Bruno Mansi April 24, 2017 Share April 24, 2017 Just in case anyone wants a rundown of the new features, The Blackmagic web pages now have a 'What's New' video on the Resolve pages - and have slashed their prices on the Studio version! 1 Link to comment Share on other sites
Tom Evans April 24, 2017 Share April 24, 2017 Noise reduction that introduce banding, and sound editing? Jiiizes. Link to comment Share on other sites
Thomas Singh April 25, 2017 Share April 25, 2017 They have totally copied the Avid functionality and even used their features' names. Companies have been sued for less, and I'm really curious about Avid's response. That said, I think this product (at least) will compete with both Avid and Premiere inn the small companies world and be a great product for individuals. Not so sure about large post houses with a bold infrastructures and many artists working together on the same shows etc. Link to comment Share on other sites
Tom Evans April 25, 2017 Share April 25, 2017 The entire list: What's new in DaVinci Resolve 14 Collaboration • All new collaboration workflow which allows multiple users to work on the same project at the same time • Added ability for collaborating video/audio editors and colorists to work on the same timeline at the same time • Resolve Collaboration supports any shared storage technology and works with a PostgreSQL shared database server • Support for live saving all collaborator actions in a collaborative project • Support for Project Manager indicators to show collaborative projects • Ability for collaborators to pick a profile on their shared projects • First come first serve write access for Media Pool Bins with read access for everyone else • Live Media Pool side bar bin updates including user locks and refresh available indicators • Timeline indicators to show user locks and refresh available • Live update of Color Page thumbnail icons to indicate user locks and refresh available • Live sharing of Color Page still galleries • New compare timeline tool to simplify merging timelines from multiple collaborative users * • Live group chat feature on collaborative projects Improved Performance, Fluidity And Usability All new image processing engine with numerous performance improvements and optimizations • New image processing engine which maximizes single and multi-GPU utilization • Support for GPU processing using Metal on Mac • New optimized performance mode for improved playback • New dynamic memory manager for optimized CPU memory usage • Improved performance on single GPU laptops and workstations • Improved editing and playhead fluidity on the Edit page timeline • Dramatically improved latency of JKL playback • Improved Color Page playback start/stop latency • Improved Multicam playback performance • Improved pan and zoom on viewers when using the trackpad with support for an Alt/Option modifier • Improved performance when scrubbing H.264 and similar codecs • Support for improved CPU usage All new database engine for improved management and performance on PostgreSQL and DiskDB • Support for a new live save option where changes are saved as you work • Support for incremental fast saves in the new and improved DiskDB • Ability to save, load, update and delete user UI layout presets Improved media access and performance • Improved H.264 encode and decode performance • Improved performance for file listing in Media Storage • Improved scrolling performance in Media Storage folders and Media Pool bins with many clips • Improved speed of importing AAF timelines • Improve speed of Optimized media generation, transcoding and fusion rendering • Support for Optimized Media in 3D stereoscopic clips • Support of high frame rate timelines up to 120 frames per second - DaVinci Resolve Studio only • Support for up to 16Kx16K source images and timeline resolution • Ability to drag a file or folder from Finder/Explorer to Media Storage in order to navigate there Audio • New Fairlight audio processing engine for all audio in Resolve • New Fairlight page with dedicated audio editing, mixing, finishing and mastering controls • Support for unlimited audio tracks, 8 main, sub and aux outputs • Support for Fairlight Audio Accelerator and I/O hardware • Support for Fairlight free standing and desktop consoles • Single and dual monitor UI configurations on the Fairlight page • Fairlight page includes Media Pool, timeline, metering, mixer, effects, video preview, timeline index and inspector Key features • Six band EQ for every track • Expander/Gate, Compressor and Limiter Dynamics for every track • 2D and 3D Pan control for sound placement * • Timeline toolbar includes a pointer and a marquee tool, automation state, snapping, flags, markers and timeline options • Automation includes trim state, touch, latch or off mode, event selection • Support for separate enables for fader, mute, pan, EQ, compressor, Gate, Aux, Limiter and Plugins Monitoring and metering features • Level