CC. It goes without saying that for most, Photoshop CC and Adobe Media Encoder are also givens. On the other hand, I don’t know too many folks using Prelude CC, so I can’t say what the future for this tool will be. Especially since the next version of Premiere Pro includes built-in proxy transcoding. Also, as more of SpeedGrade CC’s color correction tools make it into Premiere Pro, it’s clear to see that SpeedGrade itself is getting very little love. The low-cost market for outboard color correction software has largely been lost to DaVinci Resolve (free). For now, SpeedGrade is really “dead man walking”. I’d be surprised if it’s still around by mid-2017. That might also be the case for Prelude.

Many editors I know that are heavy into graphics and visual effects do most of that work in After Effects. With CC and Dynamic Link, there’s a natural connection between the Premiere Pro timeline and After Effects. A similar tie can exist between Premiere Pro and Audition. I find the latter to be a superb audio post application and, from my experience, provides the best transfer of a Premiere Pro timeline into any audio application. This connection is being further enhanced by the updates coming from Adobe this year.

Rounding out the package is Photoshop CC, of course. While most editors are not big Photoshop artists, it’s worth noting that this application also enables animated motion graphics. For example, if you want to create an animated lower third banner, it can be done completely inside of Photoshop without ever needing to step into After Effects. Drop the file onto a Premiere Pro timeline and it’s complete with animation and proper transparency values. Update the text in Photoshop and hit “save” – voila the graphic is instantly updated within Premiere Pro.

Given the breadth and quality of tools in the Creative Cloud kit, it’s possible to stay entirely within these options for all of a facility’s post needs. Of course, roundtrips to Resolve, Baselight, ProTools, etc. are still possible, but not required. Nevertheless, in this scenario I typically see everything starting and ending in Premiere Pro (with exports via AME), making the Adobe solution my first vote for the modern hub concept.

Apple Final Cut Pro X

df2316_fcpxApple walked away from the market for an all-inclusive studio package. Instead, it opted to offer more self-contained solutions that don’t have the same interoperability as before, nor that of the comparable Adobe solutions. To build up a similar toolkit, you would need Final Cut Pro X, Motion, Compressor and Logic Pro X. An individual editor/owner would purchase these once and install these on as many machines as he or she owned. A business would have to buy each application for each separate machine. So a boutique facility would need a full set for each room or they would have to build rooms by specialty – edit, audio, graphics, etc.

Even with this combination, there are missing links when going from one application to another. These gaps have to be plugged by the various third-party productivity solutions, such as Clip Exporter, XtoCC, 7toX, Xsend Motion, X2Pro, EDL-X and others. These provide better conduits between Apple applications than Apple itself provides. For example, only through Automatic Duck Xsend Motion can you get an FCPX project (timeline) into Motion. Marquis Broadcast’s X2Pro Audio Convert provides a better path into Logic than the native route.

If you want the sort of color correction power available in Premiere Pro’s Lumetri Color panel, you’ll need more advanced color correction plug-ins, like Hawaiki Color or Color Finale. Since Apple doesn’t produce an equivalent to Photoshop, look to Pixelmator or Affinity Photo for a viable substitute. Although powerful, you still won’t get quite the same level of interoperability as between Photoshop and Premiere Pro.

Naturally, if your desire is to use non-Apple solutions for graphics and color correction, then similar rules apply as with Premiere Pro. For instance, roundtripping to Resolve for color correction is pretty solid using the FCPXML import/export function within Resolve. Prefer to use After Effects for your motion graphics instead of Motion? Then Automatic Duck Ximport AE on the After Effects side has your back.

Most of the tools are there for those users wishing to stay in an Apple-centric world, provided you add a lot of glue to patch over the missing elements. Since many of the plug-ins for FCPX (Motion templates) are superior to a lot of what’s out there, I do think that an FCPX-centric shop will likely choose to start and end in X (possibly with a Compressor export). Even when Resolve is used for color correction, I suspect the final touches will happen inside of Final Cut. It’s more of the Lego approach to the toolkit than the Adobe solution, yet I still see it functioning in much the same way.

Blackmagic Design DaVinci Resolve

df2316_resolveIt’s hard to say what Blackmagic’s end goal is with Resolve. Clearly the world of color correction is changing. Every NLE developer is integrating quality color correction modules right inside of their editing application. So it seems only natural that Blackmagic is making Resolve into an all-in-one tool for no other reason than self-preservation. And by golly, they are doing a darn good job of it! Each version is better than the last. If you want a highly functional editor with world-class color correction tools for free, look no further than Resolve. Ingest, transcoded and/or native media editing, color correction, mastering and delivery – all there in Resolve.

There are two weak links – graphics and audio. On the latter front, the internal audio tools are good enough for many editors. However, Blackmagic realizes that specialty audio post is still the domain of the sound engineering world, which is made up predominantly of Avid Pro Tools shops. To make this easy, Resolve has built-in audio export functions to send the timeline to Pro Tools via AAF. There’s no roundtrip back, but you’d typically get composite mixed tracks back from the engineer to lay into the timeline.

To build on the momentum it started, Blackmagic Design acquired the assets of EyeOn’s Fusion software, which gives then a node-based compositor, suitable for visual effects and some motion graphics. This requires a different mindset than After Effects with Premiere Pro or Motion with Final Cut Pro X (when using Xsend Motion). You aren’t going to send a full sequence from Resolve to Fusion. Instead, the Connect plug-in links a single shot to Fusion, where it can be effected through series of nodes. The Connect plug-in provides a similar “conduit” function to that of Adobe’s Dynamic Link between Premiere Pro and After Effects, except that the return is a rendered clip instead of a live project file. To take advantage of this interoperability between Resolve and Fusion, you need the paid versions.

Just as in Apple’s case, there really is no Blackmagic-owned substitute for Photoshop or an equivalent application. You’ll just have to buy what matches your need. While it’s quite possible to build a shop around Resolve and Fusion (plus maybe Pro Tools and Photoshop), it’s more likely that Resolve’s integrated approach will appeal mainly to those folks looking for free tools. I don’t see too many advanced pros doing their creative cutting on Resolve (at least not yet). However, that being said, it’s pretty close, so I don’t want to slight the capabilities.

Where I see it shine is as a finishing or “online” NLE. Let’s say you perform the creative or “offline” edit in Premiere Pro, FCPX or Media Composer. This could even be three editors working on separate segments of a larger show – each on a different NLE. Each’s sequence goes to Resolve, where the timelines are imported, combined and relinked to the high-res media. The audio has gone via a parallel path to a Pro Tools mixer and graphics come in as individual clips, shots or files. Then all is combined inside Resolve, color corrected and delivered straight from Resolve. For many shops, that scenario is starting to look like the best of all worlds.

