Tag Archives: Blackmagic Design

Blackmagic’s new Ultimatte 12 keyer with one-touch keying

Building on the 40-year heritage of its Ultimatte keyer, Blackmagic Design has introduced the Ultimatte 12 realtime hardware compositing processor for broadcast-quality keying, adding augmented reality elements into shots, working with virtual sets and more. The Ultimatte 12 features new algorithms and color science, enhanced edge handling, greater color separation and color fidelity and better spill suppression.

The 12G-SDI design gives Ultimatte 12 users the flexibility to work in HD and switch to Ultra HD when they are ready. Sub-pixel processing is said to boost image quality and textures in both HD and Ultra HD. The Ultimatte 12 is also compatible with most SD, HD and Ultra HD equipment, so it can be used with existing cameras.

With Ultimatte 12, users can create lifelike composites and place talent into any scene, working with both fixed cameras and static backgrounds or automated virtual set systems. It also enables on-set previs in television and film production, letting actors and directors see the virtual sets they’re interacting with while shooting against a green screen.

Here are a few more Ultimatte 12 features:

  • For augmented reality, on-air talent typically interacts with glass-like computer-generated charts, graphs, displays and other objects with colored translucency. Adding tinted, translucent objects is very difficult with a traditional keyer, and the results don’t look realistic. Ultimatte 12 addresses this with a new “realistic” layer compositing mode that can add tinted objects on top of the foreground image and key them correctly.
  • One-touch keying technology analyzes a scene and automatically sets more than 100 parameters, simplifying keying as long as the scene is well-lit and the cameras are properly white-balanced. With one-touch keying, operators can pull a key accurately and with minimum effort, freeing them to focus on the program with fewer distractions.
  • Ultimatte 12’s new image processing algorithms, large internal color space, and automatic internal matte generation lets users work on different parts of the image separately with a single keyer.
  • For color handling, Ultimatte 12 has new flare, edge and transition processing to remove backgrounds without affecting other colors. The improved flare algorithms can remove green tinting and spill from any object — even dark shadow areas or through transparent objects.
  • Ultimatte 12 is controlled via Ultimatte Smart Remote 4, a touch-screen remote device that connects via Ethernet. Up to eight Ultimatte 12 units can be daisy-chained together and connected to the same Smart Remote, with physical buttons for switching and controlling any attached Ultimatte 12.

Ultimatte 12 is now available from Blackmagic Design resellers.

Review: Blackmagic’s Ursa Mini 4.6K camera

By David Hurd

I have already tested two of Blackmagic’s cameras, and I found both of them to be a great value for the money. This left me with great expectations for the Ursa Mini 4.6K camera.

The Ursa Mini 4.6K feels like a very solid, well-built camera. I spent 15 years on broadcast sports trucks, and this camera has that rock-solid feel to it, and for only a fraction of the price.

This camera has had some software updates since it was first released. The magenta cast issues with the sensor, which required additional color correction in the first run of cameras is gone, and everything looks great in the camera that I’ve been testing. Even without a global shutter, the rolling shutter on the camera looks great compared to DSLRs and delivers a usable shutter and smooth motion when I tweaked it in FCPX.

David with the Ursa Mini.

I used the flip-out screen outdoors in fairly bright sunlight in a park with some tree cover, and it worked fine for framing and focus. Since you need the screen to control the camera settings, you might want to consider a sun hood if you are in extremely bright locations. This will make the screen non-collapsible, but you really do need to see what you’re doing.

Blackmagic sent me the Ursa Mini 4.6K, EVF (Electric View Finder), along with the follow focus and shoulder pad kits. I used my set of Rokinon prime lenses and my Petroff matte box, rods and follow focus. The Ursa Mini 4.6K, with its solid magnesium body, is manageable for even us older guys. I like the weight and the feel of the camera without the matte box and follow focus for extended hand-held shoots. If I’m using a tripod or a slider, it’s nice to have a matte box and follow focus.

There’s really a lot of stuff going on with this little camera. The shoulder mount works better on tripods with small camera plates. My Miller plate digs into my shoulder a bit, but it’s easy to fix by simply unscrewing my tripod plate while doing handheld.

The rotatable side handle is really nicely done, and it’s easy to adjust it to fit your body. If you’re used to making your own rig, with parts hanging everywhere, the side handle and shoulder pad will give you a welcome feeling of tight control. It also has iris control and LANC control for stop/start.

On the backside of the LCD screen there are several handy controls. In addition to Record, Iris, Focus, and Playback controls, there are two programmable function buttons. These come in very handy and are easy to reach when the LCD screen is closed and you’re using the viewfinder.

The electronic viewfinder (EVF) on the Ursa Mini 4.6K is a compact wonder. It’s small, yet easy to adjust for comfortable viewing. The HD display not only looks great but has a zoom and programmable function buttons on the top the unit, which come in very handy. I like to use the zoom and the peak buttons to check focus with my left hand, while my right hand is on the handle grip. It’s really easy to do without looking.

With my old BMD MFT Cinema camera, a T1.5 Rokinon lens and a Meta-bones speed adapter, I could practically shoot in the dark at 1600 ISO. The Ursa Mini 4.6K is not a great low-light camera; its native 800 ISO can be pushed to 1600 without too much noise in the image, but it really likes stop or two of light.

The Ursa Mini 4.6K has two XLR inputs mounted directly behind the handle on the top of the camera. These two channels of audio can use the onboard mics for scratch audio, or you can plug a microphone into the XLRs.