meters for all channels, Masters, Subs, Aux and groups • Monitoring of main outputs available in mono, stereo5.1, Atmos, Auro, DTS, IMAX and multichannel up to 22.2 • Compound metering includes speaker group selection, phase and loudness with integration control • Video preview available as docked or popup viewer with SDI video output Timeline features • Track sidebar includes controls for gain, automation, lock, solo, mute and record • Track sidebar includes indicators for track number, name, color, linked track and meters • Timeline clips include user selectable indicators for clip name, gain, FX, group, EQ, Source, Speed, Linked status, stem/channel bit depth, sample rate and source channel • Timeline clips include full or rectified audio waveform with waveform border, gain level, fade handles and automation keyframe control • User selection of timecode display with subframes and samples, feet and frames or only samples • Five preset and custom user selectable track height with locks • New timeline index shows tracks and markers UI dialogs for setup and assignment • Each mixer track includes input selection, effects, insert, EQ and dynamics graphs, output selection, aux, pan, main and submix selections • Mixer also includes track name and color, grouping, record, mute and solo selection and gain fader with meters General audio improvements • New audio processing engine includes support for 192 KHz 24bit audio • Support for pitch correction when performing speed changes on all platforms • Support for pitch correction during FFW and FRW playback on the Edit page timeline Edit Key new features • Support for track colors on the timeline • Support for dragging just video or audio from the source viewer • Support for a toggle to switch between single viewer and dual viewer mode • Support of OFX plugins as filters in Timeline • Ability to drag and drop a transition from one clip to another • Redesigned Effects Library for easier navigation and search • Support for improved "Play Around" functionality with contextual behavior depending on selection • Support for Blur Dissolve transition • Support for audio waveforms on Multicam Clips, Compound Clips and Timeline Clips • Support for alpha rendering from source when using Fusion Connect Clip adjustment improvements • Ability to "Remove Attributes" from one or multiple clips • New menu option to freeze frame the current frame under the playhead • Ability to select all keyframes in Keyframe and Curve editor using Ctrl/Command+A • Ability to linearize/smoothen curves for multiple selected keyframes in the Keyframe and Curve editor Clip trim improvements • Ability to Alt/Option+Shift drag to resize a clip’s In or Out point over an adjacent clip to automatically create a transition • Ability to Alt/Option+Shift drag a clip from the Media Pool to overlap a clip in the timeline to add a transition • Support for two new trim commands in the Trim menu ⁃ Slip Playhead to In ⁃ Slip Playhead to Out • Support for slip functionality when performing an Extend Edit • Ability to duplicate and superimpose dragging selected clips from a track while holding down Alt/Option + Shift • Support for snapping when dragging and placing text elements in a Title in the Timeline viewer • Support for improved snapping when performing ripple edits • Ability to perform playback using JKL in Dynamic Trim Mode when no clip or edit point is selected Conform improvements • Support for user selectable conform criteria when performing "Reconform from Bins" • Ability to "Reconform from Media Storage folders" for a Timeline • Support for missing on disk indicators and missing in Media Pool indicators in the Timeline • Support for importing 3D Warp Pitch and Yaw parameters in AAF from Avid Media Composer • Support for the following Index filtering options ⁃ Show Clip Color ⁃ Show Clips with Composite Effects ⁃ Show Clips with Transform Effects ⁃ Show Clips with Filters ⁃ Show Clips with Speed Effects ⁃ Show Fusion Connect Clips ⁃ Show Compound Clips and Nested Timelines ⁃ Show Clip conflicts ⁃ Show Flags of a particular color ⁃ Show Markers of a particular color ⁃ Show Stills and Freeze Frames • Ability to see conflicts in the Index Match column • New Position Lock on toolbar to lock ripple on tracks and timelines for Online Editing • Project setting to enable/disable automatically Conform when adding clips to Media Pool • Ability to set default number tracks and types in Project Settings > Editing > New Timeline Settings Marker improvements • Ability to display Marker names and notes as viewer overlays • Ability to list clip markers in Media Pool list view • Ability to convert an In and Out point selection into a duration marker • Ability to navigate between markers from the option menu in the viewers • Ability to search and filter in the Index using Marker Name and Marker Notes fields • Ability to multi select timeline markers using a marquee Media Pool improvements • Support multiple