I tend to see Resolve as less of a hub than either Premiere Pro or Final Cut Pro X. Instead, I think it may take several possible positions: a) color correction and transcoding at the front end, b) color correction in the middle – i.e. the standard roundtrip, and/or c) the new “online editor” for final assembly, color correction, mastering and delivery.

Avid Media Composer

df2316_avidmcThis brings me to Avid Media Composer, the least integrated of the bunch. You can certainly build an operation based on Media Composer as the hub – as so many shops have. But there simply isn’t the silky smooth interoperability among tools like there is with Adobe or the dearly departed Final Cut Pro “classic”. However, that doesn’t mean it’s not possible. You can add advanced color correction through the Symphony option, plus Avid Pro Tools in your mixing rooms. In an Avid-centric facility, rooms will definitely be task-oriented, rather than provide the ease of switching functions in the same suite based on load, as you can with Creative Cloud.

The best path right now is Media Composer to Pro Tools. Unfortunately it ends there. Like Blackmagic, Avid only offers two hero applications in the post space – Media Composer/Symphony and Pro Tools. They have graphics products, but those are designed and configured for news on-air operations. This means that effects and graphics are typically handled through After Effects, Boris RED or Fusion.

Boris RED runs as an integrated tool, which augments the Media Composer timeline. However, RED uses its own user interface. That operation is relatively seamless, since any “roundtrip” happens invisibly within Media Composer. Fusion can be integrated using the Connect plug-in, just like between Fusion and Resolve. Automatic Duck’s AAF import functions have been integrated directly into After Effects by Adobe. It’s easy to send a Media Composer timeline into After Effects as a one-way trip. In fact, that’s where this all started in the first place. Finally, there’s also a direct connection with Baselight Editions for Avid, if you add that as a “plug-in” within Media Composer. As with Boris RED, clips open up in the Baselight interface, which has now been enhanced with a smoother shot-to-shot workflow inside of Media Composer.

While a lot of shops still use Media Composer as the hub, this seems like a very old-school approach. Many editors still love this NLE for its creative editing prowess, but in today’s mixed-format, mixed-codec, file-based post world, Avid has struggled to keep Media Composer competitive with the other options. There’s certainly no reason Media Composer can’t be the center – with audio in Pro Tools, color correction in Resolve, and effects in After Effects. However, most newer editors simply don’t view it the same way as they do with Adobe or even Apple. Generally, it seems the best Avid path is to “offline” edit in Media Composer and then move to other tools for everything else.

So that’s post in 2016. Four good options with pros and cons to each. Sorry to slight the Lightworks, Vegas Pro, Smoke/Flame and Edius crowds, but I just don’t encounter them too often in my neck of the woods. In any case, there are plenty of options, even starting at free, which makes the editing world pretty exciting right now.

©2016 Oliver Peters

Blackmagic Design DaVinci Resolve 12

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The industry has been eager to check out Blackmagic Design’s DaVinci Resolve 12. This “first look” is based on the initial build of the Resolve 12 public beta. A number of functions have not yet been enabled, so expect to see some changes in the product by the time you read this.

As with any public beta, the point is to get feedback and reap the benefit of crowdsourced quality testing, so be careful about using it on real jobs. That being said, so far I’ve found the public beta builds to be reasonably stable. I’ve had a chance to test the application on several different machines, including two 2009-2010 Mac Pro towers and a new 15” Retina MacBook Pro. Testing included a Sapphire 7950 and an Nvidia Quadro 4000 GPU, as well as the built-in Nvidia card on the laptop.

Blackmagic is no longer using the “Lite” name to identify the free version. The branding is now DaVinci Resolve 12 (free) and DaVinci Resolve 12 Studio ($995). The free version includes the majority of features and is limited to an output no larger that UltraHD 4K. The paid version adds advanced features, including stereoscopic functions, networked collaboration between users, multiple GPU support, and the ability to output at larger than UltraHD 4K frame sizes.

Blackmagic Design hardware products are required to output an analog or digital signal to an external video monitor or tape deck. If you are comfortable making color judgements based on the viewer image, then no hardware is require for operation and rendering. You can also hot rod your system with the DaVinci Control Surface ($29,995) or a number of supported third-party surfaces that are less costly.

Refreshing the user interface

df3115_R12_3DaVinci Resolve 12 ushers in a fresh user interface. Previous versions mimicked the style of Apple Final Cut Pro X, but the new UI is flatter with thinner fonts. It takes on the trendy design aesthetic employed in Windows 8/10 and Mac OS X/iOS. The background colors are a lighter grey with a faint blue cast to them. Although pleasing, I find that last part strange for a color correction application, where a true grey is considered the norm.

The interface has been optimized for single and dual-monitor systems, as well as higher-density displays, like Apple’s Retina. Resolve 12 is divided into four modes or pages: Media, Edit, Color, and Deliver. Software control panels can be opened or closed as needed, including videoscopes, media storage locations, mixers, audio meters, inspector, effects, and more. There are some interesting options to control whether or not a panel or window runs the full horizontal or vertical length of your display. However, there is no way to create a custom workspace by docking panels in different places and then saving that as your personal layout. Interface colors also can’t be personalized.

As before, timelines support sources with mixed formats and frame rates, however, the base timeline setting must match that of the project. This means you cannot have a 720p/59.94 and a 1080i/29.97 timeline within the same project. You can’t have multiple timelines open, but it’s easy to access different timelines in the same project quickly. You can also cut one timeline into another as a nested sequence. Such nests (as well as compound clips) can be decomposed in the timeline, leaving the original source clips to work with.

Resolve 12 no longer includes a separate section in the UI for timelines, as these are placed together with the source media in the Media Pool. One simple solution is to create a Bin for your edits and manually drag the timelines you’ve created into that Bin. Another option is to filter timelines into a Smart Bin by including some common element in the name. For example, you could append “seq” (for sequence) to the end of the name of each timeline. Set your filtering criteria to names that contain “seq” and then timelines will automatically show up in the Smart Bin that you’ve created for timelines.

Editing with Resolve 12

df3115_R12_4As a a nonlinear editing application (NLE), Resolve 12 is an interesting mash-up among several other NLEs, including Premiere Pro, FCP 7 and FCP X. There are new features clearly intended for editors, including multi-camera editing. You can now organize clips and timelines into custom bins, add metadata, assign sortable color flags and other metadata values, and automatically filter clips into Smart Bins. You can sync grouped clips (double-system sound) and multi-camera clips using in-points, timecode, or audio waveforms. The multi-cam editing routine is similar to other NLEs, where you drop a multi-cam clip onto your main timeline and then cut between camera angles.

