By Brady Betzel
Resolve 14 has really stepped up Blackmagic’s NLE game with many great new updates over the past few months. While I typically refer to Resolve as a high-end color correction and finishing tools, this review will focus on the Editing tab.
Over the last two years, Resolve has grown from a high-end color correction and finishing app to include a fully-capable nonlinear editor, media organizer and audio editing tool. Fairlight is not currently at the same level as Avid Pro Tools, but it is still capable, and with a price of free or at most $299 you can’t lose. For this review, I am using the $299 version, which has a few perks — higher than UHD resolutions; higher than 60 frames per second timelines; the all-important spatial and/or temporal noise reduction; many plugins like the new face tracker; multi-user collaboration; and much more. The free version will work with resolutions up to UHD at up to 60fps and still gives you access to all of the powerful base tools like Fairlight and the mighty color correction tool set.
Disclaimer: While I really will try and focus on the Editing tab, I can’t make any promises I won’t wander.
My favorite updates to Resolve 14’s Editing tab revolve around collaboration and conforming functions, but I even appreciate some smaller updates like responsiveness while trimming and video scopes on the edit page. And don’t forget the audio waveforms being visible on the source monitor!
With these new additions, among others, I really do think that Resolve is also becoming a workable nonlinear editor much like industry standards such as Avid Media Composer, Adobe Premiere Pro and Apple Final Cut Pro X. You can work from ingest to output all within one app. When connected to a collaborative project there is now bin-locking, sharing bins and even a chat window.
Multicam works as expected with up to 16 cameras in one split view. I couldn’t figure out how to watch all of the angles in the source monitor while playing down the sequence in the record monitor, so I did a live switch (something I love to do in Media Composer). I also couldn’t figure out how to adjust the multi-cam after it had been created, because say, for instance, audio was one frame out of sync or I needed to add another angle later on. But the multicam worked and did its job by allowing me to sync by in point, out point, timecode, sound or marker. In addition, you can make the multicam a different frame rate than your timeline, which is handy.
[Editor’s Note: Blackmagic says: “There are a few ways to do that. You can right click on the multicam clip and select ‘open in timeline.’ Or you can pause over any segment of a multicam clip, click on a different angle and swap out the shots. Most importantly, you get into multicam edit mode by clicking on the drop down menu on the lower left hand corner of the source viewer and selecting Multicam mode.”]
Another addition is the Position Lock located in the middle right, above the timeline. The Position Lock keeps all of your clips locked in time in your timeline. What is really interesting about this is that it still allows you to trim and apply other effects to clips while locking the position of your clips in place. This is extremely handy when doing conforms and online passes of effects when you don’t want timing and position of clips to change. It’s a great safety net. There are some more fancy additions like re-time curves directly editable in the timeline. But what I would really love is a comprehensive overhaul of the Title Tool that would allow for direct manipulation of the text on top of the video. It would be nice to have a shortcut to use the title as a matte for other footage for some quick and fancy titling effects, but maybe that is what Fusion is for? The title tool works fine and will now give you nice crisp text even when blown up. The bezier curves really come in handy here to make animations ease in and out nicely.
If you start and finish within Resolve 14, your experience will most likely be pretty smooth. For anyone coming from another NLE — like Media Composer or Premiere — there are a few things you will have to get used to, but overall it feels like the interface designers of Resolve 14 kept the interface familiar for those “older” editors, yet also packed it with interesting features to keep the “YouTube” editors’ interest piqued. As someone who’s partial to Media Composer, I really like that you can choose between frame view in the timeline and clips-only view, leaving out thumbnails and waveform views in the timeline.
I noticed a little bit of a lag when editing with the thumbnail frames turned on. I also saw recently that Dave Dugdale on YouTube found an interesting solution to the possible bug. Essentially, one of the thumbnail views of the timeline was a little slower at re-drawing when zooming into a close view in a sequence Regardless, I like to work without thumbnails, and that view seemed to work fluidly for me.
After working for about 12 minutes I realized I hadn’t saved my work and Resolve didn’t auto-saved. This is when I remembered hearing about the new feature “Live Save.” It’s a little tricky to find, but the Live Save feature lives under the DaVinci Resolve Menu > User > Auto Save and is off by default — I really think this should be changed. Turn this fuction on and your Resolve project will continually save, which in turn saves you from unnecessary conniptions when your project crashes and you try to find the spot that was last saved.
Coming from another NLE, the hardest thing for me to get used to in a new app was the keyboard layouts and shortcuts. Typically, trimming works similar to other apps and overwriting; ripple edits, dissolves and other edit functions don’t change, but the placement of their shortcuts does. In Resolve 14, you can access the keyboard shortcut commands in the same spot as the Live Save, but under the Keyboard Mapping menu under User. From here you can get grounded quickly by choosing a preset that is similar to your NLE of choice — Premiere, FCP X, Media Composer — or Resolve’s default keyboard layout, which isn’t terrible. If this could be updated to how apps like Premiere and/or Avid have their keyboard layouts designed, it would be a lot easier to navigate. Meaning there is usually a physical representation of a keyboard that allows you to drag your shortcuts to and from it realtime.