Media Pool windows either as a 2-up/4-up docked view or as new pop-up windows • Ability to hover over Media Pool thumbnails to mark in and out • Ability to "Rediscover Optimized Media" in the Media Pool • Ability to "Unlink Selected Clips" in the Media Pool • Support for missing on disk indicators in the Media Pool for both the thumbnail and list view • Support for Smart Bin and Smart Filtering based on Display Name • Ability to Create Bin With Selected Clips • Ability to create Smart Bin filters using Marker Name and Marker Notes • Ability to search in the Media Pool using Marker Name and Marker Notes fields • Ability to perform comma separated text matches in Media Pool search, Smart Bins and Smart Filters • Ability to add/remove items from current selection with keyboard modifiers (Ctrl/Command, Shift and Alt/Option) • Ability to Alt/Option drag clips in the Media Pool to duplicate them and put them in another bin General improvements • Previous/Next clip now ignores selection when the selected clip is not visible • Support for a "Playback post-roll" option in the Timeline menu • Ability to drag video only or audio only from the timeline to the Media Pool • Support for retaining playhead position and in and out positions when swapping timelines • Ability to drag a OpenFX/ResolveFX filter onto one or multiple selected clips • Support for selecting resize algorithm per clip in the Inspector • Support for a progress bar when applying Lens Correction • Support for 100% levels in EBU Color Bar generator • Ability to search “All Fields" when applying a search filter in the Index • Support for toggling "Show Reference Wipe" is now available on the Edit page • Ability to Alt/Option click only the audio or video to override a linked clip selection Color ResolveFX improvements • ResolveFX plugins are now sorted into logical groups of effects • Support for starred favorites for OpenFX is not available on the Color page • Ability to paste tracking data between the FX tracker and the Power Window tracker • Improved ResolveFX Lens Flare • Support for Gamut Mapping from Timeline to Output Color Space in Resolve Color Management • Support for Gamut Mapping in the ResolveFX Color Space Transform plugin New ResolveFX Plugins • ResolveFX Face Refinement - DaVinci Resolve Studio only • ResolveFX Warper - DaVinci Resolve Studio only • ResolveFX Match Move - DaVinci Resolve Studio only • ResolveFX Color Stabilizer - DaVinci Resolve Studio only • ResolveFX Timelapse Deflicker - DaVinci Resolve Studio only • ResolveFX Contrast Pop - DaVinci Resolve Studio only • ResolveFX Color Compressor • ResolveFX Abstraction • ResolveFX Watercolor • ResolveFX Lens Distortion • ResolveFX Gamut Mapping • ResolveFX Dead Pixel Fixer • ResolveFX Alpha Matte Shrink and Grow • ResolveFX Color Palette • ResolveFX Dehaze • ResolveFX Sharpen • ResolveFX Sharpen Edges • ResolveFX Soft Sharpen Skin • ResolveFX Camera Shake • ResolveFX Deband • ResolveFX Grid General improvements • Support for a new advanced Stabilizer in the Tracker palette • Ability to add and control favorite ResolveFX and OpenFX plugins under Modes from the DaVinci Resolve Advanced Panel * • Support for improved jog and shuttle control on DaVinci Resolve Advanced Panel • Ability to toggle LightBox SDI output from the DaVinci Resolve Advanced Panel using Shift Down + CONFORM • Ability to toggle full screen LightBox from the DaVinci Resolve Advanced Panel using Shift Up + CONFORM • Ability to press and hold Reset on the DaVinci Resolve Micro and Mini panels to reset the node graph • Ability to press and hold Previous/Next Frame on the DaVinci Resolve Micro and Mini panels to jump to the beginning/end of the clip • Ability to press play/reverse repeatedly on the DaVinci Resolve Micro and Mini panels to increase playback speed • Ability to set the LCD brightness of the DaVinci Resolve Mini panel using LCD brightness in Control Panel settings • Ability to set the key backlighting of the DaVinci Resolve Micro and Mini panels in Control Panel settings • Ability to remember Bars vs. Wheels when switching to Primary from a Control Panel • Improved various knob and parameter sensitivities on the DaVinci Resolve Micro and Mini panels • Support for the Common LUT Format (CLF) with examples - DaVinci Resolve Studio only • Support for scopes as an overlay on the Cinema viewer • Support for new commands and shortcuts to move selected keyframes • Selection of multiple keyframes no longer needs a modifier key • Support for track color on Color page timeline • Support for plugin name on FX nodes • Support for full height OpenFX inspector in full screen mode • Ability to set default number of neighboring clips for Split Screen in Project Settings > Color • Support for Clip Color indicators in the Color page Timeline • Support for adding any Media Pool clip as a matte to the current clip on the Color page • Improved support for ACES v1.0.3 • Support for ACEScc, ACEScct and ACEScg color