Emily Haine

What are your favorite new feature? What's new in DaVinci Resolve 15 FusionKey new features Fully integrated into the DaVinci Resolve timeline Improved workflows removing the need for round trip renders to Fusion Initial support for a full Metal, CUDA or OpenCL GPU processing pipeline Improved UI for faster and more fluid workflow New node graph (Flow) New viewers New toolbar New inspector Fusion page now includes Media Pool Tools library with Templates Timeline with Thumbnails Spline Editor Keyframe Timeline Metadata Dual screen layouts for the Fusion page Support for Fusion in collaborative projects Support for various geometry files for Fusion in Media Storage and Media Pool Support for importing and exporting Fusion comp files Support for caching Fusion page output for clips with Fusion effects applied Support for Fusion planar tracker is now available on the non Studio version of DaVinci Resolve Support for Fusion planar stabilization is now available on the non Studio version of DaVinci Resolve Support for Fusion planar transforms of roto is now available on the non Studio version of DaVinci Resolve Support for Fusion planar tracked roto is now available on the non Studio version of DaVinci Resolve Support for Fusion optical flow retiming is now available on the non Studio version of DaVinci Resolve Visual effects features Vector Paint 2D and 3D Compositing 3D Camera Tracking in DaVinci Resolve Studio Planar Tracking and Rotoscoping Node Based Workflow 3D Workspace Keying and Mattes Rotoscoping Tracking and Stabilization 3D Particles Scripting Shot Cleanup Open Color I/O Virtual Set Extensions Broadcast design and motion graphics features 2D and 3D Titles 3D Logos Animated Text Spline Based Animation Replicate Objects Expressions and Macros VR tools in DaVinci Resolve Studio Import 3D Models and Scenes Built-in 3D Objects Realistic Lighting and Shading Comprehensive Stereoscopic 3D Tools in DaVinci Resolve Studio Deep Pixel Compositing Volumetric Effects FairlightKey new features ADR (Automatic Dialog Replacement) Audio Bounce of a range in selected tracks to layers Audio Bounce of one or multiple buses to tracks Fixed playhead timeline Audio scrollers Video scroller 3D audio pan Sound Library * Support for native FairlightFX Chorus De-Esser De-Hummer Delay Distortion Echo Flanger Modulation Noise Reduction Pitch Reverb Stereo Width Vocal Channel General improvements Support for audio normalization in the Edit page and Fairlight page Support for clip pitch control for clips Support for Media Pool preview of audio Support for audio fade in and out to playhead in the Fairlight timeline Support for mixed audio track formats from source clips Support for trim to playhead operations in the Fairlight timeline Support for Preset Library for Audio Effects * Support for legacy Fairlight projects on Windows * Support for inbuilt tone generator Support for Compound clips path bar below Fairlight page timeline Support for native audio on Linux Support to show audio waveforms while recording Support for input monitoring to the native audio engine Support for reordering audio plugins in the inspector for audio clips Support for audio retiming for clips with variable speed changes Support for Paste and Remove Attributes for audio clips in Fairlight page Support for pre-roll and post-roll time in Fairlight timeline Support for Loop Jog controls in user interface Support for an indicator on the Fairlight timeline when there is an offset between audio and video Support for the Fairlight Audio Interface installer on Windows Support for a mode to stop and jump to the last position Support for track selection and deselection using the track destination selection commands Support for selecting buses in the mixer to view and modify their properties in the inspector Support for viewing video tracks on the Fairlight timeline Support for transport controls from the DaVinci Resolve grading panels on the Fairlight page Support for improved timeline view options in the Fairlight timeline Improved speaker selection with support for device selections in monitor sets Improved consistency of navigation and selection hotkeys between the Edit and Fairlight pages Performance Support for project versioning snapshots to store project backups at set intervals Support for only loading the last used timeline when opening a project Support for an option to load all the timelines when opening a project Support for bypassing color processing on all pages for improved performance on low power systems Support for trimming H.264 and other temporal codec formats in Media Management Support for GPU acceleration for the ResolveFX Match Move plugin Support for GPU acceleration for the stabilizer with a speed up of more than 5x Support for new system preference to use optimized image transfers for viewers on supported systems Improved save and load performance with database optimizations for large projects Improved CUDA performance for high resolution clips and timelines Improved playback performance when monitoring on a single GPU system with scopes enabled Improved playback performance with mismatched output and monitoring resolutions with Blackmagic Design capture and playback devices Improved decode and encode speeds