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Davinci Resolve 16

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You know what?....

I just had a vision. I'm pretty sure BM is going to address this issue of database organization with the version they announce on Monday. It's gonna be sweet. 

1 hour ago, currensheldon said:

True. I've only ever played around with Resolve, but I want my in-project file structure to look EXACTLY like it does on my drive. Not possible to this on Resolve?

 

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
1 hour ago, Dave Del Real said:

I really like Resolve 15, looking forward to 16. I would completely switch over if I could get my exports to look like what I see in my viewer (can't afford a calibrated monitor). How do you guys work around that?

On mac the problem no longer exists.

Enhancement list of version 15.2.3 :

"Improved color consistency with QuickTime player on MacOS when display color profiles is enabled"

I tried and it's ok, now it works.

If you check (in prefence general system) « Use mac display color profiles for viewers » the final export seen in QT is the same as seen in the Resolve viewer.

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11 minutes ago, BrunoCH said:

On mac the problem no longer exists.

Enhancement list of version 15.2.3 :

"Improved color consistency with QuickTime player on MacOS when display color profiles is enabled"

I tried and it's ok, now it works.

If you check (in prefence general system) « Use mac display color profiles for viewers » the final export seen in QT is the same as seen in the Resolve viewer.

Nice, thank you! Downloading now.

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I just finished my first project completely in Resolve 15 and I'm really quite happy with it. So much so that I'm done with Adobe Premiere. 

My biggest problem is Fusion. I can't get over the learning curve. I'm used to After Effects and Cinema 4D. Fusion makes me feel absolutely helpless trying to figure things out. :(

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Anyone looking to learn new software like this, I would advise you to just make yourself a sweet ass new showreel, and if possible do it from the original camera files so you also have to re-grade everything. That way have to learn how to use the tools to match a grade, or make it even better. There's no deadlines so you can take your time and get to know every inch of the software that's relevant to you, and since the showreel's job is to promote yourself, then you'll want to put the time in to get every little detail right.

It's always worked for me. 

As for the organisation of projects, I just let DaVinci use it's database while I"m working on it, and then when it's finished, you can go to the little Home icon in bottom left, right click on a thumbnail and go 'Export Project' This gives you a .dpr file that you can save next to all your media for archiving. 

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2 hours ago, Anaconda_ said:

As for the organisation of projects, I just let DaVinci use it's database while I"m working on it, and then when it's finished, you can go to the little Home icon in bottom left, right click on a thumbnail and go 'Export Project' This gives you a .dpr file that you can save next to all your media for archiving. 

Yes, but if you're going back and forth on different machines this is a pain.

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5 hours ago, Dave Del Real said:

I really like Resolve 15, looking forward to 16. I would completely switch over if I could get my exports to look like what I see in my viewer (can't afford a calibrated monitor). How do you guys work around that?

Apart from the update @BrunoCH mentioned, I recommend you overcome your lack of calibration by keeping the demo videos of the ARRI and Canon cinema cameras handy and comparing your grade to clips in those videos.  I specifically mention these two brands because both are known for their excellent colour science, but have very different approaches to skin tones and other aspects so it kind of gives you a couple of data points that you can place your grade anywhere between and it'll be fine.  Also, demo videos are their finest example of footage and will have been graded to perfection from a high-end colourist so you can be sure that the quality is there and you're safe using them as a reference.

One could theoretically download them, pull them into Resolve, find great frames and capture stills so that there is a range of reference images right inside Resolve only a few clicks away at any point, but copyright issues obviously prevent anyone from doing that :)

6 hours ago, thephoenix said:

to me what resolves lacks the most are presets packs and tutorials.

i also have difficulties with the node way of thinking as i am used to adobe layers but will definitevely move to resolve when it gets a more creatives ressources

Nodes is definitely a different way of thinking and takes some work to understand, but the advantage is that nodes can do things you cannot do with layers, or cannot do easily (depending on the software) so it's worth the effort to work through it to get familiar with them.

7 minutes ago, Jonesy Jones said:

Yes, but if you're going back and forth on different machines this is a pain.

I agree that the database method only suits a particular way of working, and I haven't found a way around it.  I don't know how they would change this but I can see how it would be useful - once again I think this is a hang-over from Resolve being an industry-leading tool scaled down to software-only rather than a PC tool scaled up to have industry-leading functionality.

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6 hours ago, MeanRevert said:

As someone who's recently moved from premiere, I agree with previous posters about premiere's strength in organization. There's a little bit of a learning curve moving to resolve's color panels but once you get some time in your belt, I think it's a far more intuitive approach using nodes vs layers. 

If I were Adobe, I'd be worried. 

same situation for me, recently moved over to Resolve Studio after 5 painful years of buggy/crashing premiere pro. 

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I prefer to use Resolve but I also like motionvfx plug-ins for FCP so I often use both. But in a hobby situation with no deadlines or time pressures I think these decision are so much easier - after all, it doesn’t really matter...

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Avid is some good stuff, but too rich for my blood. But I guess if you are making some serious money the cost is justifiable, and a tax write off if you are a Pro. It's way cheaper than it used to be.

"Media Composer (perpetual license) is available for purchase from Avid and Avid resellers for $1,299 and includes one full year of standard Avid Upgrade & Support. After one year, you can renew your Avid Support plan annually for just $299 USD to continue receiving updates/upgrades and support."

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Hopefully Resolve 16 will not be subscription based.

I bet it wouldn’t be when I switched over at Resolve 12 when I had to to choose what to do about my Adobe CS4 Master Collection software getting out of date and left behind.  Thank goodness for a competitive marketplace where consumers vote with their pocketbooks.

So I don’t have to eat my words, Blackmagic is one of the only companies I would consider subscribing to, but 16 would have to crush resolve 15.3.1 and be reasonably priced, which Blackmagic is known for.

Then there is the question of if they will charge an upgrade fee and in this case I would purchase the Pocket 4K I have on backorder rather than pay an upgrade fee.

Looks like Blackmagic wins either way, which is fine by as they have been putting out great affordable products year over year.  Basically Blackmagic did what Red promised to do with Scarlet 3k for $3k.  Sure, Red has had a good run, but in the long run Blackmagic ate their lunch. 

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I don't see them switching to a subscription model. I imagine they'll continue to offer the software for free, with a "full version" available for $300. I think they're much more interested in attracting more people into their ecosystem than anything, especially if it encourages people to buy their cameras and hardware. 

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