The new URSA and the Studio Camera were not the only new products Blackmagic announced at NAB 2014. DaVinci Resolve got an update to version 11. You might find a lot of familiarity between the editing tools in Resolve 11 and those in FCPX.
From an FCPX editor's perspective, the announcement of Resolve 11 is probably the most interesting of Blackmagic's news after the cameras. It's also the most puzzling as it seems to be reversing backwards into FCPX territory.
Resolve 11 does look remarkably like FCXP in a number of ways, they even mention it on the webpage 'like Final Cut Pro X'. The Inspector looks very similar, as does the timeline colours, fade handles and more.
Where Resolve doesn't follow FCPX is the use of dual source and record monitors and (we shiver) setting a target for the source clips on the timeline.
We cannot embed the demo video of the editing features by Alexis Van Hurkman, the privacy features on Vimeo won't let us. Make sure you take a look, it's an interesting watch.
DaVinci Resolve 11 (from Grant Petty)
DaVinci Resolve 11 is a major upgrade and we have added over 70 new editing features including dual monitor support and familiar professional tools like dynamic JKL trimming, audio crossfades and fully customizable keyboard shortcuts for faster editing.
DaVinci Resolve 11 now has a new spline curve keyframe editor integrated into the edit timeline that positions keyframes directly under each clip and in context with the clip. You can also add and animate open FX plug-ins directly in the timeline as well as use plug-ins for transitions.
There are new collaborative workflow tools in DaVinci Resolve 11 which allows an editor and multiple colorists to work on different workstations, sharing the same timeline and working in tandem as they complete shots. Another advantage of the enhanced editing features is the better round trip collaboration with Apple Final Cut Pro X™.
Color correction features have been upgraded in DaVinci Resolve 11, including new color grading controls that are designed for photographers who are moving into cinematography. There is also a new camera RAW palette featuring highlight and shadow recovery, mid tone detail, color boost, saturation, lift, gain and contrast.
For on set work, DaVinci Resolve 11 can now securely back up and save digital camera files. The new DaVinci Resolve clone tool copies media drives, memory cards and camera packs to multiple destinations simultaneously. All copies are checksum verified, so you get exact bit for bit digital copies of the source media.
DaVinci Resolve 11 also features an automatic color chart color balancing tool that automatically gives a primary base grade by analyzing shots containing standard color chip charts even if they were shot in different lighting conditions with different exposure and color temperatures. It’s really easy to use and you just lay an onscreen grid over the color chart and then auto grade!
This is an exciting update and it will be available June free of charge to all DaVinci Resolve users! Most of these new features will also be available in DaVinci Resolve Lite.
So Blackmagic have clearly indicated here that they intend to develop the editing features of Resolve. It also ends the rumours of Grant getting his chequebook out to rescue the struggling Avid. It would have been interesting to be a fly on the wall in Cupertino when they found out about this new version, and I bet the Adobe crew took a second glance as well.
Interesting times, the more tools we have the better.