Tag Archives: Blackmagic Resolve 14

Review: Warren Eagles’ Blackmagic Resolve training

By Brady Betzel

With Blackmagic’s DaVinci Resolve 15 released at this year’s NAB, a lot of editors, colorists and now audio mixers want to dive in and see what all of the fuss is about.

Resolve 15 is now a Pro Tools competitor thanks to Fairlight and an After Effects competitor thanks to Fusion. There are dozens of new features and changes that will make many colorists want to upgrade.

Even though Resolve 15 is out in the wild, it is in Beta form — meaning there are most likely bugs and other issues still being ironed out. For those wanting to dive in and edit or color a project you still have non-Beta versions of Resolve such as 14.3, which I will be referring to in this review of Warren Eagle’s Resolve 14 training series on www.fxphd.com.

While some of the tools are new and improved in Resolve 15, about 95% of Warren’s training, especially in the Looks and Matching Masterclass, are universal and can be applied not only to any version of Resolve, but any color correction application.

If you are new to Resolve, an experienced colorist or even just a curious post enthusiast, then you will want to brush up quickly. Warren Eagles is an international colorist with almost 30 years of experience. He calls Brisbane, Australia, home.

If you troll around the www.liftgammagain.com forums you will recognize him as being the preeminent voice for color correction both online and in the classroom. Along with colorist Kevin Shaw, Eagles started the colorist education community www.icolorist.com (@icolorist), which travels the world leading classes in color correction, color science, Resolve, looks and matching, and many more subjects.

All that being said, classes with www.icolorist.com are expensive (anywhere from $900 to $1,500 per class) and are also in person, so while you will learn a lot in person you can’t necessarily learn at your convenience and pace. This is where Eagle’s classes over at www.fxphd.com come into play.

Online Training
Some background on fxphd.com. This is an online learning website much like Lynda.com, but it has a much deeper learning library that covers niche subjects and is geared heavily toward VXF artists, editors, colorists, online editors and many other jobs in the post world.

Typically, you would pay $79/month for standard membership, which includes streaming of all the classes. But $99/month gets you the premium membership, which allows for downloading of classes, any media used in the class to play with, as well as access to their VPN software.

Eagle’s Resolve 14 class is an all-upfront pricing offering and is not included in the memberships. Resolve 14 Fundamentals will cost $149, Resolve 14 Advanced will cost $149 and Looks and Matching Masterclass with Resolve will cost $199. The best deal in my opinion is $299 for all three classes, dubbed the Resolve Mega Pack.

I’m going to go through all three courses in this review one at a time, so you know exactly what you should buy if you don’t want to purchase all three. In my head I am pretty comfortable in post apps such as Avid Media Composer, Adobe Premiere, Adobe After Effects and Resolve, but am always wondering what I might miss if I don’t go through the fundamental classes and skip to the advanced. So, if you are like me or are wondering if you should just grab the Looks and Matching Class or purchase all three courses, keep reading.

One thing I will tell you is that after running through all three of Eagle’s classes, I feel way more at ease with not only Resolve but where I stand in comparison to other colorists, including Warren. In fact, I really want to sign up for one of his in-person classes on www.icolorist.com when he comes to Los Angeles.

Resolve 14 Fundamentals
Up first is the Resolve 14 Fundamentals class, which is a foundational course meant to provide you with a broad overview of Resolve 14, but also sprinkles in a few advanced subjects.

I really like the way Eagles teaches. He asks himself a lot of rhetorical questions, which I often do in my own head when editing or coloring. He lays out the thought pattern of a colorist in a practical and not obnoxious way. Overall, he has a great teaching style, and I don’t say that easily. I watch a lot of tutorials, and there are plenty of people who are not made to teach on camera, but you can sit and watch all of Eagles’ over 24 hours worth of tutorials without feeling yelled at or preached to.

Alright, let’s dive into the classes. The first three could probably have been consolidated into one class since they essentially cover the interface, some settings and best practices, as well as how the media management works inside of Resolve.

These videos will introduce you to (or remind you) how useful Resolve is as a DIT/transcoding solution. Class 4 covers how you might receive an offline edit in Resolve for conform and finishing once it is “locked” (or final locked, locked version 2, un-locked, etc.). In this class you focus on getting a clip-based sequence from Premiere via an XML, or exporting a “flat” QuickTime with an EDL for Resolve, to chop up into edits and see where any pitfalls or technicalities lie.