The nice thing about this camera is that it has phantom power to power your shotgun mics. I recorded a violin performance outdoors with a Sennheiser 416 shotgun mic plugged right into the camera. I used a blimp and dead cat to control the wind noise, and ended up with amazing audio. This camera has the best audio of any BMD camera that I’ve tested.

The controls for the audio levels are under the LCD monitor panel, which makes it kind of hard to adjust when you’re using the viewfinder and the LCD panel is closed, but since the menu, power buttons and media slots are under there as well, you get used to it.

Media Cards
So let’s talk a bit about media. Since my other two Blackmagic cameras use SSD media, I have a HighPoint Rocketstor 5212 Thunderbolt drive dock already installed on my Mac.

After doing some research, I decided to use the 256GB Lexar 3500x CFast cards and their Workflow CR2 Thunderbolt/USB3.0 CFast card reader. They are very reliable cards with a good reputation, which is everything when you’re talking data storage. The upside to these cards is that they are located safely inside the camera and are very small in size. The downside is how often you would have to change them when shooting full-blown 4.6K footage.

I shoot a lot of 4K ProRes HQ footage, which doesn’t create too large of a file; one 256GB card will record about 26 minutes of footage. If you have a DIT on set, it’s no problem, but if you’re a one-man band, you will need a bunch of cards. I’m sure the cards will continue to come down in price over time, making them more attractive cost wise.

There is another solution however, and it’s called the Atoch C2S. It mounts on a short arm and has two slots for SSDs. It has two short cables, which plug into your two CFast slots, and a power cable, which plugs into the base of your battery mount at the back of your camera.

Summing Up
The Ursa Mini 4.6K is as solid as a rock, and it really feels like a serious camera. There is a lot of information available on the LCD monitor, and the touchscreen feature let’s you change settings via touch rather than scrolling through a menu. It’s an outstanding value for the money.


David Hurd is a 40-year industry veteran. He owns David Hurd Productions in Tampa, Florida.

Review: Blackmagic’s DaVinci Resolve Mini Panel

By Brady Betzel

If you’ve never used a color correction panel like the Tangent Element, Tangent Ripple, Avid Artist Color, or been fortunate enough to touch the super high-end FilmLight Blackboard 2, Blackmagic Advanced Panel or the Nucoda Precision Control Panel, then you don’t know what you are missing.

If you can, reach out to someone at a post house and sit at a real color correction console; it might change your career path. I’ve talked about it before, but the first time I sat in a “real” (a.k.a. expensive) color correction/editing bay I knew that I was on the right career path.

Color correction can be done without using color correction panels, but think of it like typing with one hand (maybe even one finger) — sure it can be done, but you are definitely missing out on the creative benefit of fluidity and efficiency.

In terms of affordable external color correction panels, Tangent makes the Ripple, Wave and Element panel sets that range from $350 to over $3,300, but work with pretty much every color correction app I can think of (even Avid if you use the Baselight plug-in). Avid offers the Artist Color panel, which also works with many apps, including Avid Media Composer, and costs about $1,300. Beyond those two, you have the super high-end panels that I mentioned earlier; they range from $12,000 to $29,999.

Blackmagic recently added two new offerings to their pool of color correction panel hardware: the DaVinci Resolve Micro Panel and DaVinci Resolve Mini Panel. The Micro is similar in size and functionality to the Avid Artist panel, and the Mini is similar to the center part of most high-end color correction panels.

One important caveat to keep in mind is that you can only use these panels with Blackmagic’s Resolve, and Resolve must be updated to at least version 12.5.5 to function. They connect to your computer via USB 3 Type C or Ethernet.

I received the Resolve Mini Panel to try out for a couple of weeks, and immediately loved it. If you’ve been lucky enough to use a high-end color correction panel like Blackmagic’s Advanced Panel, then you will understand just how great it feels to control Resolve with hardware. In my opinion, using hardware panels eliminates almost 90 percent of the stumbling when using color correction software as opposed to using a keyboard and mouse. The Resolve Mini Panel is as close as you are going to get to professional-level color correction hardware panel without spending $30,000.

Digging In
Out of the box, the panel feels hefty but not too heavy. It’s solid enough to sit on a desk and not have to worry about it walking around while you are using it. Of course, because I am basically a kid, I had to press all the buttons and turn all the dials before I plugged it in. They feel great… the best-feeling wheels and trackballs on a $3,000 panel I’ve used. The knobs and buttons feel fine. I’m not hating on them, but I think I like the way the Tangent buttons depress better. Either way, that is definitely subjective. The metal rings and hefty trackballs are definitely on the level of the high-end color correction panels you can see in pro color bays.

Without regurgitating Blackmagic’s press release in full, I want to go over what I think really shines on this panel. I love the two five-inch LCD panels just above the main rings and trackballs. Below the LCDs and above the row of 12 knobs are eight more knobs that interact with the LCDs. Above the LCDs are eight soft buttons and a bunch of buttons that help you navigate around the node tree and jump into different modes, like qualifiers and tracking.

Something I really loved when working with the Mini Panel was adding points on a curve and adjusting those individual points. This is one of the best features of the Mini Panel, in my opinion. Little shortcuts like adding a node + circle window in one key press are great features. Directly above the trackballs and rings are RGB, All and Level buttons that can reset their respective parameters for each of the Lift Gamma and Gain changes you’ve made. Above those are buttons like Log, Offset and Viewer — a quick way to jump into Log mode, Offset mode and full-screen Viewer mode.