Right now, Resolve’s keyboard mapper is text-based and a little cumbersome. Overall, Resolve’s keyboard shortcuts (when in the editing tab) are pretty standard, but it would do you well to read and go through basic moves like trimming, trimming the heads and tails of clips or even just trimming by plus or minus and the total frames you want to trim.
Something else I discovered when trimming was when you go into actual “trim mode,” it isn’t like other NLEs where you can immediately start trimming. I had to click on the trim point with my mouse or pen, then I could use keyboard shortcuts to trim. This is possibly a bug, but what I would really love to happen is when you enter “trim mode,” you would see trimming icons at the A and B sides of the nearest clips on the selected tracks. This would allow you to immediately trim using keyboard shortcuts without any mouse clicks. In my mind, the more mouse clicks I have to use to accomplish a task means time wasted. This leads to having less time to spend on “important” stuff like story, audio, color, etc. When time equals money, every mouse click means money out of my pocket. [Note from Blackmagic: “In our trim tools you can also enter trim mode by hitting T on the keyboard. We did not put in specific trim tool icons on purpose because we have an all-in-one content sensitive trim tool that changes based on where you place the cursor. And if you prefer trimming with realtime playback, hit W for dynamic trim mode, and then click on the cut you want to trim with before hitting JKL to play the trim.”]
I have always treated Resolve as another app in my post workflow — I wasn’t able to use it all the way from start to finish. So in homage to the old way of working, a.k.a. “a round trip workflow,” I wanted to send a Media Composer sequence to Resolve by way of a linked AAF, then conform the media clips and work from there. I had a few objectives, but the main one was to make sure my clips and titles came over. Next was to see if any third-party effects would translate into Resolve from Media Composer and, finally, I wanted to conform an “updated” AAF to the original sequence using Resolve’s new “Compare with Current Timeline” command.
This was a standard 1080p, 23.98 sequence (transcoded to one mezzanine DNx175x codec with 12 frame handles) with plenty of slates, titles, clips, speed ramps, Boris Continuum Complete and Sapphire Effect. Right off the bat all of the clip-based media came over fine and in its correct time and place in the timeline. Unfortunately, the titles did not come over and were offline — none of them were recognized as titles so they couldn’t be edited. Dissolves came over correctly, however none of the third-party BCC or Sapphire effects came across. I didn’t really expect the third-party effects to come over, but at some point, in order to be a proper conforming application, Resolve will need to figure out a way to translate those when sending sequences from an NLE to Resolve. This is more of a grand wish, but in order to be a force in the all-in-one app for the post finishing circle, this is a puzzle that will need to be solved.
Otherwise, for those who want to use alternative nonlinear editing systems, they will have to continue using their NLE as the editor, Resolve as a color-only solution, and the NLE as their finisher. And from what I can tell Blackmagic wants Resolve to be your last stop in the post pipeline. Obviously, if you start your edit in Resolve and use third-party OpenFX (OFX) like BCC or Sapphire, you shouldn’t have any problems.
Last on my list was to test the new Compare with Current Timeline command. In order for this option to pop up when you right click, you must be in the Media tab with the sequence you want to compare to the one loaded. You then need to find the sequence you want to compare from, right click on it and click Compare with Current Timeline. Once you click the sequences you want to compare, a new window will pop up with the option to view the Diff Index. The Diff Index is a text-based list of each new edit next to the timeline that visually compares your edits between the two sequences. This visual representation of the edits between the sequences is where you will apply those changes. There are marks identifying what has changed, and if you want to apply those changes you must right click and hit Apply Changes. My suggestion is to duplicate your sequence before you apply changes (actually you should be constantly duplicating your sequence as a backup as a general rule). The Compare with Current Timeline function is pretty incredible. I tested it using an AAF I had created in Media Composer and compared it against an AAF made from the same sequence but with some “creative” changes and trimmed clips — essentially a locked sequence that suddenly became unlocked while in Online/Color and needed to reflect the latest changes from the offline edit.
I wasn’t able to test Resolve 14 in a shared-project environment, so I couldn’t test a simultaneous update coming from another editor. But this can come in really handy for anyone who has to describe any changes made to a particular sequence or for that pesky online editor that needs to conform a new edit while not losing all their work.
I can’t wait to see the potential of this update, especially if we can get Resolve to recognize third-party effects from other NLEs. Now don’t get me wrong, I’m not oblivious to the fact that asking Resolve engineers to figure out how to recognize third-party effects in an AAF workflow is a pie-in-the-sky scenario. If it was easy it probably would have already been done. But it is a vital feature if Blackmagic wants Resolve to be looked at like a Flame or Media Composer but with a high-end coloring solution and audio finishing solution. While I’m at it, I can’t help but think that Resolve may eventually include Fusion as another tab maybe as a paid add-on, which would help to close that circle to being an all-in-one post production solution.
In the end, Resolve 14 has all the makings of becoming someone’s choice as a sole post workflow solution. Blackmagic has really stepped up to the plate and made a workable and fully functional NLE. And, oh yeah not to mention it is one of the top color correction tools being used in the world.
I did this review of the editing tab using Blackmagic Design’s DaVinci Resolve 14.2. Find the latest version here. And check out our other Resolve review — this one from a color and finishing perspective.
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 firstname.lastname@example.org. Follow him on Twitter @allbetzroff.