I think you could fast forward to Class 12 here and watch that as well, Eagles talks about traps that you might run into, and really focuses on what an online editor would do to prep a sequence before sending it over to a colorist. While the classes are short (around 25 minutes each), they present only a few of the issues you may run into when prepping your sequence from online and color correction.

Classes 5 through 11 are really where the “creative” learning happens. These classes lay out a basic understanding of color correction and how it works inside of Resolve, including how to read basic scopes, differences between LOG color and Rec709 and much more. Class 8 covers secondary color corrections, including how and what a qualifier does, the new face refinement tool and keying objects such as a sky.

Class 9 is a great class that covers power windows and sizing, one of the key subjects to concentrate on in my opinion. Class 10 covers keyframing, which could have a course on its own. Class 11 covers node operation, which is imperative when learning how to work in a node-based color corrector, such as Resolve. Learning why certain nodes don’t work in linear order and when to use nodes like a parallel node versus a layer node is important.

Finally, Class 12 covers how to round trip your sequence to and from Premiere Pro. Class 12 is a tough one because while it is meant to give you a broad overview, there are so many problems inherent with clip-based round trips in Premiere that you would probably need a day-long class to even get close to starting to understand the pitfalls.

The Advanced Resolve 14
The Advanced Resolve 14 class is where things start to get interesting for someone like me — experienced in Resolve and other NLEs, but who likes to find little gems of knowledge or shortcuts. Like in the Fundamentals course, Eagles usually shows an example of the topic he is covering and then offers a few reasons why you would do something like crush the black levels or blow out the highlights as opposed to just doing it because he said so. At the end of each lesson you can use the downloadable footage to practice techniques and even experiment with ideas Eagles talks about.

Class 1 is another overview of Resolve 14, and it feels like this was made just in case you didn’t buy the Fundamentals class. Class 2 begins with LOG vs. Lift Gamma Gain grading. He uses a B&W gradient to easily show how the different tools work within Resolve, such as pivot, offset, color boost, etc. This is a great class to start with. Class 3 covers primary grading, including how to apply a LUT. This is great because you are working with actual footage from a GMC commercial that is high quality. The footage is ProRes, so it isn’t RAW Red R3D files, but it still works great to understand key elements.

Classes 4 through 6 cover workflows from NLEs, such as Premiere Pro, using XMLs to conform, how to interpret speed changes, how to use the scene detector to cut single file QuickTimes into their individual scenes without an EDL and also the basic differences between a baked-in (flat) QuickTime workflow versus clip-based. Keep in mind the clip-based workflow in Premiere is not straightforward and does not always work well (in any scenario) — this class could be a three-day seminar on its own.

Class 7 dives deeper into secondary color by way of the 3D keyer and other amazing tools inside of Resolve. Class 8 covers advanced tracking and how to fix broken tracks. With Boris FX’s Mocha Pro tracking plugin now compatible with Resolve as an OFX plugin, this may be a nice update to the Advanced Resolve course in the future. Class 9 covers some higher-end coloring workflows such as ACES and RAW grading.

Class 10 covers all of the nodes in Resolve and is my favorite class. Resolve’s true power is in its nodal structure and how you can work in a linear way and also in a nonlinear way by using parallel or layer nodes when coloring. If you are coming from a layer-based color corrector, this class is where you will learn the power of Resolve’s node-based hierarchy.

Class 11 goes over some issues and how to resolve (sorry, couldn’t resist the pun) them such as 8-bit banding and how to try and band-aid using a plugin appropriately called Deband, how temporal vs. spatial noise reduction works and many other issues. In Class 12, Eagles covers different hardware control surfaces from companies like Tangent, as well as Blackmagic. It is interesting if you’ve never seen control panels, but feels a little like a commercial.

The Looks and Matching Masterclass
To be honest, when I said I would review this course, the Looks class was what I was really interested in. While Eagles does a great job at going through the tools of Resolve, the hardest thing when learning color correction technique is finding someone who will just let you observe them while grading to see how they approach their work.