When reading about the user buttons and FX buttons in the Resolve manual it states that they will be enabled in future releases, which gets me excited about what else could be coming down the pike. NAB maybe?

Of course, there can be improvements. I mean, it is a Version 1 product, but everything considered Blackmagic really hit it out of the park. To see what some pros think needs to be changed and/or altered troll over to the holy grail of color correction forums: Lift Gamma Gain. You’ll even notice some Blackmagic folks sniffing around answering questions and hinting at what is coming in some updates. In addition, Blackmagic has their own forum where an interesting post popped up titled DaVinci Mini Panel Suggestion Box. This is another great post to hang around.

Wishlist/Suggestions
When using the panels, when I would exit Resolve the LCDs didn’t dim or go into screen-saver mode like some other panels I’ve used. Furthermore, there isn’t a dimmer for the brightness of the LCD screens and backlit buttons. In the future, I would love the ability to dim or completely shut off the panels when I am in other apps or presenting to a client and don’t want the panel glowing. The backlit keys aren’t terribly bright though, so it’s not a huge deal.

While in the forums, I did notice posts about the panel’s inability to do the NLE-style of transport control: double tapping fast forward to go faster. Furthermore, a wheel might be a nice transport addition for scrubbing. In the node shortcut buttons, I couldn’t find an easy way to delete a node or add an outside node directly from the panel. On other panels, I love moving shapes/windows around using the trackballs but, unfortunately, you can only move/adjust the windows around with knobs, which isn’t terrible but is definitely less natural than using the trackballs. Lastly, I kind of miss the ability to set and load memories from a panel, with the Mini Panel we don’t have that option….yet. Maybe it will come in an update since there are buttons with numbers on them, but who knows.

Mini and Micro Panel
Technically, the Mini Panel is the Micro Panel but with the addition of the top LCDs and buttons. It also has the ability to connect the panel not just by USB-C but also via Ethernet. If connecting via Ethernet, there has been some talk of power over Ethernet (PoE) compatibility, which powers your panel without the need for a power cable. Some folks have had less success with standard PoE, but have had success using PoE+ appliances — something to keep in mind.

Both the Micro and Mini Panels have the standard three trackballs and rings, 12 control knobs and 18 keys hard coded for specific tasks and transport controls. In addition, the Mini Panel has two 5-inch screens, eight additional soft buttons, eight additional soft knobs and 30 additional hard-coded buttons that focus on node navigation and general mode navigation.

Both the Micro and Mini Panels are powered via USB-C, but the Mini Panel also adds PoE connection as mentioned earlier, as well as a 4-pin XLR DC power connection. Something to note: I thought that when I received the Mini Panel I might have been missing a power cable from the box because I had a test unit, but upon more forum reading I found that you do not get a power cable with the Mini Panel. While Blackmagic does ship a USB 3.0 to USB-C adapter cable with the Mini and Micro Panels, they do not ship a power cable, which is unfortunate and an odd oversight, but since the panels are affordable I guess it’s not that big of a deal. Plus, if you are a post nerd like me, you probably have a few 5-15 to C13 power cables lying around the house.

I can’t shake the feeling that Blackmagic is going to be adding some additional external panels to piece together something like the Advanced Panel set-up (much like how the Tangent Element panel set can be purchased). Things like an external memory bank or an X-Keys type set-up seem not too far off for Blackmagic. I would even love to be able to turn the LCD screens into scopes if possible, and even hook up an Ultrascope via the panel so I don’t have to purchase additional hardware. Either way, the Mini Panel gets me real excited about the path Blackmagic is carving for their Resolve users.

Summing Up
In the end, if you are a professional colorist looking for a semi-portable panel and haven’t committed to the Tangent Element ecosphere yet, the Resolve Mini Panel is for you … and your credit card. The Mini Panel is as close to a high-end color correction panel that I have seen, and has a wallet-friendly retail price of $2,995. It is very solid and doesn’t feel like a substitute for a full-sized panel — it can hold its own.

One thing I was worried about when I began writing this review was questioning whether or not tying myself down to one piece of software was a good idea. When you invest in the Mini Panel, you are wholeheartedly dedicating yourself to DaVinci Resolve, and I think that is a safe bet.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Blackmagic intros lower-cost color panels for Resolve, new camera

By Brady Betzel

Yesterday, Blackmagic held a press conference on YouTube introducing a new pro camera — the Ursa Mini Pro 4.6K, which combines high-end digital film quality with the ergonomics and features of a traditional broadcast camera — and two new portable hardware control panels for the DaVinci Resolve (yes, only the Resolve) designed to allow color correction workflows to be mixed in with editing workflows.

For this article, I’m going to focus on the panels.

The color correction hardware market is a small one, usually headed by the same companies who produce color correction software. Tangent is one of the few that produces its own color correction panels. There is also the Avid/Euphonix Artist color correction panel and a few others, but the price jumps incredibly when you step up to panels like the Blackmagic DaVinci Resolve Advanced panels (just under $30,000).

I’ve previously reviewed the Tangent Ripple and Element color correction panels, and I love them. However, besides Tangent there really hasn’t been any mid- to prosumer-level products… until now. Blackmagic is offering the new Micro and Mini color correction panels.

