Davinci Resolve 12 – Flippin’ Fantastic Again

Well. Blackmagic Design has done it again – Davinci Resolve 12 is awesome!!!  I’ve been working with it for about 2 months now and I love all the new features.  Here a quick example:
This week I worked with a long time client who used a new high speed camera from Fastec to shoot an art project.  They were capturing all the footage at 600 fps in DNG raw files and then aiming for a 24p output.  Since this method leaves all the footage in image sequence folders it sometimes makes it a little tricky to review the files and work with them.   
Enter Resolve 12…
Resolve has long been able to read image sequences as clips automatically and then pop them into the media pool as needed.  In this project I simply double clicked each clip folder to load the clip into the source view and then reviewed the clip.  When we found a take we liked I’d pull it from the source viewer into the media pool.  After we found the hero shots I was able to throw them on a timeline and start editing.  BTW this is all in Resolve 12… All in RAW dng – no conversions or proxies.
Once the timelines were built, I went into grading mode and did a little cleanup shot by shot.  The client needed the clips mainly as proof of concept at this point so H264’s were fine.  I simply went to the delivery page, chose 264 and entire sequence, added the job to the render Q and was on my way.
The client had done an After Effects session with the footage to look at it earlier in the week but found that difficult to keep a creative focus as there we many steps to get to the end product.  This was so fast, from ingest to output, he now has great confidence about the project moving forward. 
I think the folks at Blackmagic Design have done it again.  This is a terrific step forward for all departments in the video world.

***UPDATE***

So the day after I posted this blog they released Resolve 12.1
Here’s the official feature scoop:  

Remote rendering on DaVinci Resolve Studio
Support for native display color profiles on OS X
Preferences option to enable 10-bit precision on viewers on OS X 10.11 El Capitan
Ability to select clips when in blade mode
Support for faders on generators and titles
Ability to extend freeze frames from the start of the edit  
Ability to media manage selected clips on a timeline
Ability to perform negative timecode offset in clip attributes
Improved support for sub-clips from FCP7 XML
Improved rendering of audio transitions (cross-fades) and audio faders
Auto scroll during timeline item resize
Improved sorting in media storage and media pool
Support for smart bin filtering based on clip type
Ability to move clips and timelines from a smart bin view
Support for moving files to the trash instead of deleting them permanently when using the media manager on both Mac and Windows systems
Ability to delete multiple projects and folders in project manager
Ability to decompose a compound node
Ability to grade nested timelines  
Ability to filter clips based on whether they have keyframes
Ability to manually keyframe power windows in frame mode even without tracking
Ability to freeze the current frame on an external matte
User option to copy flags and markers when performing ColorTrace
Improved ACEScc support
Support for stereo decision list (SDL) v0.25
Support for RED SDK v6.0.4
Support for embedding timecode in audio output

 

Until next time, good shooting and editing and grading,

Premiere Pro CC 2014 Possable Smooth Playback Solution

Hi All,

Happy holidays.  So I just updated my PPro to the lasted version as I saw a news blast they had released an update this week to build 8.2.0.  I tried an earlier v8.1 pre build 65 version and it had really bad playback – very choppy.  All excited, I launched the new version… and……. CRAP!!!!!  same thing.  However, I did catch something that I maybe didn’t see before:  Once you have updated to the latest version it appears the playback engine defaults to OpenCL instead of CUDA for accelerated playback and rendering.

I created a new project and switched the settings at startup and voila… the new project was playing back perfectly.  I then closed that new project and re-opened my older project that was stuttering and now it was playing back nicely too.  

I also did a quick export with matching sequence settings and it went about 3x speed.  Conversion to H264 was pretty slow taking roughly 16 minutes for a 2 minute piece.  1920 x 1080 30p  5D/GoPro mixed footage.


Well, I hope this helps a little.  I was searching for a while for this and got close but never saw anything about the playback engine.  I did the rollback to 8.0.1 once last time but now I’ll stick with the newest version as it seems to be working =)

Merry Christmas and Happy Holidays,

My New Sigma 50mm ƒ1.4 DG HSM Lens

I just picked up my new Sigma 50mm ƒ1.4 DG HSM Lens from Samy’s Cameras on Monday – Wow!!!  I’ve been waiting for it to come on now for about 2 months and it was worth the wait.  All the research I’ve done says this is one of the sharpest lenses to come along in a while and they are right. 