spaces in Resolve Color Management • Support for ACEScc, ACEScct and ACEScg color spaces in the ResolveFX Color Space Transform plugin • Support for ACEScc, ACEScct and ACEScg IDTs and ODTs when using ACES • Support for clip output render caching from pre and post group node graph • Support for showing picker RGB values in 8 bit or 10 bit available in the View menu • Ability to to toggle the viewer overlay mode on/off using Shift + ` • Support for Ctrl/Command and Ctrl/Command+Shift for half and quarter increments in Printer Lights Hotkeys Media • Support for user selectable checksum methods in Clone Tool option menu • Ability to unmount drives from Media Storage on Mac and Windows • Ability to set custom whole number frame rates from 1 to 120 fps in Clip Attributes • Support for option to import ARRIRAW clips at the Open Gate resolution in Project Settings > CameraRAW > ARRI • Support for automatically cropping ARRI Quicktime clips to show only the active area of the sensor • Support for latest EasyDCP library • Support for decoding Nikon RAW files • Support for MultiPart OpenEXR • Support for Constant and Variable bitrate in Quicktime ProRes and DNxHR codecs • Support for H.264 multi-pass encoding on Mac • Support for decoding H.264 Intra 422 10bit - DaVinci Resolve Studio only • Support for encoding to the MP4 format • Support for decoding High 10 Profile H.264 files on DaVinci Resolve Studio • Support for encoding VP9 profiles with higher bit-depth • Support for Network Optimization option on Quicktime renders • Support for 10b and 12b encoding options for DNxHR HQX and DNxHR 444 General • Support for an improved Project Manager with an integrated Database manager • Ability to copy and paste one or multiple projects between databases • Ability to sort list of databases in Database manager • Support for a new Bicubic resizing filter option • User settings such as layout preferences are now saved locally on the machine • Ability to drag a bin into another bin in the Media Pool right hand side view • Support for a smaller page switcher on smaller screens • Ability to type in Project Manager and browse dialogs to automatically navigate to and highlight matches • Support for searching for shortcuts by command name or shortcut in Project Settings > Keyboard Mapping • Support for displaying conflicts when assigning shortcuts in Project Settings > Keyboard Mapping • Tags now support non-text parameters such as Timecode, Dates, Numbers and Resolutions • Support for undo/redo history available in the Edit menu • Support for an option to stop playback when frames are dropped on the SDI output • Support for remembering the last open page across multiple sessions Pre-installation Notes • CUDA is only supported on NVIDIA GPUs with compute capability 3.0 or higher (Kepler architecture or newer) • Automation of clip audio effects is no longer supported • Audio clip mixer is no longer supported • Support for AU plugins is not currently available • Support for audio playback and render of nested compound clips and timelines is not currently available • Support for output audio channel assignment is not currently available • Support for DaVinci ACES has been removed • Support for older versions of ACES has been removed • Support for render cache is not currently available in Collaboration • Support for the Login page and Resolve users has been deprecated • Dual machine servers are no longer supported on Linux 2 Link to comment Share on other sites
Bruno Mansi April 25, 2017 Author Share April 25, 2017 There's been the odd rumour going around for a few years that Blackmagic would be interested in buying Avid. I never gave it much credence, but seeing how quickly they acquired Fairlight and managed to fully integrate it into the Resolve toolset, I'm wondering how well they could integrate Media Composer. With all the interest this new version has generated, I think it's the pure Colourist who might feel there's been less attention given to their wish list. There's a couple of things that will please (the increased performance and new plugins), but there's no doubt that there's more waves (excuse the pun) going around the audio community about this release than in the grading community. It does seem as if there's a perceptual shift in the way Blackmagic wants us to regard Resolve. Rather than it being primarily a grading tool, it's now a fully featured post production suite that included advanced colour grading. Even on their web site, the Resolve page is titled as 'Editing and Colour Correction'. 2 Link to comment Share on other sites