The Blackmagic’s Micro color correction panel (our main image) is well priced at $995, which can be somewhat compared to the Tangent Wave (over $1,500 on B&H‘s site), Tangent Element Tk (over $1,135), or more closely compared to the Avid Artist Color Control Surface ($1,299). You’ll notice all of those are priced way higher than the new Micro panel. You could also throw the Tangent Ripple up for comparison, but that has a much more limited functionality and is much lower in price at around $350. The Micro panel is essentially three trackballs, 12 knobs and 18 keys. It is a collection of the most highly used parts of a color correction panel without any GUI screens. It connects via USB-C, although a USB 3 to USB-C converter will be included.

The Blackmagic Mini color correction panel (pictured right) is priced higher at $2,995 and can be compared to a combo of the Tangent Element Tk with one or two more in the Element set, which retail for $3,320 on www.bhphotovideo.com. The Mini adds two 5-inch displays, eight soft buttons, and eight soft knobs, in addition to everything the Micro panel has. It also has pass-through Ethernet to power and connect the panel, USB-C, and 4-pin XLR 12V DC power connection.

I am really excited to try these color correction panels out for my own — and I will, as the panels are on their way to me as I type. I need to emphasize that these panels only work with Resolve, no other software apps, so these were built with one workflow in mind.

I do wonder if in the future Blackmagic will sell additional panels that add more buttons and knobs or something crazy like a Smartscope through the Ethernet ports so I don’t have to buy additional SDI output hardware. Will everyone be ok with transport controls being placed on the right?

“We are always looking to design new products and features to help with the creative process,” says Blackmagic’s Bob Caniglia. “These new panels were designed to enable our growing number of Resolve users to be able access the power of DaVinci Resolve and Resolve Studio beyond a mouse and keyboard. The Micro and Mini control panels provide the perfect complement to our existing Advanced control panels.”

Blackmagic is really coming for everyone in the production and post world with recent moves like the acquisition of audio company Fairlight and realtime bluescreen and greenscreen removal hardware Ultimatte, providing Avid with their Media Composer DNx IOs, and even releasing an updated version of the Ursa camera, the Ursa Mini Pro. Oh, yeah, and don’t forget they provide one of the top color correction and editing apps on the market in DaVinci Resolve, and the latest color correction hardware like the Micro and Mini panels are primed to bring the next set of colorists into the Resolve world.

Oh, and as not to forget about the camera, the Ursa Mini Pro 4.6K is now available for $5,995. Here are some specs:

•  Digital film camera with 15 stops of dynamic range.
• Super 35mm 4.6K sensor with third-generation Blackmagic color science processing of raw sensor data.
• Interchangeable lens mount with EF mount included as standard. Optional PL and B4 lens mount available separately.
• High-quality 2, 4 and 6 stop ND filters with IR compensation designed to specifically match the colorimetry and color science of Ursa Mini Pro.
• Fully redundant controls including ergonomically designed tactile controls that allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
• Built-in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality.
• LCD status display for quickly checking timecode, shutter and lens settings, battery, recording status and audio levels.
• Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT and ProRes 422 Proxy recording at Ultra HD and HD resolutions.
• Supports up to 60 fps 4.6K resolution capture in RAW.
• Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4-pin power output for viewfinder power, headphone jack, LANC remote control and standard 4-pin 12V DC power connection.
• Built-in stereo microphones for recording sound.
• Four-inch foldout touchscreen for on-set monitoring and menu settings.

IBC: Blackmagic buys Fairlight and Ultimatte

Before every major trade show, we at postPerspective play a little game. Who is Blackmagic going to buy this time? Well, we didn’t see this coming, but it’s cool. Ultimatte and Fairlight are now owned by Blackmagic.

Ultimatte makes broadcast-quality, realtime blue- and greenscreen removal hardware that is used in studios to seamlessly composite reporters and talk show hosts into virtual sets.

Ultimatte was founded in 1976 and has won an Emmy for their realtime compositing technology and a Lifetime Achievement Award from the Academy of Motion Picture Arts and Sciences, as well as an Oscar.

“Ultimatte’s realtime blue- and greenscreen compositing solutions have been the standard for 40 years,” says Blackmagic CEO Grant Petty. Ultimatte has been used by virtually every major broadcast network in the world. We are thrilled to bring Ultimatte and Blackmagic Design together, and are excited about continuing to build innovative products for our customers.”

Fairlight creates professional digital audio products for live broadcast event production, film and television post, as well as immersive 3D audio mixing and finishing. “The exciting part about this acquisition is that it will add incredibly high-end professional audio technology to Blackmagic Design’s video products,” says Petty.

New Products
Teranex AV: A new broadcastquality standards converter designed specifically for AV professionals. Teranex AV features 12G-SDI and HDMI 2.0 inputs, outputs and loop-through, along with AV specific features such as low latency, a still store, freeze frame and HiFi audio inputs for professionals working on live, staged presentations and conferences. Teranex AV will be available in September for $1,695 from Blackmagic resellers.

New Video Assist 4K update: A major new update for Blackmagic Video Assist 4K customers that improves DNxHD and DNxHR support, adds false color monitoring, expanded focus options and new screen rotation features. It is available for download from the Blackmagic website next week, free of charge, for all Blackmagic Video Assist 4K customers.

DeckLink Mini Monitor 4K and Mini Recorder 4K: New DeckLink Mini Monitor 4K and DeckLink Mini Recorder 4K PCIe capture cards that include all the features of the HD DeckLink models but now have Ultra HD and HDR (high dynamic range) features. Both models support all SD, HD and Ultra HD formats up to 2160p30. DeckLink Mini 4K models are available now from Blackmagic resellers for $195 each.