for JPEG2000 clips Improved performance when encoding to the GoPro Cineform codec Edit Support for adding, managing and delivering Subtitles and Closed Captions Support for embedding a subtitle track when encoding QuickTime files Support for embedding closed captions when encoding MXF OP1A files Support for embedding closed captions when encoding QuickTime files Support for 2D and 3D Title templates Support to load multiple clips into the source viewer and access the 10 most recent clips Support for stacked and tabbed timelines Support for position curves in curve editor Support for menu actions to create Flags and Markers with a specific color Support for timecode entry in the Marker dialog Support for markers annotations on the viewer Support for new Change Clip Duration to modify the duration of one or multiple clips Support for finding the source viewer clip in the Media Pool Support for caching of titles and generator Support for keyframing of OpenFX and ResolveFX plugins Support for alpha channel in compound clips Support for copying and pasting timecode in the viewer timecode displays Support for multiple timeline gap deletion Support for single viewer mode for the dual screen layout Support for marking in and out points in Cinema Mode in the Edit page Support for showing the iXML channel names for audio files in the timeline Support for replacing multiple shots across tracks while retaining grades and effects by Ctrl/Command dragging clips Support for categories of video transitions in the Effects Library Support for a new Play Again command on Media, Edit and Fairlight players Support for disabling ganged moving of audio and video clips across tracks Support for rippling clips on the timeline when pasting retime attributes to other clips Support for actions to convert between Duration markers and In/Out marks with ability to set shortcuts Support for viewing clip marker overlays on the timeline viewer Support for an Edit and Color page indicator for clips with Fusion effects Support for toggling the track-destination state Support for improved timeline view options in the Edit timeline Improved separation and handles between video and audio tracks on the timeline Improved timecode entry and playhead navigation Improved optical flow for speed changes Improved Smooth Cut Improved keyboard shortcut mapping * Improved previews when performing blades on a multi track edit Improved ripple cut and ripple delete behavior Improved automatic track creation when dragging clips to new tracks Media Support for Cintel HDR capture Support for importing clips to Media Pool with metadata via Final Cut Pro 7 XML Support clip type icon in list view for both Clip names and File Names Support for showing Clip names instead of File names as the default Support for replacing a media file and all its instances in the Media Pool Support to navigate to synced audio files from a video clip in the Media Pool Support for automatically creating subclips by dragging a clip from the viewer to the Media Pool Support for source clips with high speed capture frame rates in the Media Pool Support for retaining empty folders when importing folders to the Media Pool Support for improved LTC detection from clips with multiple audio tracks Support for larger clip thumbnails in the Media Pool Support for improved Media Pool column listing Support for modifying the extents of subclips Support for viewing waveforms for audio clips in thumbnail mode in the Media Pool and Media Storage Support for live preview of audio clips in the Media Pool and Media Storage Support for multiple bin views in collaborative projects Support for smaller Media Pool floating windows Support for native IMF decoding and encoding in DaVinci Resolve Studio Support for native Kakadu based JPEG2000 decoding and encoding Support for encoding unencrypted DCP packages using the Kakadu codec Support for ARRI LF camera files Support for decoding H.264 clips in the MXF or MTS format Support for Canon Log3 in Resolve Color Management Support for alpha channel with DNxHR 422 codecs Support for decoding 8-bit Phantom Cine clips Support for reading color space and gamma information from QuickTime and MXF clips Support for alpha channel when decoding from and encoding to Cineform RGB Support for writing color range, color space and other image metadata when encoding to Quicktime DNxHR Support for decoding FLAC audio files Support for HEIF decode on Mac and DaVinci Resolve Studio on Windows and Linux Support for decoding TGA images Support for Canon C200 IDTs in ACES Support for displaying REDCODE metadata for R3D clips Support for XAVC-Intra OP1A HDR metadata Improved Resolve Color Management support for Sony clips where input color space and gamma are set automatically using metadata Improved support for encoding HDR and mastering metadata for MXF and IMF formats in DaVinci Resolve Studio Improved support for audio waveform sync in multicam clips Improved support for decoding MXF XDCAM clips Color Support for new SuperScale option for high quality resolution upscaling Support for multiple timeline playheads with DaVinci Resolve Advanced panel control Support for a new LUT browser in the Color page Support for live preview of LUTs and gallery stills Support