I’m using this lens on my 5D3 rig.  This is one in a new line of lenses from Sigma.  They also offer a 35mm ƒ1.4  Full Frame and a 18-35mm ƒ1.8 zoom for an APS-C size sensor.  

The skinny:

  • Very sharp – all the way to ƒ1.4
  • Great contrast
  • Great color rendition
  • Smooth focus ring
  • Fast auto focus
  • Nice ergonomics

So of course I wanted to shoot an image as soon as I got it and had 2 choices; the cats or the bird feeders ( man!! I’m getting old =).  So forgive the not so scientific photos… I will post some real shots and video as soon as I get a chance.

Along with the lens I added a cool little focus gear from DLC called a DL-V/Band.

It went on really easy and is nice and snug. Not too much extra hanging over to catch on the camera rig.  Smooth feel with my Chrosziel follow focus.  $15 USD.

All in all a nice ad to my kit.  I was holding out for a Rokinon 50mm Cine lens but as they seem to never want to make that lens (rumors be damned!!!!) I thought it’s time to make a move.  Stay tuned and I’ll post some more info as I discover it though use.

Until next time, Good shooting

TDTrey

CineGear 2014

Well it’s that time of year again – CineGear!!!

Seems like 2014 is the year of the copter and the gimbal.  
There were more copter offerings and camera support systems then I could shake a Steadicam at.  When you first walked in there was a copter & gimbal booth just waiting for new folks to have a peek.
All the usual suspect were there and many new ones.  This year I had a short list of items I was interested in.  I’m mostly looking at camera support and control.  Things like wireless video, wireless follow focus, a basic copter solution and I’m paying close attention to the race for the winning handheld gimbal kit. The camera race is definitely heating up but I don’t think I’m ready to jump into 4K yet and since that race is just getting started at the consumer and prosumer level, I’m hoping more time will lead to better product and pricing.
Here are some of the cooler rigs

But the best one of all (Yes.. the USS Enterprise.  We are at Paramount after all =)

For me, I found something I was looking for on every street.  Teradek had a nice offering with their updated Bolt Pro line of wireless video.  Noe it can work up to 2000 feet line of sight.  I also checked out IDX and Paralinx.  I think, for now, I might lean towards the Paralinx Arrow solution as I mostly need a multicast function with near zero latency.
I stopped by the Redrock Micro booth and took another look at their wireless follow focus the MicroRemote.  Still looks nice.  I wish they would come out with the iPhone controller they showed in 2012.  Zacuto has a really cool lens control system that works in a grip form factor called the Control Grip.  It’s a 2 motor system that can control either Zoom and Iris or Focus and Iris.  It’s still in the testing stage and should be out later this year.  I wish I had known about the new TitlaMax focus system from Tilta.  I just saw this yesterday and would have loved to check it out in person.  It is a 3 motor system (FIZ) with brushless German motors and a nice IPS touch screen for easy configuration and display.
One of the best things I found is from Woodencamera.  It’s their multi connector breakout box: the C-Box.  It can take HD-SDI and/or HDMI in and then send the signal out 3 HD-SDI BNCs and 2 HDMIs all at the same time.  Wait, it get’s better…  You can put a battery mount on one or both sides so it can function as your power distro with 2 D-Taps or clip on to an existing battery mount as an add on to extend a system. Nice!!!
It was a nice show this year.  I ran into a lot of friends there and saw a bunch of great new gear.  Can’t wait till next year!!!
Until next time, Good shooting

TDTrey

12G… What’s on the horizon I wonder???

So at last year’s NAB the big announcement from Black Magic Design was the Production 4K camera and it’s ability to use 6G SDI to get the signal down one pipe.  This year it’s the introduction of the URSA and a 12G pipe.  Along with BMD, Atomos introduced a new external recorder, the Shogun, which also is sporting a 12G connection…

So I’m wondering what’s coming down the pipe??  If 6G is able to handle 4K UHD no problem…  What can 12G handle?  Are we aiming for an 8K world in the near future??  It would be interesting.  If you think about it, the new URSA has a great architecture for  future proofing – replaceable lens turret with the sensor inside.  As sensors increase in both spacial and temporal resolution they just have to release an update for a moderate price and have it “plug into” the URSA body… Not a bad idea. 