Davinci Resolve 12.5.2: The latest version of Resolve is available free for download from Blackmagic’s site. It adds support for additional Ursa Mini Camera metadata, color space tags on QuickTime export, Fusion Connect for Linux, advanced filtering options and more.

Review: Blackmagic’s DaVinci Resolve 12

This working editor is impressed with the color correction tool’s NLE offerings.

By Brady Betzel

If you’re looking for a nonlinear editor alternative to Adobe Premiere, Apple FCP X or Avid Media Composer you must check out Blackmagic Design’s DaVinci Resolve 12 Studio. The best part about the continuing evolution of Resolve is that Blackmagic has been adding NLE functionality to its color correction software, instead of building an editor from the ground up.

In terms of editing systems, Avid Media Composer has been in my life from the very first day I started working in television. At school we edited on Final Cut Pro 7 and Adobe Premiere, but once I hit the big time it was all Media Composer all the time. Now, of course, that is changing with Adobe Premiere Pro projects popping up more and more.

Many of today’s editors want to work on an NLE offering the latest and greatest features, such as resolution independence, wide codec support, occasional VFX integration and the all-mighty color correction. So that leaves us with Adobe, Avid and the newest player to the NLE game, Blackmagic and its Resolve product.

Resolve's multicam capabilities.

Resolve’s multicam capabilities.

Adobe realizes how important color is to an editor’s workflow and has added color correction inside of Premiere by incorporating Lumetri Color. In fact, Adobe’s After Effects also features Lumetri Color. But even with these new additions some are still wanting more. This is where Blackmagic’s DaVinci Resolve 12 is making its move into the nonlinear editing world.

Inside Resolve 12
With Version 12, Blackmagic has reinvented its internal NLE environment to catch the eye of any editor looking to make a change from their current editing system. In this review I’m looking at Resolve 12 from an editor’s perspective, not a colorist’s. Some NLEs say you can stay inside of their environment from offline to online, but oftentimes that’s not the case.

I think you will really like what Blackmagic is doing in Resolve 12 Studio — you will also like their visual effects and compositing app Fusion, which recently released its Version 8 public beta.

Blackmagic offers two versions of Resolve: Resolve Studio and Resolve. They also offer the DaVinci Resolve Advanced Panel, which retails for $29,995. Resolve Studio sells for $995, while plain Resolve is free, and you get a lot of horsepower for free. If $30K is too pricey for your budget, remember that a lot of high-end colorists use the Tangent Element coloring panels — they retail for under $3,500. (You can check out my review of the Tangent Element panels here.) Color panels will change the way you look at color correcting. Coloring by mouse or tablet compared to panels is like playing baseball with one arm tied behind your back.

The Resolve Panel

The differences between Resolve Studio and Resolve is Studio’s realtime noise reduction and motion blur parameters using CUDA and OpenGL GPUs and stereoscopic 3D grading. The free version has mastering limitations; very limited GPU and Red Rocket support; lack of collaborative teamwork-based features; lack of remote grading; limitation of proxy generation to the UHD frame size; limit of project frame sizes to UHD; and a lack in ability to render the Sony XAVC codec. But keep in mind that even the free Resolve will support the Tangent Element panel if you have it.

Powering It Up
Technically, you should have a pretty beefy workstation at your disposal to run Resolve, especially if you want to take advantage of the enhanced GPU processing and realtime playback of high-resolution sources. One common debate question is, “Do I transcode to a mezzanine format or stay native?” Personally, I like to transcode to a mezzanine format like DNxHD or ProRes, however with systems becoming the powerhouses they are today that need is slowly dying. Even though Resolve can chew through different native codecs such as AVCHD it will definitely be to your advantage to find a common intraframe codec such as ProRes 4444, Cineform or DNxHD/HR as opposed to an interframe codec such as XDCAM, which is very processor-intensive and can slow your system down during edit.

A very thorough explanation can be found over at Sareesh Sudhakaran’s website: http://wolfcrow.com/blog/intra-frame-vs-inter-frame-compression. The minimum requirements for Resolve on a Mac are OS X 10.10.3 Yosemite and 16GB of system memory, although 8GB is the minimum supported. For a Windows system you need Windows 8.1 Pro 64-bit with SP1 with 16GB of system memory, although 8GB is the minimum supported as well.

In addition, you will need up-to-date drivers from your GPU, and if I was you a high-end GPU (or two or three) with as much memory as possible. Many people report a couple prosumer Nvidia 980 Ti cards to be a great value if you aren’t able to jump up to the Quadro family of GPUs. In addition AMD and Intel GPUs are supported.

Let’s be real, you should either have a sweet X99 system with as much RAM as you can afford or something on the level of an HP z840 or recent Mac Pro to run smoothly. You will also want an SSD boot drive and a RAID (SSD if possible) to get the most out of your editing and color experience with minimal lag, especially when adding Power Windows, motion blur and grain.

The Interface
My immediate reaction to Resolve’s updated interface is that it looks and feels like an amalgamation of FCP X and Adobe Premiere CC 2015. If you like the way Adobe separates out their assembly, color and NLE interfaces then you will be right at home with Resolve’s Media, Edit, Color, and Deliver keys. In the timeline you will see a similar look to FCP X with rounded corners and an otherwise intriguing graphical user interface. I’m not going to lie, it felt a little shiny at first but coming from Media Composer almost every NLE interface will feel shiny and new. So the questions is: will it perform on the same level as a tried and true behemoth like Avid’s Media Composer?