Dylan R. Hopkin April 25, 2017 Share April 25, 2017 The next logical move would to port "Basic" compositing features from Fusion in to Resolve. Or at least make some kind of live-link between Resolve and Fusion, a beefed-up Fusion Connect. Getting more online / fx capabilities would be great. R14 has got some nice new finishing openfx plugins: camera shake, match move, dead pixel fix, warper, skin treatment, sharpening (not the old one). A smarter way of linking / sharing tracking data between power windows would be a timesaver too (track one window, then attach multiple windows to the same data without copy / paste). I like the vision BMD have to streamline workflows, staying in one app makes sense. I just hope Resolve does not become bloated and to big for its boots B.) Being a colorist, image manipulation tools will always be my first choice, but times are changing, and companies like BMD need to adapt to the next generation of creatives. They will approach things differently I guess. Change is usually for the better. Looking forward to do my first grade in R14 when a stabile release is available. Cheers Dylan dylanhopkin.com 2 Link to comment Share on other sites
Orash Rahnema April 25, 2017 Share April 25, 2017 There are some interesting feature to explore, still i'm bugged that didn't fix some old annoying stuff like hue vs lum curves and the keyer (saturation) 1 Link to comment Share on other sites
Marc Fisher April 26, 2017 Share April 26, 2017 Sadly, Avid had a jump on everybody. Avid DS in 2009 is pretty much where Resolve 14 is getting close too.. granted, things like the collaborative stuff, and the plugins weren't there, But High level Compositing, Sub frame Audio, Color grading, editing, output, remote render stations.. all were there. Resolve needs that compositing built in yet, then it'll be a 1 stop shop. Hopefully, they won't kill Resolve in a few years because they don't know how to market it like Avid did. 2 Link to comment Share on other sites
Abby Bader April 27, 2017 Share April 27, 2017 On 25.4.2017 at 3:10 PM, Bruno Mansi said: There's been the odd rumour going around for a few years that Blackmagic would be interested in buying Avid. I've heard the same thing and something must going on since they have more or less copied their structure and interface controls. 1 Link to comment Share on other sites
Abby Bader April 27, 2017 Share April 27, 2017 On 25.4.2017 at 9:23 PM, Dylan R. Hopkin said: The next logical move would to port "Basic" compositing features from Fusion in to Resolve. Or at least make some kind of live-link between Resolve and Fusion, a beefed-up Fusion Connect. Getting more online / fx capabilities would be great. Second that. Link to comment Share on other sites
Abby Bader April 27, 2017 Share April 27, 2017 13 hours ago, Marc Fisher said: Resolve needs that compositing built in yet, then it'll be a 1 stop shop. It looks like they're heading in that direction, and they will probably try to integrate Fusion or parts of its functionality. I guess speed and reel-time issues is the reason they haven't done so already. 1 Link to comment Share on other sites
Orash Rahnema April 27, 2017 Share April 27, 2017 10 hours ago, Abby Bader said: It looks like they're heading in that direction, and they will probably try to integrate Fusion or parts of its functionality. I guess speed and reel-time issues is the reason they haven't done so already. Unfortunately Fusion is a complete disaster, it has to be rewritten top to bottom to make it fast and usable. Still, having some compositing and paint abilities in DVR would be a nice touch and as far as i'm concerned a smarter move then the audio stuff. Link to comment Share on other sites
Bruno Mansi April 28, 2017 Author Share April 28, 2017 (edited) 13 hours ago, Orash Rahnema said: Unfortunately Fusion is a complete disaster, it has to be rewritten top to bottom to make it fast and usable. Wow, a bit harsh! I've played a little with Fusion and to be honest, I don't find it any slower than Nuke. Both suffer from a lack of any real-time playback, but given what these programs are trying to achieve, they're always going require a lot of computing horsepower. 13 hours ago, Orash Rahnema said: Still, having some compositing and paint abilities in DVR would be a nice touch and as far as i'm concerned a smarter move then the audio stuff. I think your comment highlights the problem companies like Blackmagic and Adobe have when trying to 'please all of the people all of the time'. Users say they want to do effects work inside Resolve, so we get plugins. Then we want better effects and compositing/paint features, so here comes Fusion Connect. Then we demand full integration, so up pops a Fusion tab. Now users are complaining about the software being bloated or that we don't need all this compositing stuff. There's been lots of comments on the various forums about the wisdom of having the Fairlight tab within Resolve. Some love the integration, others would prefer the applications kept separate. Software designers know this, so they have to decide on the best compromise, considering all the knock-on effects of choosing a particular approach. Adobe have so far kept their main pieces of software separate, relying on dynamic linking (and now 'Motion Graphics Templates' and the 'Essential Sound Panel') to try to achieve that experience of seamless integration. Resolve seem to be going down the other route of putting all their 'eggs' in one 'basket'. If we assume this trend continues, we may well see a future Resolve with a Fusion tab. Neither approach is right or wrong, but just adds to the diversity of software out there. Ultimately, this gives us the choice of which approach suites our needs better. Edited April 28, 2017 by Bruno Mansi Link to comment Share on other sites