Blackmagic placed a lot of attention on timeline trim functions. It’s now possible to do some very elaborate asymmetrical trims of multiple clips. Slip/slide trimming and split audio is all very easy and fluid. There is no trim window, so on-the-fly JKL trimming – a la Media Composer – isn’t possible. When you trim via the mouse or keyboard, you get a 2-up preview in the viewer and a 4-up display when slipping and sliding clips. You can access a curve editor in the timeline for transitions, which lets you control the transition acceleration. When you select source clips in the list view mode of the browser, you get a skimmable filmstrip of the selected clip, much like in FCP X.

Video effects are still based on OpenFX, so any third-party filters and transitions that offer OFX host support (FilmConvert, BorisFX, NewBlueFX, etc.) will show up in either the Edit page effects palette or the Color page, depending on whether the filter is something that requires a color correction node in order to be applied. Blackmagic also includes its own toolbox of effects and transitions, including the new Smoothcut transition. This is a morphing dissolve designed to smooth jumpcuts between edited soundbites from on-camera interviews. It is similar to Adobe’s Morph Cut or Avid’s FluidMorph, but seems to rely more heavily on GPU processing. Therefore, you don’t have to wait until a lengthy analysis pass is completed before you can review the results. As with all of these effects, real-world results vary with how closely the alignment is on both sides of the cut. It tends to work best with a duration of two to four frames.

Audio went through big changes in Resolve 12 to improve performance and to add features. VST and AU plug-ins are supported. Any that are installed on your system will show up in the audio effects palette. Effects can be applied to clips or tracks and there’s automation-style track mixing. The way audio tracks are implemented seems confusing to me – especially audio track patching. Tracks can be mono, stereo, 5.1, or adaptive, but there’s no indication in the timeline window as to what type of track it is. When you edit a multi-cam clip to the timeline and the source audio contains several channels, then it is no longer possible to break those clips apart or access individual channels from the timeline. Both Adobe and Apple use similar methods, but with a better approach in each’s implementation. Like in Premiere Pro, it is best to start out by properly setting the source audio channel configuration in the clip properties menu for each clip. You can access this in the Media page.

Other improvements

df3115_R12_5DaVinci Resolve 12 is not only about editing. Since Resolve is used a lot as a DIT tool to generate dailies, there’s a new capability in the Media page to apply color space changes and camera LUTs to a group of clips. If you shot log-encoded footage and apply a Rec709 LUT on the Media page, you’ll now see the corrected color throughout. The downside is that such LUTs are not visible on the Color page and can’t be removed in any of the color adjustment nodes.

The new blue and greenscreen 3D keyer is accessible on the Color page. It yields high-quality results and is aided by new, matte finesse controls, plus Resolve’s great masking and tracking capabilities. There’s also improved ACES support, better shot-matching between clips, and more.

Resolve 12 uses a central database to house all project files. This makes it harder to move files between users than with other NLEs. Previous versions let you export Resolve projects to move them to other systems, but now Resolve 12 adds copy, move, transcode, relink, and consolidate functions. Support for FCPXML (for projects offline-edited using FCP X) has been updated to the newest version of this format.

There had been a bug in how Resolve wrote FCPXML files, so going back into FCP X from Resolve exhibited relinking issues. This only occurred when importing on a different machine than where the files were generated. This bug appears to have been fixed in version 3 of the public beta build.

To include another tool for editors, Blackmagic added an AAF export to Pro Tools feature. I don’t have ProTools, so I wasn’t able to test the Pro Tools export properly. All audio clips are exported in .MXF format, which means many applications can’t play the audio. For example, when I imported the AAF into Apple Logic Pro X, the track sheet was blank. I have been able to send audio from Final Cut Pro X into Logic Pro X using X2Pro Audio Convert to create an AAF.

Performance

df3115_R12_2Real-time media performance is critical to a good editing experience. Resolve 12 is optimized for hardware using the PCIe 3.0 bus, which supports greater bandwidth. Older Mac Pro towers or Windows computers that use PCIe 2.0, are going to be challenged when loaded with PCIe cards. You see this mainly in the Edit page, because more things are going on in the interface on that page. Windows user with the newest hardware and Mac users who own new “trash can” Mac Pros will most likely have a better editing experience than owners of legacy machines.

I experienced choppy video being displayed in the viewer of the Edit page, even though output through the Decklink was fine. Ironically, viewer and video output were smooth on the other pages. After consulting with Blackmagic, the following recommendations gave me the performance I would expect out of an NLE: run in the single-screen layout, close the audio mixer panel, close the audio meters, and/or switch the video monitoring setting to 8-bit. Of these, the mixer suggestion made the biggest difference. The ability to create on-the-fly, low-resolution proxies for editing wasn’t enabled with the first few builds of the public beta. It was turned on in build three. This gives you similar results to that of other NLEs running in a half-resolution, quarter-resolution or “dynamic real-time” mode.

One common mistake that I see users make, when I read some of the internet forum posts, is that they load up the timeline clips with color correction nodes and still expect real-time editing performance. Physics hasn’t changed. Adding effects and color correction to clips is going to negatively impact playback. As a general rule, get all of your editing done first and then save your color correction until last. You’ll be a lot happier.

Final thoughts

Once the official Resolve 12 release rolls out, we’ll see where it finds a place as an editor. This release won’t sway editors who are currently happy with one of the other popular NLEs to switch to Resolve 12 as their main axe. However, I suspect it will increasingly become the finishing tool of choice – probably edging out Autodesk Smoke over time. Now that the editing tools and performance are there, it becomes the ideal application for final edit revisions, grading, and mastering. It can already combine lists and media from a range of creative editing systems.

The other element in this equation is Fusion, the node-based composting application they picked up from EyeOn. There’s already a connecting plug-in between it and NLE timelines that Avid has enjoyed. With a bit more development time, I could clearly see some integration between Resolve and Fusion. That might be why “Studio” is now part of the name change. Hmmm…

When Resolve 11 came out, it, too, was touted as an editor. My critical assessment was that it was a grading tool that could be used as an editor, but you wouldn’t want to. With Resolve 12, Blackmagic has produced an application that is both grading tool and an editor. I could easily see myself using it as my secondary NLE. There is certainly great synergy between Final Cut Pro X and Resolve. Why not have both in your arsenal?

The enticement of a free editing application to many new users is hard to resist. Not to mention that it is cross-platform and unfettered by a software subscription business model. Clearly the development pace by Blackmagic Design since they acquired the product has been impressive. This makes me believe that Resolve will find a new audience willing to use it as their primary creative tool for start-to-finish post production.