Enter the Shogun…  If a 12G feed is the new goal then this is the recorder that can keep up with it.  Atomos seems to be on the leading edge.  Also the Shogun is the new planned companion recorder for the Sony A7s and it’s 4K features.  I just like that it’s a 7″ screen and now has XLR I/O with Mic/Line/Phantom settings.  I have the Samurai Blade and like it a lot.
No big revelations here.  Just me pontificating on a Saturday morning =)
Until next time, Good shooting

TDTrey

The Big Small Rigs…

So here is a cool version of my 5D3 rig with my iPad Prompter on it.  It’s pretty tight.  The prompter is driven by my Macbook Pro using a display mirroring software over WiFi.  The system is pretty light weight all things considered and I can take it handheld if needed.  I am using an ATOMOS Samurai Blade to record in ProRes straight out of the camera’s HDMI. It also records the final audio in sync with the picture.

Here is another version of the rig using a SmallHD AC-7 monitor for the field.  I like the size of the AC-7 and how bright it is.  This is the rig when clients want to record right to CF and not deal with the ATOMOS. 

With the focus on new cameras looking toward 4K this year it will be interesting to see how the world of the 5D fairs.  I am intrigued by the GH4…  I have clients still asking for the 5D3 and the 5D2.  they like the look of the full frame sensor and want to go with a known camera.  I think I’ll get another year or two out of this rig. 


Until next time, Good shooting

TDTrey

Blackmagic Production Camera 4K is Here!!! And it’s CHEAPER – YAY!!!

I just received word from BMD that the BMPC 4K is shipping as of today.  I checked B&H and a few other sites and they are still showing it as a pre-order item but the press release just hit a few hours ago.  Along with the terrific news of official shipping it is also making it’s debut at a lower price point $2995.  Down $1K from the original MSRP.  It is still shipping with a full copy of Resolve  and appears not to have lost anything in the process.  First thing I checked was the BMD site for the specs and everything still appears to be there so it’s all good.  Hopefully as the units start making their way into the market a few review units will drift into bloggers hands =)  I’ll keep you posted.  For now please see the full press release below and let me know your thoughts.

Fremont, CA – February 10, 2014 – Blackmagic Design today announced the Blackmagic Production Camera 4K is now shipping and with a new low price of US$2,995. This new low price will be available for all customers, including existing pre-orders. Blackmagic Production Camera 4K is available now from Blackmagic Design resellers worldwide for only US$2,995.

“The support from the creative community for the Blackmagic Cinema Camera and Production Camera 4K has been amazing,” said Grant Petty, CEO, Blackmagic Design. “As with all of our products, we work hard in production to reduce costs so we can pass along the savings, even to our first Blackmagic Production Camera 4K customers. The Blackmagic Production Camera 4K is a perfect companion for ATEM Production 4K switchers and we hope the new low price will help more customers to expand their Ultra HD live production set ups with even more camera angles!”

Blackmagic Production Camera 4K is a super high resolution 4K digital production camera for Ultra HD television production. Featuring a large Super 35 sensor, professional global shutter as well as EF and ZE compatible lens mount, the Blackmagic Production Camera 4K captures high quality ProRes™ files, giving customers a complete solution to shoot amazing high resolution music videos, episodic television productions, television commercials, sport and documentaries.

The Blackmagic Production Camera 4K has everything customers need right out of the box including a built in SSD recorder, rechargeable battery and a large 5” LCD touchscreen. In addition to focusing and monitoring shots, the touchscreen also lets customers enter metadata and change camera settings all on a single easy to use interface. Customers also get a full copy of DaVinci Resolve for amazing quality color grading and finishing for Mac OS X and Windows computers.

  • Ultra HD 3840 x 2160 resolution
  • ProRes 422 (HQ)™ recording
  • Super 35 sensor
  • Global shutter
  • EF and ZE compatible lens mount
  • Built-in SSD recorder
  • 5” LCD touchscreen
  • Metadata entry
  • 6G-SDI output for 10-bit HD and Ultra HD
The Blackmagic Production Camera 4K is available now for US$2,995 from Blackmagic Design resellers worldwide.