Testing the NLE
There are a few key functions that I test on every NLE I jump into: trimming, multicam editing and media management. For the most part, every NLE can insert edit, assemble edit and replace an edit, but most can’t replicate Avid’s trimming and media management functionality.

Jumping into trim mode there are your standard ripple, overwrite, slip and slide trims. You can perform that multitrack asymmetric trim to pull time between those huge acts and even one type of trim that I really wish Avid would steal — the ability to trim durations of multiple clips simultaneously. The best way I can describe this is when you are building credits and you need to shorten them all by one frame. Typically, you could go in card by card and remove one frame from each card until you are done. In Resolve 12, you can trim multiple clips at the same time and in the same direction, i.e. trim one frame from every credit in a sequence simultaneously. It’s really a remarkable addition to a trim workflow, not to mention a time saver.

Second on my checklist for running an NLE is its ability to work smoothly with multiple camera angles in a grouped set of footage, sometimes referred to as groups. One of my personal pet peeves with Media Composer is the inability to change a group after it has been created (and by pet peeve I mean bane of my existence when I was assistant editor and a 12-hour group was off by one or two frames… but I digress.)

Luckily, Blackmagic has given us a solution inside of Resolve. After a group has been created, you can step “inside” of that group, add angles, add a final mix and even change sync. All of these changes ripple through the edits; it’s very impressive. My two favorite features in Resolve’s new multi group abilities are mixing frame rates within a group and auto syncing of audio and video based on waveforms. If you’ve ever needed Red Giant’s PluralEyes because there was no jam sync timecode on footage you received, then you will feel right at home inside of Resolve’s auto sync. Plus you can adjust the group after it’s been created! I love this… a lot.

Media management

Last on my list is media management. I have pretty high expectations when it comes to media management because I was an assistant editor for a little over four years working on Media Composer, and for the most part that system’s media management works rock solid — if you need to vent about how I am wrong you can tweet me @allbetzroff) — especially when used in conjunction with an Avid Shared Storage product like the Unity or ISIS. What I realize is that while Avid’s way of media organization is a little bit antiquated, it is reliable.

So what I’ve really started to embrace within the last year is metadata and I now recognize just how valuable it is with NLEs like FCP X and now Resolve. Metadata is only valuable, however, if someone actually enters it and enters it correctly.

If in Resolve you have properly kept your metadata game extremely up to date you can quickly and efficiently organize your media using Smart Bins. Smart Bins are incredible if they are set up properly; you can apply certain metadata filtering criteria to different bins such as interview shots, or have shots from a particular date to automatically populate. This is a huge time saver for assistant editors and editors without assistant editors; another feature I really love.

I couldn’t cover everything within Resolve in this space, but believe me when I tell you that the features not covered are just as great as the ones I have covered. In addition to the newly updated audio engine under the hood, there is a command to decompose a nested timeline in place — think of a nested sequence that you want to revisit but you don’t have to find the original and recut it into the sequence — one click and magically your nested sequence is un-nested. There is also compatibility with Open VFX, such as GenArts Sapphire and Boris FX BCC Continuum Complete. There is remote rendering and grading, plus many, many more features. One of my favorite resources is the Blackmagic DaVinci Resolve 12 manual written by Alexis Van Hurkman (@Hurkman on Twitter), who also wrote Color Correction Handbook: Professional Techniques for Video and Cinema, a phenomenal book on color correction techniques widely regarded as the manual for color correction.

Summing Up
In the end I can’t begin to touch on the power of Resolve 12 in this relatively small review; it’s constantly being updated! The latest 12.2 update includes compatibility with plug-ins like New Blue Titler from Media Composer via an AAF! I didn’t even get a chance to mention Resolve’s integration of Bezier curve adjustments to transitions and keyframe-able movements.

If you are looking for an upgrade in your color correction experience, you need to download the free version immediately. If you’re an editor and have never taken Resolve for a test drive, now is the time. With features like greatly improved dynamic trimming to the extremely useful and easy to set up Smart Bins to the new 3D tracker and foreground color matching, Resolve is quickly overtaking the color and NLE market in one solid and useful package.

Brady Betzel is an online editor at Margarita Mix in Hollywood. Previously, he was editing The Real World at Bunim-Murray Productions. You can email Brady at bradybetzel@gmail.com, and follow him on Twitter, @allbetzroff.

 

Blackmagic makes Fusion 8 Studio public beta available, releases Resolve 12.2

Fusion 8 Studio, the full version of Blackmagic’s visual effects and motion graphics software, is available for download for both Mac OS X and Windows. A public beta of the free version of Fusion 8 was released earlier this year at SIGGRAPH. The new Fusion 8 Studio public beta builds upon all of the tools in the free version and adds advanced optical flow tools for retiming, image repair, color smoothing and morphing between different images, along with the ability to render at resolutions larger than Ultra HD.

The Fusion 8 Studio public beta also adds advanced stereoscopic tools for converting 2D shows to 3D, support for third-party plug-ins, remote scripting and Avid Connect, a plug-in that allows customers to use Fusion directly from Media Composer timelines.

Projects created with the free version of Fusion can be opened and finished in Fusion 8 Studio, regardless of which platform they were created on. Fusion 8 Studio also includes Generation — multi-user studio software for managing assets, tracking versions and doing shot-based review and approval.