Click here for a look back at Resolve 11, which will give you an additional insight into some of Resolve’s feature set.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

DaVinci Resolve – 10 Tips to Improve Your Skills

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Blackmagic Design’s DaVinci Resolve is one of the pre-eminent color correction applications – all the more amazing that it’s so accessible to any user. Even the free Lite version does nearly everything you’d want from any color grading software. If you have an understanding of how to use a 3-way color correction filter and you comprehend procedural nodes as a method of stacking corrections, then it’s easy to get proficient with Resolve, given a bit of serious seat time. The following tips are designed to help you get a little more comfortable with the nuances of Resolve. (Click on the images below for enhanced views.)

df2215_resolvetips_1_smPrimary sliders. Resolve gives you two ways to adjust primary color correction – color wheels and sliders. Most people gravitate to the wheels control panel, but the sliders panel is often faster and more precise. Adjustments made in either control will show up in the other. If you adjust color balance using the sliders, while monitoring the RGB parade display and/or the histogram on the video scopes, then it’s very easy to dial in perfect black and white balance for a shot. If the blue shadow portion looks too high on the RGB parade display, it means that the shadows of the image will look bluish. Simply move the blue lift slider lower to push the shadows closer to a true black. An added benefit of this panel is that the controls react to a wheeled mouse. This is great if you don’t have access to a control surface. Hover the mouse over the slider that you want to adjust and twirl the mouse wheel up or down to make your correction.

df2215_resolvetips_2_smGang/ungang curves. Given the propensity of cameras to record with log gamma profiles, you often find the need to apply an s-shaped luma curve during color correction. This shifts the low and high ranges of the image to expand the signal back to full levels, while retaining a “filmic” quality to that image. In the custom curves panel you’ll encounter a typical layout of four curves for luma and RGB. The default is for these to be ganged together. Adjust one and they all change. However, this means you are jacking around chroma levels when you might simply want to alter luma. Therefore, make sure to disable ganging before you start. Then adjust the luma curve. Only adjust the R, G or B curves if it’s beneficial to your look.

df2215_resolvetips_3_smHue/sat curves. If you toggle the curves pulldown menu, you’ll notice a number of other options, like hue vs. hue, hue vs. sat, and so on. These curve options let you grab a specific color and adjust its hue, saturation or brightness, without changing the tone of the entire image. When you sample a color, you end up with three points along the curve – the pin for the selected color and a range boundary pin on either side of that color. These boundary points determine the envelope of your selection. In other words, how broad of a range of hues that you want to affect for the selected color. Think of it as a comparable function to an audio EQ.

It is possible to select multiple points along the curve. Let’s say you want to lower the saturation of both bright yellows and bright blues within the frame. Choose the hue vs. sat curve and select points for both yellow and blue. Pulling these points down will lower the saturation of each of these colors using a single panel.

The hue vs. hue curve is beneficial for skin tones. A film that I’m currently grading features a Korean lead actress. Her skin tones normally skew towards yellow or green in many shots. The Caucasian and African American actors in the same shots appear with “normal” skin tones. By selecting the color that matches her flesh tones on the curve, I am able to shift the hues towards a value that is more in keeping with pleasing flesh tone colors. When used in combination with a mask, it’s possible to isolate this correction to just her part of the frame, so as not to affect the coloration of the other actors within the same shot.

df2215_resolvetips_4_smTracking/stabilization. Most folks know that Resolve has one of the best and fastest trackers of any application. Add an oval mask to someone’s face, so that you can brighten up just that isolated area. However, as the person moves within the shot, you have to adjust the mask to follow their face. This is where Resolve’s cloud-point tracker is a lifesaver. It’s fast and most of the time stays locked to the subject. The tracking window also enables stabilization. Use the pulldown menu to toggle from tracking to stabilization. This is a two-step process – first analyze and then stabilize. You can dial in an amount of smoothness, if you want to retain some of the camera drift for a more natural appearance to the shot.

df2215_resolvetips_5_smBlurs/masks/tracking. Resolve (including the free version) enables blurring of the image. This can be used in conjunction with a mask and with tracking, if you need to blur and track an object, like logos that need to be obscured in non-scripted TV shows. Using a blur with a vignette mask lets you create a dreamy effect. This is all possible without resorting to third-party filters or plug-ins.

df2215_resolvetips_6_smScene detection/slicing. There are three ways to get a show into Resolve: a) edit from scratch in Resolve; b) roundtrip from another NLE using FCPXML, XML, AAF or an EDL; or 3) export a flattened media file of your timeline from another NLE and import that master file into Resolve. This process is similar to when masters were output to tape, which in turn were graded in a DaVinci “tape-to-tape” color correction session. Resolve has the ability to analyze the file and determine edit points with reasonable accuracy. It will break up the files into individual master clips within your media pool. Unfortunately, these are viewed in the timeline as individual media clips with boundaries, thus making trimming difficult.

My preference is to place the clip onto a new timeline and then manually add splices at all edit points and dissolves. Since Resolve includes editing capabilities, you can trim, alter or add points in case of error or missed edits. This can be aided by importing a matching, blank XML or EDL and placing it onto a higher track, which then lets you quickly identify all edit points that you’ll need to create.

df2215_resolvetips_7_smAdd dissolves. In the example above, how do you handle video dissolves that exist in the master file? The solution (in the Resolve timeline) is to add an edit point at the midpoint of the dissolve that’s embedded within the media file. Next, add a new dissolve equal to the length of the existing dissolve in the video. This way, color correction for one shot will naturally dissolve to the color correction of the second shot. In effect, you aren’t dissolving video sources – only color correction values. This technique may also be used within a single shot if you have correction changes inside that shot. Although in the second case, adding correction keyframes in the Color page is normally a better solution. This might be the case if you are trying to counteract level changes within the shot, such as an in-camera iris change.

df2215_resolvetips_8_smNode strategy. Resolve allows you to store complex grades for shots – which will include as many nodes as required to build the look – at a single memory register. You can build up each adjustment in multiple nodes to create the look you desire, store it and then apply that grade to other shots in a single step. This is very useful; however, I tend to work a bit differently when going through a scene in a dramatic project.

I generally go through the scene in multiple “passes”. For instance, I’ll quickly go through each shot with a single node to properly balance the color and make the shots reasonably consistent with each other. Next, I’ll go back through and add a second node (no adjustment yet) for each shot. Once that’s done, I’ll go back to the head of the scene and in that second node make the correction to establish a look. I can now use a standard copy command (cmd-C on the Mac) to store those values for that single node. When I go to the next shot, the second node is already selected, so then I simply paste (cmd-V on the Mac) those values. Let’s say the scene is a two-person dialogue scene using two singles. Angle A is a slightly different color than Angle B. Set the second node adjustment for Angle A, copy, and then paste to each Angle A shot (leapfrogging the Angle B shots). Then repeat for the Angle B shots.