Until next time, Good shooting

TDTrey

Blackmagic Design Announces DaVinci Resolve 10.1

Fremont, CA – January 17, 2014 – Blackmagic Design today announced the release of DaVinci Resolve 10.1 software which adds new editing and 3D stereoscopic features as well as support for Final Cut Pro™ X 10.1. DaVinci Resolve 10.1 is available now for download free of charge for all existing DaVinci Resolve customers from the Blackmagic Design website.
The new DaVinci Resolve 10.1 update adds innovative editing features that includes allowing users to preview and align multiple camera takes while editing, so they can quickly switch between takes to show their clients shot options live from the timeline. Editors can now copy individual clips in the editing timeline with a simple drag and drop, making it easier to use the same footage in different parts of the edit.
The enhanced editing tools also include support for trimming frame based clips such as DNG and DPX that reduces time in transferring clips for even faster workflows, as well as Rich Text title support which allows every character’s size, position and color to be adjusted individually directly from the Edit page.
Also featured in DaVinci Resolve 10.1 are XML import enhancements for both FCP X 10.1 and FCP 7 customers. Compound clips from FCP X 10.1 with separate A/V elements are now split into individual clips and imported FCP 7 XML’s include font properties and timeline markers as well as being able to bring across sizing, cropping and composition parameters. Now shot reframing adjustments made during Final Cut Pro editing will translate even more accurately into the DaVinci Resolve timeline.
Customers with the full software license of DaVinci Resolve will get enhanced 3D stereoscopic tools including a full stereoscopic multi track editing timeline, enhanced convergence adjustments and automatic alignment.
“We are really excited to be adding even more advanced editing features so quickly after the release of DaVinci Resolve 10,” said Grant Petty, CEO, Blackmagic Design. “Resolve 10 has been a massive update with over 50 new features including temporal processing, Open FX Plug-ins and powerful onset tools. The additional editing tools we are releasing today give customers more precise control over their projects from within the DaVinci Resolve timeline and improves integration with popular editing and visual effects software so that customers get the best workflow possible.”
Until next time, Good grading
TDTrey

New DaVinci Resolve 10

So I downloaded the Lite version this week and started working with it on my grading tower.  So far very nice.  I’ll have more to report in a week or two but I wanted to put up a copy of the press release for your review asap. Enjoy =)

Fremont, CA – November 7, 2013 – Blackmagic Design today announced the release of DaVinci Resolve 10, available now for download free of charge for all existing DaVinci Resolve customers. DaVinci Resolve 10 is a major upgrade that includes innovative on set tools, new editing features, support for OpenFX plug-ins and more.  Also available for download is the free DaVinci Resolve Lite edition for both Mac OS X and Windows. DaVinci Resolve Lite now includes the addition of Ultra HD resolutions and additional GPU support. 

DaVinci Resolve 10 has been developed to simplify the integration of different software tools used in the film and television industry, allowing timelines to be moved into and out of DaVinci Resolve and other edit software such as Final Cut Pro, Avid and Premiere Pro.
As workflows have changed, more post production is now started on set during the shoot. Lighting and other aspects of the shoot are also often verified based on color correction checks and DaVinci Resolve 10 has new powerful tools to manage this process. The new Resolve Live feature allows color grading direct from the video input live with full creative power such as primaries, secondaries, power windows, custom curves and more. Grades can be stored and then relinked when the camera files are loaded.

DaVinci Resolve 10 includes enhanced editing features and allows online finishing of edits performed in other popular editing software. This means multiple users can submit scenes in large complex jobs from the applications they prefer to use, and DaVinci Resolve 10 can finish online from the original camera RAW files for dramatically better quality than would be available when finishing in a standard NLE software package. If any scene needs additional editing, it can be moved back to the NLE software letting editors use the tools they love.

New editing features include full multi track editing with 16 channels of audio per clip and unlimited video and audio tracks in the timeline. Audio can be synced or trimmed and dragged independently to the timeline. Other new editing features include extensive ripple, roll, slide and slip clip trimming support which display dynamically on the timeline and viewer. The viewer also allows split screen display to show in and out points of adjacent clips.