In addition, Fusion 8 Studio public beta also includes render node software that lets customers install an unlimited number of Fusion render nodes on additional computers for free, saving them thousands of dollars in licensing fees. That means customers working on high-end film and television projects in large multi user studios can now accelerate their workflow by distributing render jobs across an unlimited number of systems on their network.

Fusion 8 is available in two versions. Fusion 8 Studio, which is now in public beta, will be available for Mac and Windows for $995, with Linux to be released in Q1 2016. Fusion 8 Studio has all of the same features as the free version and adds advanced optical flow image analysis tools for stereoscopic 3D work, retiming and stabilization. Fusion Studio also includes support for third party OpenFX plug-ins, unlimited distributed network rendering and Generation for studio-wide, multi-user collaboration to track, manage, review and approve shots when working with large creative teams on complex projects.

In other news, there is a free DaVinci Resolve 12.2 update that adds support for the latest color science technologies, along with decoding of HEVC/H.265 QuickTime files on OS X, additional high dynamic range features and more. The DaVinci Resolve 12.2 update is available now for both DaVinci Resolve 12 and DaVinci Resolve 12 Studio customers, and can be downloaded from the Blackmagic Design website.

Resolve

Since November’s release of version 12.1, Blackmagic has been adding features pro editors and colorists need, as well as support for the latest formats with expanded color spaces and wide dynamic range. With this DaVinci Resolve 12.2 update, Blackmagic Design continues to improve the software and extend its lead in color, dynamic range and image processing, putting DaVinci Resolve far ahead of other color correction software.

The DaVinci Resolve 12.2 update adds support for the latest Blackmagic and third-party cameras while also delivering significant improvements to DaVinci Resolve color management. Customers get new support for HDR Hybrid Log Gamma, conversion LUTs for Hybrid Log Gamma, ACES IDTs for Canon C300 Mk II clips, and updated ST 2084 HDR color science. That means colorists have even better tools for finishing high dynamic range projects that are going to be distributed to the latest theaters with the latest projection systems like IMAX Laser and Dolby Vision. This also lets customers prepare content that is ready for next generation HDR 4K televisions.

In addition, the DaVinci Resolve 12.2 update adds support for NewBlue Titler Pro titles using Media Composer AAF sequences, improves ProRes 4444 alpha channel support by defaulting to straight blend mode, retains Power Window opacity and invert settings when converting to Power Curve windows and more.

Free public beta of Fusion 8 now available for Mac and PC

The public beta of the free version of Blackmagic’s Fusion 8, the company’s visual effects and motion graphics software, is now available for download from the Blackmagic Design website. This beta is for the free version of Fusion 8 and is available for both Mac OS X and Windows.

A beta for the paid version, Fusion 8 Studio, which adds stereoscopic 3D tools and is designed for multi-user workgroups and larger studios, will be available shortly. However, current Fusion Studio customers can download the public beta for the free version of Fusion 8 and start using it today.

stereoscopic@2x

This public beta is also the first-ever Mac compatible release of Fusion, which was previously a Windows-only product. In addition, projects can be easily moved between Mac and Windows versions of Fusion so customers can work on the platform of their choice.

In the six months since Fusion 8 was launched at NAB there have been many improvements to the user interface — it features a more modern look. There will be many more improvements to the user interface as the Fusion engineering teams continue to work with the visual effects community.

Featuring a node-based interface, Fusion makes it easy to build high-end visual effects compositions very quickly. Nodes are small icons that represent effects, filters and other image processing operations that can be connected together in any order to create unlimited visual effects. Nodes are laid out logically like a flow chart, so customers won’t waste time hunting through nested stacks of confusing layers with filters and effects. With a node-based interface, it’s easy to see and adjust any part of a project in Fusion by clicking on a node.

interface-01@2xWith a massive toolset consisting of hundreds of built in tools, customers can pull keys, track objects, rotoscope, retouch images, animate titles, create amazing particle effects and much more, all in a true 3D workspace. Fusion can also import 3D models, point cloud data, cameras or even entire 3D scenes from Maya, 3ds Max or LightWave and render them seamlessly with other elements. Deep pixel tools can be used to add volumetric fog, lighting and reflection mapping of rendered objects using world position passes so customers can create amazing atmospheric effects that render in seconds, instead of hours.

Fusion has been used on thousands of feature film and television projects, including Thor, Edge of Tomorrow, The Hunger Games trilogy, White House Down, Battlestar Galactica and others.

Flash Film Works provides VFX for TNT’s ‘The Librarians’

Flash Film Works in Hollywood provided dozens of VFX shots for each episode of TNT’s series The Librarians. Founded in 1993 by Emmy and VES award-winning VFX supervisor and Academy Award in Technical Achievement recipient William Mesa, Flash Film Works has provided extensive VFX work for studios such as 20th Century Fox, Columbia Pictures, Disney, HBO, Paramount, Sony Pictures, Universal and Warner Bros.

The Librarians is centered around an ancient organization that sets off on a variety of adventures in an effort to solve impossible mysteries, fight supernatural threats and recover powerful artifacts. The show requires a large number of effects each week, which Flash Film Works’ Jeremy Nelson, a VES award winner, and his team create using Fusion Studio from Blackmagic.

after

Nelson and his team use the full range of Fusion Studio’s VFX features, which allows them to quickly and efficiently build and finalize a huge number of complicated shots, such as creating damage on a car, a magical teleporting membrane and an evil minotaur chasing the librarians and punching through a heavy metal door.