Lastly, I might want to add a vignette. Go back through the scene and add a third, blank node for each shot. Create the vignette in node three of the first shot, then copy and paste into each of the others. I can still adjust the darkness, softness and position of the vignette at each shot, as needed. It’s a bit of an assembly line process, but I find it’s a quick way to go through a scene and build up adjustments without getting fixated on a single shot. At any point, I can review the whole scene and get a better feel for the result of my corrections in the context of the entire scene.

df2215_resolvetips_9_smLUTs. Resolve enables the application of technical and creative LUTs (color look-up tables). While I find their use limited and should be applied selectively, it’s possible to add your own to the palette. Any .cube LUT file – whether you found it, bought it, or created your own – can be added to Resolve’s library of LUTs. On the Mac, the Resolve LUT folder is found in Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT.

df2215_resolvetips_10_smExport with audio. You can export a single finished timeline or individual clips using the Deliver page. At the time of this post, Resolve 12 has yet to be released, but hopefully the audio export issues I’ve encountered have been completely fixed. In my experience using Resolve 11 with RED camera files, it has not been possible to accurately export a complete timeline and have the audio stay in sync. I haven’t found this to be the case with other camera formats, though. So if you are exporting a single master file, expect the potential need to bring the picture into another application or NLE, in order to marry it with your final mix. Resolve 11 and earlier are not really geared for audio – something which Resolve 12 promises to fix. I’ll have a review of Resolve 12 at some point in the future.

Hopefully these tips will give you a deeper dive into Resolve. For serious training, here are some resources to check out:

Color Grading Central

Explenite

FXPHD

Lynda

Mixing Light

Ripple Training

Tao of Color

©2015 Oliver Peters

The FCP X – RED – Resolve Dance II

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Last October I wrote about the roundtrip workflow surrounding Final Cut Pro X and Resolve, particularly as it relates to working with RED camera files. This month I’ve been color grading a small, indie feature film shot with RED One cameras at 4K resolution. The timeline is 1080p. During the course of grading the film in DaVinci Resolve 11, I’ve encountered a number of issues in the roundtrip process. Here are some workflow steps that I’ve found to be successful.

Step 1 – For the edit, transcode the RED files into 1080p Apple ProRes Proxy QuickTime movies baking in camera color metadata and added burn-in data for clip name and timecode. Use either REDCINE-X Pro or DaVinci Resolve for the transcode.

Step 2 – Import the proxies and double-system audio (if used) into FCP X and sync within the application or use Sync-N-Link X. Ideally all cameras should record reference audio and timecode should match between the cameras and the sound recorder. Slates should also be used as a fall-back measure.

Step 3 – Edit in FCP X until you lock the cut. Prepare a duplicate sequence (Project) for grading. In that sequence, strip off (detach and remove) all audio. As an option, you can create a mix-down track for reference and attach it as a connected clip. Flatten the timeline down to the Primary Storyline where ever possible, so that Resolve only sees this as one track of video. Compound clips should be broken apart, effects should be removed, and titles removed. Audition clips should be finalized, but multicam clips are OK. Remove effects filters. Export an FCPXML (version 1.4 “previous”) list. You should also export a self-contained reference version of the sequence, which can be used to check the conform in Resolve.

Step 4 – Launch Resolve and make sure that the master project settings match that of your FCP X sequence. If it’s supposed to be 1920×1080 at 23.976 (23.98) fps, then make sure that’s set correctly. Resolve defaults to a frame rate of 24.0fps and that won’t work. Locate all of your camera original source media (RED camera files in this example) and add them to your media bin in the Media page. Import the FCPXML (1.4), but disable the setting to automatically load the media files in the import dialogue box. The FCPXML file will load and will relink to the RED files without issue if everything has gone correctly. The timeline may have a few clip conflicts, so look for the little indicator on the clip corner in the Edit window timeline. If there’s a clip conflict, you’ll be presented with several choices. Pick the correct one and that will correct the conflict.

Step 5 – At this point, you should verify that the files have conformed correctly by comparing against a self-contained reference file. Compound clips can still be altered in Resolve by using the Decompose function in the timeline. This will break apart the nested compound clips onto separate video tracks. In general, reframing done in the edit will translate, as will image rotation; however, flips and flops won’t. To flip and flop an image in FCP X requires a negative X or Y scale value (unless you used a filter), which Resolve cannot achieve. When you run across these in Resolve, reset the scale value in the Edit page inspector to normal from that clip. Then in the Color page use the horizontal or vertical flip functions that are part of the resizing controls. Once this is all straight, you can grade.

Step 6 option A – When grading is done, shift to the Deliver page. If your project is largely cuts-and-dissolves and you don’t anticipate further trimming or slipping of edit points in your NLE, then I would recommend exporting the timeline as a self-contained master file. You should do a complete quality check the exported media file to make sure there were no hiccups in the render. This file can then be brought back into any NLE and combined with the final mixed track to create the actual show master. In this case, there is no roundtrip procedure needed to get back into the NLE.

Step 6 option B – If you anticipate additional editing of the graded files – or you used transitions or other effects that are unique to your NLE – then you’ll need to use the roundtrip “return” solution. In the Deliver page, select the Final Cut Pro easy set-up roundtrip. This will render each clip as an individual file at the source or timeline resolution with a user-selected handle length added to the head and tail of each clip. Resolve will also write a corresponding FCPXML file (version 1.4). This file will retain the original transitions. For example, if you used FCP X’s light noise transition, it will show up as a dissolve in Resolve’s timeline. When you go back to FCP X, it will retain the proper transition information in the list, so you’ll get back the light noise transition effect.

Resolve generates this list with the assumption that the media files were rendered at source resolution and not timeline resolution. Therefore, even if your clips are now 1920×1080, the FCPXML represents these as 4K. When you import this new FCPXML back into FCP X, a spatial conform will be applied to “fit” the files into the 1920×1080 raster space of the timeline. Change this to “none” and the 1080 media files will be blown up to 4K. You can choose to simply live with this, leave it to “fit”, and render the files again on FCP X’s output – or follow the next step for a workaround.

Step 7 – Create a new Resolve project, making sure the frame rate and timeline format are correct, such as 1920×1080 at 23.976fps. Load the new media files that were exported from Resolve into the media pool. Now import the FCPXML that Resolve has generated (uncheck the selection to automatically import media files and uncheck sizing information). The media will now be conformed to the timeline. From the Edit page, export another FCPXML 1.4 for that timeline (no additional rendering is required). This FCPXML will be updated to match the media file info for the new files – namely size, track configuration, and frame rate.