for browsing grades from other timelines in the gallery Support for browsing grades from other projects in the expanded gallery view Support for batch color version management Support for switching between previous and next version for multiple clips Support for modifying the qualifier by dragging the controls in the user interface Support for denoise in the qualifiers matte finesse controls Support for alpha matte shrink and grow in the qualifiers matte finesse controls Support for ganging the timeline wipe with the current clip Support for option to disable thumbnails in the node graph Support for improved Color page node graph user interface Support for improved user interactions for selecting nodes and modifying node connections Support for enabling and disabling multiple selected nodes in the Color page Support for a node context menu option to lock the node Support for shared nodes for powerful group management Support for Camera RAW controls for Canon RAW clips Support for Camera RAW controls for Panasonic RAW clips Support for the Media Pool in Color page Support for GPU accelerated Dolby VisionTM HDR to SDR metadata generation in DaVinci Resolve Studio Support for license activated GPU accelerated Dolby VisionTM internal CMU in DaVinci Resolve Studio Support for native HDR10+TM controls in DaVinci Resolve Studio New ResolveFX Plugins ResolveFX Aperture Diffraction in DaVinci Resolve Studio ResolveFX Automatic Dirt Removal in DaVinci Resolve Studio ResolveFX Deflicker in DaVinci Resolve Studio ResolveFX Dust Buster in DaVinci Resolve Studio ResolveFX Film Damage ResolveFX Flicker Addition ResolveFX Lens Reflections in DaVinci Resolve Studio ResolveFX Patch Replacer in DaVinci Resolve Studio Support for ResolveFX Match Move is now available on the non Studio version of DaVinci Resolve Support for random frame access when using temporal OpenFX plugins is now available on the non Studio version of DaVinci Resolve Support for stereoscopic convergence on Power Windows Support for showing marker overlays in the Color page viewer Support for a dynamic keyframe indicator for nodes in the node graph Support for tooltip for Edit page FX icons to display the list of plugins applied Support for compound node path bar in the display node graph window Support for copying nodes and pasting specific values by selecting parameters and using Paste Value Support for previewing LUTs by holding Alt/Option pressed while mousing over the LUT context menu Support for previewing composite modes in the layer mixer context menu Support for listing and navigating to timeline markers from the Color page viewer option menu Support for processing a node in a different Resolve Color Managed colorspace or gamma Support for selected LUTs in split-screen mode Support for previewing the selected album in split-screen mode Support for drawing a selection box to select multiple points in ResolveFX Warper Support for improved and smoother masks in ResolveFX Face Refinement Support for a new enhanced mode for improved noise reduction Support for changing the sensitivity of the jog wheel and shuttle control in the DaVinci Resolve Advanced panel Support for smart filter options for shared nodes Support for smart filter options for clips with Fusion effects Support for RED SDK based Gamut Mapping for Red IPP2 based workflows Support for option to process node LUTs in ACEScc AP1 timeline color space or ACES AP0 color space Improved cropping quality and behavior when using the advanced video stabilization Improved ResolveFX Lens Blur with support for custom aperture shapes Improved onscreen controls for ResolveFX Match Move and ResolveFX Dead Pixel Fixer Improved viewer mouse interaction and behavior when working on a node with multiple power windows Improved DCTLs with ability to include code from headers and use LUTs in DaVinci Resolve Studio Check Developer Documentation in the Help menu for more details Improved generators, transitions and titles with support for Resolve Color Management and ACES General Support for single seat Fusion Studio dongles Support for external scripting of DaVinci Resolve Studio from local and network locations Check Developer Documentation in the Help menu for more details Support for Fairlight Audio Accelerator drivers in the DaVinci Resolve installer on Windows Support for a new system preference to control Audio I/O Processing block size Support for launching DaVinci Resolve and loading the project when opening a DRP file in the file browser Support for a new application level system memory limit in Preferences Support for a system preference to enable or disable hardware acceleration of H.264/HEVC and other supported codecs Support for system preference to enable or disable Direct IO for media storage locations on Windows Support for Metal when using RED GPU debayer on Mac Support for system preference to enable or disable RED GPU Debayer Support for a floating timecode window Support for listing backups for a specific project from the project manager context menu Support for backing up and versioning projects when using Live Save Support for switching the top bar and page switcher bar to an icons only mode Improved application menu layouts Improved and clearer contextual menu layouts