“Using Fusion, we did an object track of the minotaur’s face and created his glowing evil demon eyes by projecting them on Fusion spheres,” says Nelson. “The team set up the original spheres in 3D and then finished them using the glow nodes and color correction. At this point, 3D guys can comp their own stuff in Fusion. That’s been my catch phrase: ‘I think I can just do that in Fusion, so you don’t need to.’”

membrane

“For the membrane scene, the characters walk through a door and pass through the membrane, which pops, and they go through another dimension,” continued Jeremy. “In Fusion, I set up the shot to do a 3D roto, rendered the roto a frame or two and then projected my roto onto the geometry, and it was done. Quick and simple.”

Another interesting shot completed in Fusion was a crash scene with damage to the front of a car. “I did this completely in Fusion working on a 3D track,” Nelson explains. “I set up a projection, and we created the damage to the front end of the car using the displace 3D node. We took a frame of the car, displaced it with a displace node and lit it to get the shadows. We then projected it onto geometry, which is the image of the car on that displaced geometry that’s been 3D tracked on the car.

dent beforedent after

“Before Fusion developed its capture node, I would have to render it out and import it back into Fusion. Without that extra step, and now being able to roto what you are projecting or do a quick paint on something, it is amazing,” he concludes. “Fusion gives me a lot first hand, which lets me give a better version one. For the car shot, we did it in a few versions, but it was almost complete at the first go. Fusion gave us the technical result quickly, and the rest of the notes were just artistic changes, not technical errors.”

First Impressions: Blackmagic’s DaVinci Resolve 12

By Brady Betzel

While I wasn’t able to get to Las Vegas for NAB this year, I was definitely there in spirit thanks to constant Twitter updates and blog posts around the web. The company that stood out to me the most was Blackmagic Design. They introduced tons of awesome equipment and products, including the latest update to DaVinci Resolve. I was really interested in what I was seeing: multicam workflow, AAF exporting, 3D tracking… it was overwhelming.

You might have noticed that in addition to my day job as an editor at Margarita Mix, I do a lot of product reviews. I love the process. Why wouldn’t I? I get to play with the latest and greatest offerings in production and post.

While I don’t have the DaVinci Resolve 12 update yet, the senior director of marketing and all around guru for Blackmagic, Paul Saccone, gave me an in-depth tour of what is going to be released in the latest version. Before I review the software I wanted to share a couple of key updates that are seemingly turning DaVinci Resolve into what many had hoped Avid Symphony would maybe turn into.

Multicamera Workflow
Working with multiple cameras can often be tricky. Syncing and grouping them together isn’t always as straightforward as one would hope. When I was an assistant editor I remember spending hours and days grouping footage. Sometimes I would be able to sync by timecode and sometimes not. I would be lucky to get a clap or some sort of sync reference from the people recording in the field. When none of that was available and my clips seemingly had very little in common I would resort to using PluralEyes by Red Giant, which is still a great and useful tool. The only problem is that it’s an external app and if I can avoid it I would much rather work inside my NLE or online suite.

Blackmagic has added what seems to be an awesome integration of multicam workflow into Resolve 12. You can even sync by audio, just like PluralEyes does! That should be a great feature.

The best part about Resolve 12’s multicam workflow is the ability to modify and add to existing groups by simply editing the group like a sequence. If your group is out of sync, open up the group sequence, put it in sync and your group will be immediately updated. For us Avid users out there this means no more re-grouping yuck. You can even add cameras or audio tracks to your group later!

Nested Timelines
You can now nest a sequence inside of your current sequence. If you are assembling a final edit you may want to lay out your acts in linear order for timing reasons and then once all the acts are “final” (we know nothing is ever final), you can now “decompose in place,” meaning break out all of your clip-based edits in the same timeline you are working in without having to overcut. Really a great feature.

3D Keyer and Tracker
If you’ve seen how Imagineer System’s/BorisFx Mocha Pro planar tracker works or Adobe After Effects’ 3D tracker works, you know there are some amazing options to track. Unfortunately these are usually not the tools you work in to conform and online your work. In Resolve 12, there is a new 3D tracker and 3D keyer that from first glance will be all you need for basic to semi-advanced work. It doesn’t seem like these will be full replacements of Keylight in After Effects or planar tracking in Mocha Pro, but if Blackmagic can keep me in one NLE/coloring platform/compositor without having to farm out tasks to After Effects or another program, I am definitely listening.

The features I listed here are only a couple that I think are amazing. In addition, there are features like shot color matching, AAF to Pro Tools export, improved media management features, improved trimming functions, overall layout improvement, smart bins and many more.

I hope to review DaVinci Resolve 12 in a few months, and am really excited to run it through its paces. I’ve been venturing deeper into different compositing apps, coloring correcting packages and NLEs and am really impressed by the way Blackmagic is digging in and starting to outpace other software and hardware makers. Maybe they really can make the ultimate NLE/compositor/color corrector — we’ll have to wait and see.

If you want to get a quick video run through of the new features being released, check out Blackmagic Design’s website and click on “What’s New.” You can also follow them on Twitter @Blackmagic_News.

Brady Betzel is an online editor at Margarita Mix in Hollywood. Previously, he was editing The Real World at Bunim Murray Productions. You can email Brady at bradybetzel@gmail.com, and follow him on Twitter, @allbetzroff.