At this stage, you will encounter a second serious flaw in the FCP X/Resolve/FCP X roundtrip process. Resolve 11 does not write a proper FCPXML file and leaves out certain critical asset information. You will encounter this if you move the media and lists between different machines, but not if all of the work is being done on a single workstation. The result will be a timeline that loads into FCP X with black clips (not the red “missing” icon). When you attempt to reconnect the media, FCP X will fail to relink and will issue an “incompatible files” error message. To fix the problem, either the colorist must have FCP X installed on the Resolve system or the editor must have Resolve 11 installed on the FCP X system. This last step is the one remaining workaround.

Step 8 option A – If FCP X is installed on the Resolve machine, import the FCPXML into FCP X and reconnect the media generated by Resolve. Then re-export a new FCPXML from FCP X. This new list and media can be moved to any other system. You can move the FCP X Library successfully, as well.

Step 8 option B – If Resolve is installed on the FCP X machine, then follow Step 7. The new FCPXML that you create there will load into FCP X, since you are on the same system.

That’s the state of things right now. Maybe some of these flaws will be fixed with Resolve 12, but I don’t know at this point. The FCPXML list format involves a bit of voodoo at times and this is one of those cases. The good news is that Resolve is very solid when it comes to relinking, which will save you. Good luck!

©2015 Oliver Peters

The FCP X – RED – Resolve Dance

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I recently worked on a short 10 minute teaser video for a potential longer film project. It was shot with a RED One camera, so it was a great test for the RED workflow and roundtrips using Apple Final Cut Pro 10.1.2/10.1.3 and DaVinci Resolve 11.

Starting the edit

As with any production, the first step is to properly back up and verify the data from the camera and sound cards. These files should go to redundant drives that are parked on the shelf for safe keeping. After this has been done, now you can copy the media to the editorial drives. In this case, I was using a LaCie RAID-5 array. Each day’s media was placed in a folder and divided into subfolders for RED, audio and other cameras, like a few 5D shots.

df_fcpx-red-resolve_4Since I was using FCP X and its RED and proxy workflows, I opted not to use REDCINE-X Pro as part of this process. In fact, the Mac Pro also didn’t have any RED Rocket accelerator card installed either, as I’ve seen conflicts with FCP X and RED transcodes when the RED Rocket card was installed. After the files were copied to the editorial drives, they were imported into an FCP X event, with media left in its original location. In the import setting, the option to transcode proxy media was enabled, which continues in the background while you start to work with the RED files directly. The camera files are 4K 16×9 .r3d files, so FCP X transcodes these to half-sized ProRes Proxy media.

df_fcpx-red-resolve_1Audio was recorded as double-system sound using a Sound Devices recorder. The audio files were 2-channel broadcast WAV files using slates for syncing. There was no in-camera audio and no common timecode. I was working with a couple of assistant editors, so I had them sync each clip manually. Instead of using FCP X’s synchronized clips, I had them alter each master clip using the “open in timeline” command. This lets you edit the audio directly to the video as a connected clip within the master clip. Once done, your master clip contains synced audio and video.  It functions just like a master clip with in-camera audio – almost (more on that later).df_fcpx-red-resolve_9

All synced clips were relabeled with a camera, scene and take designation, as well as adding this info to the camera, scene and take columns. Lastly, script notes were added to the notes column based on the script supervisor’s reports.

Transcodes

df_fcpx-red-resolve_6Since the post schedule wasn’t super-tight, I was able to let the transcodes finish overnight, as needed. Once this is done, you can switch FCP X to working with proxies and all the media will be there. The toggle between proxy and/or optimized-original media is seamless and FCP X takes care of properly changing all sizing information. For example, the project is 4K media in a 1080p timeline. FCP X’s spatial conform downscales the 4K media, but then when you toggle to proxy, it has to make the corresponding adjustments to media that is now half-sized. Likewise any blow-ups or reframing that you do also have to match in both modes.

df_fcpx-red-resolve_2The built-in proxy/optimized-original workflow provides you with offline/online editing phases right within the same system. Proxies for fast and efficient editing. Original or high-resolution transcodes for finishing. To keep the process fast and initially true to color decisions made on set, no adjustments were made to the RED files. FCP X does let you alter the camera raw color metadata from inside the application, but there’s no real reason to do this for offline editing files. That can be deferred until it’s time to do color correction. So during the edit, you see what the DoP shot as you view the RED files or the transcoded proxies.

df_fcpx-red-resolve_3We did hit one bad camera load. This might have been due to either a bad RED drive or possibly excessive humidity at that location. No matter what the reason, the result was a set of corrupt RED clips. We didn’t initially realize this in FCP X, and so, hit clips that caused frequent crashes. Once I narrowed it down to the load from that one location, I decided to delete these clips. For that group of shots, I used REDCINE-X Pro to transcode the files. I adjusted the color for a flatter, neutral profile (for later color correction) and transcoded full-resolution debayered 1080p ProRes 4444 files. We considered these as the new camera masters for those clips. Even there, REDCINE-X Pro crashed on a few of the clips, but I still had enough to make a scene out of it.

Editing

The first editing step is culling down the footage in FCP X. I do a first pass rejecting all bogus shots, like short clips of the floor, a bad slate, etc. Set the event browser to “hide rejected”. Next I review the footage based on script notes, looking at the “circle takes” first, plus picking a few alternates if I have a different opinion. I will mark these as Favorites. As I do this, I’ll select the whole take and not just a portion, since I want to see the whole take.

Once I start editing, I switch the event browser to “show favorites”. In the list view, I’ll sort the event by the scene column, which now gives me a quick roadmap of all possible good clips in the order of the script. During editing, I cut mainly using the primary storyline to build up the piece. This includes all overlapping audio, composites, titles and so on. Cutting proceeds until the picture is locked. Once I’m ready to move on to color correction, I export a project XML in the FCPXML format.

Resolve

df_fcpx-red-resolve_7I used the first release version (not beta) of DaVinci Resolve 11 Lite to do this grade. My intention was to roundtrip it back to FCP X and not to use Resolve as a finishing tool, since I had a number of keys and composites that were easier done in FCP X than Resolve. Furthermore, when I brought the project into Resolve, the picture was right, but all of the audio was bogus – wrong takes, wrong syncing, etc. I traced this down to my initial “open in timeline” syncing, which I’ll explaining in a bit. Anyway, my focus in Resolve was only grading and so audio wasn’t important for what I was doing. I simply disabled it.