Orash Rahnema April 28, 2017 Share April 28, 2017 25 minutes ago, Bruno Mansi said: Wow, a bit harsh! I've played a little with Fusion and to be honest, I don't find it any slower than Nuke. Both suffer from a lack of any real-time playback, but given what these programs are trying to achieve, they're always going require a lot of computing horsepower. Hi Bruno! I'm not talking about real time playback, I would not expect that, doing compositing that is not online or in front of a client doeen't really require that, I mean, not even flame and smoke do it once you start paint and doing actual comp. I'm talking about how the software works, nuke paint tool is known to be slow, but if used in the right way and optimised in the number of point are used on the spline it handles a huge amount of paintstroke without having real issues. Fusion on the other side it's painfully slow, not just on paint, unfortunatelly on lots of different things. 32 minutes ago, Bruno Mansi said: I think your comment highlights the problem companies like Blackmagic and Adobe have when trying to 'please all of the people all of the time'... I understand that, then again i'm not saying that resolve has to include fusion, I think the direct link it's the best thing and I think they should have done the same with fairlight, thats it. What bothers me is that there are some issues with the color tools that are not resolved and that at this point i don't think they will be resolved, I would much prefere to see those things resolved or to have tools that would be useful to the colorist rather than have the watercolor effect or a full audio suite at my disposal. 1 Link to comment Share on other sites
Tom Evans April 28, 2017 Share April 28, 2017 10 minutes ago, Orash Rahnema said: Fusion on the other side it's painfully slow, not just on paint, unfortunatelly on lots of different things. I totally agree, hopefully they plan on using the knowledge has gained through studying the code to implement some compositing features in the future. 1 Link to comment Share on other sites
Bruno Mansi April 28, 2017 Author Share April 28, 2017 27 minutes ago, Orash Rahnema said: nuke paint tool is known to be slow, but if used in the right way and optimised in the number of point are used on the spline it handles a huge amount of paintstroke without having real issues. I'm guessing that's why most serious compositors choose Nuke. Also Fusion costs virtually nothing, whilst Nuke costs thousands of dollars, and that pays for a lot of development. My feeling is that Eyeon would never have sold Fusion to Blackmagic if they felt it could have successfully competed against the Foundy's products. I suspect Fairlight were in a similar situation, and couldn't see a way of emulating the success of Protools. We've now seen the reason for Blackmagic acquiring Fairlight, it remains to be seen what they're going to do with Fusion. I can't believe they bought it simply to take it apart and completely re-write it, unless they felt the 'Fusion' name was worth paying for. They'll either do what Tom suggests and re-use the code, or they'll integrate it into a Resolve tab. Will the software improve along with the rest of Resolves features? Difficult to answer this given that they can't be making much money on the sale of Resolve, especially since they've just knocked around 60% off the price, and they hadn't done that much with Fusion at it's higher price. I'd like to be a fly on the wall in their boardroom to find out how they justify the economics of practically giving way Resolve for nothing. Is it a case of 'get them hooked' and then sell them the hardware? 53 minutes ago, Orash Rahnema said: What bothers me is that there are some issues with the color tools that are not resolved and that at this point i don't think they will be resolved, I would much prefer to see those things resolved or to have tools that would be useful to the colorist rather than have the watercolor effect or a full audio suite at my disposal. I think we have to accept that Resolve is no longer primarily a grading tool. It might be to some of us, but to Blackmagic it's just one tab in a suite of tabs. The color page will get no special privileges or development rights over the edit or Fairlight tabs. Compare this to what Filmlight have done. They're fighting squarely in the Colourist's corner, producing new tools that (I think) will seriously challenge Resolve's domination. Part of the reason they can do this is that they charge real money for their products so that they can properly develop their tools for their target users. As some have stated in the various Colourist forums - they fear the repercussions of the falling purchase price of Resolve. They still remember what happened when Apple did a similar thing with Final Cut X. I feel they might have a point! 1 Link to comment Share on other sites