Now it's there for download! https://www.blackmagicdesign.com/products/davinciresolve/

Panavision explains that low luminance values in combination with high saturation is the key to pleasant colours. What are your comments to that?

I love your work Sam and thank you so much for sharing your strategies.

I'm very thankful for your answers Bruno, I will run a few proxy tests and think about if we will invest in a few iMacs for individual projects.

I'm pretty sure they bring a lot of gel on set. Strong primary colors in everything but the skin, and it looks like they reduce midtone details in the skin tones.

I have not tried that, but I will give it a go. Any ABC guide on how to set this up? How about working on the camera proxies that are generated in camera?Is that possible?

In production, it's always 4K+, Raw etc. We transcode to make Avid handle it, not disk space as we have Nexis.

Thank you for all the details, very useful information! We will not work with UHD+ in Avid, we usually transcode all media to DNx36 for offline. Do you have any experience with working directly on the camera proxy files from RED and Alexa within Avid? Would save a great load of transcoding time.

We are on HP z840 machines and that works well, but I wonder if any of you run Davinci Resolve and Avid on iMacs? Can it handle it?

Something strange just happened on one of the clips on my timeline. It sounds wierd, but when I try to apply a grade from a still it doesn't appy the correct colors, it's like some of my nodes are disabled. The still is from a grade on that exact image so I know how it should look like, and I get that confirmed when I wipe the still onto the clip. Nothing has changed on the original clip, and this is not happening on any of the other clips in the sequence. Any idea what is going on here?

First of all they want to see how it looks straight out of the cam, and it's always good to do some creative work just to have something to discuss from.

Whenever I can, I create some looks prior to the session as my experience is that most directors want to see alternatives, even if they have references and strong opinions about where they want.

Interesting interview with colorist Yvan Lucas.

...If you don't like the reflection of water hitting the ground at night, you probably don't like the look of digital... You need to evaluate the image and find ways to bring the different luminance levels closer. By decreasing the contrast so that your black and white levels are closer to each other definitely helps. A gentle roll-off woud also help a lot.

That is probably a timecode mismatch between your reference clip and your timeline. Your reference clips is probably starting from 0, so I would right click on your timeline in the editor tab, choose 'timeline', followed by 'starting timecode" and set it to 00:00:00:00.

Copying a grade from one clip with keyframes / dynamics to another clip is not possible with the default setup in Davinci Resolve today. You can try the following: Copy grade to a still Right click in the gallery are, and choose apply grade using / keyframe aligning source startcode or keyframe aligning start frame. Paste the grade from the still to your new clip Even with this method you will probably see that the keyframes are displaced or that dynamics turn into static keyframes. Black Magic Design know about this issue as it has been addressed several times the last years, but it seems like they can't fix it for some reason.

I have a question about the range of printer points. The traditional system had a total range of 50 (0-50) butdigital correctors can raise each channel to 225. Why is that?

I agree, extremely insightful resource. I'm also a huge fan of Trish Cahill, she's so talented and the techniques explained in her article alone improved the way I work more than any other master series I have seen online! High expections to the blog as well!

I don't think it is possible to access generators with nodes, but there are several ways to accomplish what you want to do. You can add a gradient from the windows menu and drag it into the frame horizontally. You can add a square mask, offset it and feather it. You can add a grey scale in the edit room, right clip and make it a compound clip so that you can access it in the color room. Add colors into the luma ranges you want, save a still and copy the grade into your image.

Basic painting and cloning tools. Would be a killer in combination with their tracker. They could also make the tracker more intuitive as I always forget and need to go back and read about how to do the track out of frame thing.

Unfortunately, the only way to vizualise the curve is to create it with the curve tools. You can do a log contrast adjustment and finesse the curve with other tools, for then to apply the corrections on a greyscale to see the changes. But that would be quite an excessive process.

Set the curve first as Jussi suggests, then isolate the different colors, gamma lift and hue-swing them towards the color palette of your choice with a combination of hue vs hue and saturation.

You can apply the Log to Rec709 3D LUT from Arri on a node to stretch the contrast instead of doing it manually. You can use that as a base before balancing and doing initial corrections. Using a LUT can clip both your blacks and whites, but you can create a node prior to the LUT correction to be able to control that.

Desaturate 100% and push two different colors based on lumimance.