Importing the FCPXML file into a fresh Resolve 11 project couldn’t have been easier. It instantly linked the RED, 5D and transcoded ProRes 4444 files and established an accurate timeline for my picture cut. All resizing was accurately translated. This means that in my FCP X timeline, when I blew up a shot to 120% (which is a blow-up of the 1080p image that was downscaled from the 4K source), Resolve knew to take the corresponding crop from the full 4K image to equal this framing of the shot without losing resolution.

The one video gotcha I hit was with the FCP X timeline layout. FCP X is one of the only NLEs that lets you place video BELOW what any other software would consider to be the V1 track – that’s the primary storyline. Some of my green screen composite shots were of a simulated newscast inserted on a TV set hanging on a wall in the primary scene. I decided to place the 5 or 6 layers that made up this composite underneath the primary storyline. All fine inside FCP X, however, in Resolve, it has to interpret the lowest video element as V1, thus shifting everything else up accordingly. As a result the, bulk of the video was on V6 or V7 and audio was equally shifted in the other direction. This results in a lot of vertical timeline scrolling, since Resolve’s smallest track height is still larger than most.

df_fcpx-red-resolve_8Resolve, of course, is a killer grading tool that handles RED media well. My grading approach is to balance out the RED shots in the first node. Resolve lets you adjust the camera raw metadata settings for each individual clip, if you need to. Then in node 2, I’ll do most of my primary grading. After that, I’ll add nodes for selective color adjustments, masks, vignettes and so on. Resolve’s playback settings can be adjusted to throttle back the debayer resolution on playback for closer-to-real-time performance with RED media. This is especially important, when you aren’t running the fastest drives, fastest GPU cards nor using a RED Rocket card.

To output the result, I switched over to Resolve’s Deliver tab and selected the FCP X easy set-up. Select handle length, browse for a target folder and run. Resolve is a very fast renderer, even with GPU-based RED debayering, so output wasn’t long for the 130 clips that made up this short. The resulting media was 1080p ProResHQ with an additional 3 seconds per clip on either side of the timeline cut – all with baked in color correction. The target folder also contains a new FCPXML that corresponds to the Resolve timeline with proper links to the new media files.

Roundtrip back into FCP X

Back in FCP X, I make sure I’ve turned off the import preference to transcode proxy media and that my toggle is set back to original/optimized media. Find the new FCPXML file from Resolve and import it. This will create a new event containing a new FCP X project (edited sequence), but with media linked to the Resolve render files. Audio is still an issue, for now.

There is one interesting picture glitch, which I believe is a bug in the FCPXML metadata. In the offline edit, using RED or proxy media, spatial conform is enabled and set to “fit”. That scales the 4K file to a 1080p timeline. In the sequence back from Resolve, I noticed the timeline still had yellow render bars. When I switched the spatial conform setting on a clip to “none”, the render bar over it went away, but the clip blew up much larger, as if it was trying to show a native 4K image at 1:1. Except, that this was now 1080 media and NOT 4K. Apparently this resizing metadata is incorrectly held in the FCPXML file and there doesn’t appear to be any way to correct this. The workaround is to simply let it render, which didn’t seem to hurt the image quality as far as I could tell.

Audio

Now to an explanation of the audio issue. FCP X master clips are NOT like any other master clips in other NLEs, including FCP 7. X’s master clips are simply containers for audio and video essence and, in that way, are not unlike compound clips. Therefore, you can edit, add and/or alter – even destructively – any material inside a master clip when you use the “open in timeline” function. You have to be careful. That appears to be the root of the XML translation issue and the audio. Of course, it all works fine WITHIN the closed FCP X environment!

Here’s the workaround. Start in FCP X. In the offline edited sequence (locked rough cut) and the sequence from Resolve, detach all audio. Delete audio from the Resolve sequence. Copy and paste the audio from the rough cut to the Resolve sequence. If you’ve done this correctly it will all be properly synced. Next, you have to get around the container issue in order to access the correct WAV files. This is done simply by highlighting the connected audio clip(s) and using the “break apart clip items” command. That’s the same command used to break apart compound clips into their component source clips. Now you’ll have the original WAV file audio and not the master clip from the camera.

df_fcpx-red-resolve_11At this stage I still encountered export issues. If your audio mixing engineer wants an OMF for an older Pro Tools unit, then you have to go through FCP 7 (via an Xto7 translation) to create the OMF file. I’ve done this tons of time before, but for whatever reason on this project, the result was not useable. An alternative approach is to use Resolve to convert the FCPXML into XML, which can then be imported into FCP 7. This worked for an accurate translation, except that the Resolve export altered all stereo and multi-channel audio tracks into a single mono track. Therefore, a Resolve translation was also a fail. At this point in time, I have to say that a proper OMF export from FCP X-edited material is no longer an option or at least unreliable at best.

df_fcpx-red-resolve_10This leaves you with two options. If your mixing engineer uses Apple Logic Pro X, then that appears to correctly import and convert the native FCPXML file. If your mixer uses Pro Tools (a more likely scenario) then newer versions will read AAF files. That’s the approach I took. To create an AAF, you have to export an FCPXML from the project file. Then using the X2Pro Audio Convert application, generate an AAF file with embedded and trimmed audio content. This goes to the mixer who in turn can ingest the file into Pro Tools.

Once the mix has been completed, the exported AIF or WAV file of the mix is imported into FCP X. Strip off all audio from the final version of the FCP X project and connect the clip of the final mix to the beginning of the timeline. Now you are done and ready to export deliverables.

For more on RED and FCP X workflows, check out this series of posts by Sam Mestman at MovieMaker.

Part 1   Part 2   Part 3

©2014 Oliver Peters

DaVinci Resolve 10

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Last NAB, Blackmagic Design caused everyone to perk up when it touted Resolve 10 as an online editor. Once it was released, it became a bit more obvious that Resolve was still primarily a color corrector, but one that also added editing features. This latest update has been out for a number of months (including a lengthy public beta period) and gone through several updates. Resolve 10 was a free update for owners of previous versions. No short review can do this program justice, due to the depth of its toolset, but let’s take a quick dive into what it has to offer. (Click any image to enlarge.)

df_r10_10_smDaVinci Resolve 10 comes in several versions for Mac and Windows, including Resolve Lite (free), Resolve Software ($995) and Resolve ($29,995), which includes the custom Resolve control surface. There are also Linux configurations. All versions will only work with Blackmagic video devices for I/O and monitoring, but these are not required for operation. In addition to mouse, trackpad and tablet control, Tangent Devices (Wave, Elements), JL Cooper (Eclipse) and Avid Artist control panels may be used as lower cost alternatives to the Resolve control surface. The free Lite version is most likely the biggest software bang-for-the-buck in the industry, but you’ll need the paid version for blur and noise reduction, 3D stereoscopic work, support for more than two GPUs and output at sizes bigger that UltraHD.