A good example of the online editing process is when an edit has been completed in Final Cut Pro X that includes mixed frame rates, mixed media types, multiple audio tracks and even color corrections. DaVinci Resolve 10 will support import of that project via XML and will online it including full translation of all these elements while rendering the master from the original RAW camera files. This means that Final Cut Pro X editors can use DaVinci Resolve 10 as the tool to online their work for cinema release and generate the Digital Cinema Package file directly from the camera RAW files.

Editing in DaVinci Resolve 10 also includes a powerful title tool with static, lower third, scroll and crawl titles with multiple fonts, size, drop shadow and XY positioning. Timelines in DaVinci Resolve 10 also include the support of compound clips with multiple elements including multiple video and audio tracks. Also, DaVinci Resolve 10 can be used for stereoscopic 3D projects with full support for left and right eye clips in the media pool and the edit timeline. Using timecode and reel name, DaVinci Resolve 10 will automatically associate the left and right eye of the stereoscopic clips.

Color correction features have been upgraded in DaVinci Resolve 10, including support for industry standard OpenFX plug ins with an unlimited number of plug ins per clip. There are now unlimited power windows per corrector node and the new Gradient PowerWindow™ lets colorists quickly add a gradient across the image. Other new color correction features include copy and paste of tracking data, motion effects including spatial and temporal noise reduction and motion blur effects.

For project delivery, DaVinci Resolve 10 includes full audio track visibility in the deliver window timeline as well as EasyDCP integration so users can render directly from their project timeline into a Digital Cinema Package for release to theaters. Because DaVinci Resolve 10 allows rendering from the camera RAW file directly to the Digital Cinema Package files in the highest quality 32 bit float, there is simply no better quality possible for a cinema release master. Customers simply need to purchase a license from EasyDCP to enable this feature.

DaVinci Resolve 10 also supports additional media types and continues to be the industry leader in file based workflows because it operates with virtually all video file types available. New formats include JPEG 2000 decoding and encoding, AVI clip decoding, playback and more.
“We’re extremely excited to be releasing DaVinci Resolve 10 today, which has been a massive update with the addition of new editing, temporal processing, OpenFX plug-ins and powerful onset tools,” said Grant Petty, CEO, Blackmagic Design. “We have received incredibly positive feedback on this new release and some of the worlds leading post production facilities are now editing major work on DaVinci Resolve 10. With over 50 new features in DaVinci Resolve 10, this is the most exciting update in the entire 30 year history of DaVinci.”

About DaVinci Resolve

Blackmagic Design’s DaVinci Resolve is the world’s highest performance on set, editing and color correction solution for Mac OS X, Windows and Linux computers. DaVinci Resolve supports more real time color correction than any other system because it’s not limited by the performance of the computer it’s running on. DaVinci Resolve eliminates this performance barrier because it’s based on a cluster of high performance GPU cards, so all processing is always real time. DaVinci Resolve has the power of a true real time performance solution so handles complex color grades even when using dozens of primaries, secondaries, Power Windows™, multi point tracking, blurs, and more. DaVinci Resolve provides incredible performance in a low cost solution which can be easily upgraded by adding extra GPUs for supercomputer power to handle 4K resolutions, stereoscopic 3D and real time grading direct from raw camera files such as ARRI RAW, RED RAW and Sony RAW files which can be handled with ease.

Availability and Price

DaVinci Resolve 10 is available now for download from the Blackmagic Design web site free of charge for all DaVinci Resolve customers.

Until next time, Good shooting

TDTrey

Blackmagic Design and Mavericks update

I was just notified by BMD that they have updates that now support Mavericks OS X 10.9:

  • The new updates include OS X Mavericks compatibility and interface enhancements for the new operating system and are immediately available for DeckLink, UltraStudio and Intensity Desktop Video products.
  • Customers can now download the Blackmagic Design software updates free of charge from the Blackmagic Design website.

    -Blackmagic Design

If you have been reading any of my recent posts regarding the saga of OS 10.8.5 and the never ending grey screen then you know I am very happy to hear I can move up to Mavericks and still continue using my BMD cards and software.

Please visit their web site to read the full press announcement from earlier this week.

Thanks for stopping by.

Until next time, Good shooting

TDTrey