Marc Fisher May 3, 2017 Share May 3, 2017 On 4/27/2017 at 1:34 AM, Abby Bader said: It looks like they're heading in that direction, and they will probably try to integrate Fusion or parts of its functionality. I guess speed and reel-time issues is the reason they haven't done so already. If you never had the chance to work on DS, which i did for 10yrs. It was stellar. (For all those who weren't Avid Fanboys and stuck in their ways.) I worked on so many 2k and 4k features..in 2004-2010, before 4k was a household name. How the West was Won, was remastered in 6K on the DS. It had the tools, and the speed. And in the right hands, there wasn't anything it couldn't do (ok, except 3D animation-unless you had XSI) The closest thing now to it is Flame. And even then, Flame is not as user friendly. And certainly not as fluid. I'm dying for the day when BMD gets Fusion inside Resolve, and there will no longer be the need for the Multi-App approach. again. 1 Link to comment Share on other sites
Marc Fisher May 3, 2017 Share May 3, 2017 On 4/28/2017 at 3:27 AM, Bruno Mansi said: I'm guessing that's why most serious compositors choose Nuke. Also Fusion costs virtually nothing, whilst Nuke costs thousands of dollars, and that pays for a lot of development. Hmm. I don't think any of the compositors at Prime Focus in Hollywood would agree with you. And just because Black magic made it free, doesn't mean it's not as good as Nuke. Eyeon suffered from being a small company without the resources to market itself like The Foundry did with Nuke. The first time I used Fusion on a TV series, it cost $3500. and it did wonders for the show. And the Post house that bought it. Nuke at that time, Also cost 3500. 1 Link to comment Share on other sites
Bruno Mansi May 3, 2017 Author Share May 3, 2017 3 hours ago, Marc Fisher said: I don't think any of the compositors at Prime Focus in Hollywood would agree with you. And just because Black magic made it free, doesn't mean it's not as good as Nuke. I'm not sure what you think I said that the Prime Focus compositors would disagree with. I have only a basic knowledge of Fusion and have never said it was worse than Nuke - that was the comments that other contributors to this thread have made. Whether Nuke's dominance in the market is due to it's performance or to the Foundry's marketing strategy, the future looks less certain for Fusion. If it does get absorbed into Resolve, then I cannot see how it will get the same development as part of a $299 package compared to the cost of Nuke. As you said, in many ways, DS was a great bit of software. What killed it was being bought by Avid, who put no development into the software and chose not to market it's capabilities. Is the same thing happening with Blackmagic and Fusion? With all the hoopla about Resolve 14 and the new aggressive pricing, Fusion seems to have had little attention. 1 Link to comment Share on other sites
Thomas Singh May 4, 2017 Share May 4, 2017 I've worked with DS since the first Avid DV versions back in 2003 and it's an amazing piece of software. I can only imagine where it would have been today if someone else had the responsibility of the developing and marketing. I'm a little bit pissed off as I have been very loyal to Avid all these years, but their lack of development is almost non-exising, they only talk about PhaseFind and ScriptSync, features most people don't use. The thing with them is that they just develop their product until it works, and that's it. Look at the interface, look at their color correction and title tools. That is not good enough today, and that is one of the reasons DS died. I think that will be the reason Avid dies as well. That said, I hate that I need to start learning Premiere or the BMD editor when it gets good enough. I know the day will come. 1 Link to comment Share on other sites
Margus Voll May 5, 2017 Share May 5, 2017 Learning is fun and sometimes new tools open up possibilities your old app did not have. I'm rather curious now with BL and Nucoda while i'm home in Resolve. 1 Link to comment Share on other sites
Nicolas Hanson May 6, 2017 Share May 6, 2017 What made you want to try Nucoda? Seems like nobody is using it. Link to comment Share on other sites
Margus Voll May 7, 2017 Share May 7, 2017 If you meant me then we have full setup here in the city and i got curious. It has big Precision panels, DVO tools and Clipster attached and such. Do not get me wrong DaVinci is till my main tool i'm just learning new tools to have more wider perspective. Link to comment Share on other sites