New in Resolve 10

df_r10_2_smSince Resolve 10 was a pretty thorough overhaul of the Resolve 9 interface, there’s a lot new in terms of minor changes throughout the application. Many functions are more streamlined and logical and will make more sense to the new user. Editing is the biggest new addition and most of the typical functions are there, including various edit modes, tracks, effects, titles, speed changes, transitions and audio. Although I really can’t envision starting any edit from scratch in Resolve 10, it’s easier than ever to make editorial changes when the client has last minute adjustments in mind. The point is that this can now be achieved in the grading session, without having to go back into an edit bay.

df_r10_9_smA big addition is the integration of an effects architecture, using the OpenFX plug-in format. Various developers are tweaking their OpenFX filters for compatibility with Resolve 10, but already I’ve been able to test the FilmConvert film emulation plug-in. Filters are applied to clips or a complete track as a node, so there are no third-party transition effects. However, since Resolve can render the timeline as a single file or as individual source clips, this means that the rendered clips will also have the applied effects baked into the rendered media. The application of an OpenFX filter to a node will slow down render speeds.

Resolve 10 also gained the ability to create DCPs straight from the timeline for cinema masters. However this only preps the project settings and does not cover the licensing fees that you need for an actual DCP export.

Nodes

df_r10_6_smEvery color corrector takes a different approach for how to build up a series of color correction adjustments. Resolve uses nodes, which have become fairly sophisticated. Although, it’s not a true compositor’s node tree, it does start to approach that. Node types include serial, parallel, splitters, combiners and layer mixers. These let a colorist not only string together a series of adjustments (serial nodes), but also split and recombine a signal, and create parallel node paths that are combined for a final output. The layer mixer node includes composite modes, similar to those used in Photoshop. While a lot of Resolve demos got very deep into node trees that dissect every aspect of a shot, I tend to take a simpler approach, sticking to curves and lift/gamma/gain controls. Nevertheless, if you need that power, it’s there in Resolve 10.

Strengths

df_r10_4_smDaVinci Resolve 10 – even the free Lite version – represents an amazing level of versatility. For example, many editors and DITs use it to prep media for an edit. It’s super simple to apply LUTs to log-profile camera files and spit out edit-ready, adjusted source files. Resolve is one of the fastest renderers I’ve encountered and it handles cross-format conversions quite well. For example, it can render Avid-compliant MXF media, which is relatively uncommon. The scaling function is second to none. After Effects used to be my preferred tool for upscaling images, but I’ve found that Resolve is even better. Not only is the quality great, but you have control over the smoothness or crispness of the scaled image.

df_r10_5_smYou can’t talk about Resolve without mentioning the tracker. If you apply a “power window” to a portion of a shot (like a person’s face), you need to track the movement. The tracker in Resolve is a very fast, point-cloud style tracker. These tracks are almost always dead-on, so you never think twice about using the tracker. One the things I especially like about Resolve is the image quality and processing. It uses 32-bit floating math. Essentially this means that you can crank up video in one node – even past the point of clipping – and then pull it back down (recovering detail without a clip) in the next node.

Weaknesses

User interfaces are a very subjective issue in color correction tools, just like they are for editing software. I find this to be a weakness, because I work with a dual-display system. With Resolve you can’t place the viewer on the secondary monitor, like you can with Adobe SpeedGrade CC or Apple Color. You can place the video scopes and the new audio mixer there, but the viewer is locked to the primary screen. If you use the enhanced viewer mode, it hides the node tree. This tends to make operation awkward if you don’t have a control surface nor an external broadcast monitor.

df_r10_3_smThe depth of Resolve’s color correction toolkit is amazing, but it’s almost too much. For example, you have both wheels and sliders for primary control. That makes it very adaptive to different working styles, but it also makes it easy to lose track of which tool you used to make adjustments. Some things don’t make sense to me. For instance, the maximum saturation level isn’t all that large and if you really want a shot dripping with chroma, it takes several serial nodes to do that.

A personal peeve, since I use dual 20” screens, is that something broke between Resolve 9 and Resolve 10. The earliest version of Resolve on the Mac was optimized for 1920×1080 screens (or larger), but then this was subsequently corrected for smaller resolutions, like laptops and the 20” Apple Cinemas. Apparently this has reverted a little with the latest version. With Resolve 9, the interface opened and was correctly scaled for the 20” display. With Resolve 10, the interface opens with the right edge running off the screen. You have to click the green “plus” button (one of the top three buttons in every Mac OS X window) to resize the window to fit the display.

Roundtrips with your editor

df_r10_8_smDaVinci Resolve 10 has the broadest support for roundtrips of any color correction tool, translating XML (Final Cut Pro 7 and Premiere Pro), FCPXML (Final Cut Pro X), EDL and AAF (Avid) list formats. This is a bi-directional roundtrip, so you can import sequences from your NLE into Resolve 10, but then also export NLE-compatible lists that properly relink to the rendered media. When Final Cut Pro X version 10.1 was released, compatibility was broken, but that’s recently been fixed with the latest updates from each company. However, it’s still not quite perfect. I tried two very simple sequences of a few shots each. One sequence used 1920×1080 ProRes HQ files from a Blackmagic Cinema Camera. The other used native, camera raw files from a RED EPIC (various sizes and frame rates). Both sequences were cut in FCP X and the FCPXML from each imported without issue into Resolve 10.

df_r10_7_smGoing the other way, back into FCP X, did present some issues. Both of the new FCPXMLs that were imported into FCP X reported error messages, although the clips and sequences imported correctly. The 1920×1080 files from the BMCC were fine. The EPIC files, which had been resized in the original FCP X timeline, were all interpreted by FCP X as 1280×720, even though Resolve 10 had correctly rendered the media as 1920×1080. These same timelines imported fine into Premiere Pro using standard XMLs.

Final thoughts

DaVinci Resolve 10 is currently the most popular color correction tool, largely because of the free version. It is powerful, though at times I feel that the correction tends to be a little harsher than with other grading applications. The interface could stand to be even more streamlined. Nevertheless, I’ve done grades that required extensive correction, which would have been impossible to achieve in any other color correction application.

It’s an essential tool that functions like a “Swiss Army knife” and as such, you owe it to yourself to spend some time learning it. The manual, written by noted colorist and author Alexis Van Hurkman, is easy to follow. Training resources include online tutorials at Color Grading Central, Ripple Training, Tao of Color and Mixing Light.

Originally written for Digital Video magazine / Creative PlanetNetwork.

©2014 Oliver Peters