It can understandably be a secretive industry. Since there are few colorists in comparison to other positions, they often keep their “secret sauce” color correction secrets to themselves. I tend to think that sharing the secrets of your success helps other people and can eventually help you get hired in the future.

Fortunately for me, I was lucky enough to watch a few editors work and I learned a lot. You might get answers to questions that you are afraid to ask out loud, such as, “Should you use a primary grade all on one node?” Or, “Should you color before or after a LUT?” Eagles’ classes let you behind the curtain into the world of the elusive colorist. Especially the Looks and Matching Masterclass.

The Looks and Matching Masterclass, like the Fundamentals and Advanced classes, comes with downloadable footage to follow along and practice with. In Class 1 and 2, Eagles covers one of the most critical components of color correction: shot matching.

These days there are so many cameras — from the iPhone in your pocket to Blackmagic’s own Pocket Cinema Camera (or even the forthcoming 4K version of the Pocket Cinema Camera) to the high-end Arri Alexas or Red Monstros —it can be hard to keep track of each of their looks and or techniques to color grade them.

Sometimes, as a colorist, you may even be asked to match a GoPro Hero 6 to an Arri Alexa, or maybe even a film camera! That is obviously (or maybe) an insane question. However, as a colorist you will need to understand what the client is really asking (or wanting) and how you can offer suggestions to getting your shots at least close — and if you can’t, why can’t you?

In Class 1, Eagles goes over the inspirational side to color correcting and grading by finding images and videos that might inspire you. Class 2 gets more technical by covering things like correcting using only the Lift, Gamma and Gain functions to get a simple base grade all the way up to using the Match Move effect to replace a sky in a scene with a dull sky.

Classes 3, 4 and 5 cover different color scenarios such as a car commercial, a music video or a product commercial — each presenting interesting challenges that Eagles goes over. One of my favorites is in Class 4, which covers music video color correction. Eagles walks us through his approach to fixing things like hues or lighting tints that might be caused by improper white balance or even just the camera sensor itself. He starts by pulling a key of the shadows and dialing in a proper black shadow using hue v. saturation controls, or even adding blue into the shadows to give the video an overall cooler (temperature) look.

In the Looks Masterclass, there is some duplicate content from the Advanced, but Eagles goes way further down the rabbit hole, giving inside tips you would only get being in the color bay with a professional colorist.

Also, if you are deciding between these classes and some tutorials you have found on YouTube, there is a distinct knowledge set that Eagles has that you most likely won’t find for free. While you are paying FXPHD for his information, you are also getting his years of experience, which can guide you through complex issues without having to go through the failure yourself. This is an invaluable experience that you most likely won’t find in many YouTube tutorials. Not to say YouTube tutorials are bad or not-informative, but take them for what they are.

Classes 6 and 7 cover the ever-popular beauty and fashion techniques. In particular, skin touch-up techniques by using Mist, keying hot spots and even the new to Resolve 14 Face Refinement tool, which is a remarkably easy tool that automatically creates a matte for eyes, nose, mouth and face to adjust individual parts of the face. Combined with a power window and you can isolate the face from the rest of the image.

Class 8 covers action footage and the inherent issues that come when filming scenes outdoors as well as the color casts that can happen underwater. Class 9 covers LUTs, Power Grades, Tools and how they relate or differ from each other. Eagles touches on if you should use a LUT or a Power Grade and the differences, as well as how to achieve the infamous orange/teal look that everyone uses.

Whether you think it is a good or a bad technique, clients will always request a version of an orange and teal look. Eagles works in his way of doing it while trying to not just simply add orange the mid-tones and highlights and teal to the shadows. What I really like about this lesson, in particular, is that Eagles doesn’t just simply do step 1 through 5 He will work on step 1, jump around to step 3, experiment with a new step and end up with a crazy look that might not be the best, but he helps you see where that look could go. At the end you can pick up where he left off and come up with something unexpected that even Eagles might not come up with.

Class 10 is a very important because it covers subjects not often taught: color grading for the web. If you’re coloring for platforms like as YouTube or Instagram, you aren’t held to the same standards that television or film are. In fact, the color space is different.

Typically, you will want to color in an sRGB output color space. However, inside of Resolve it isn’t necessarily straightforward on how you set up your input, output and timeline color spaces. Eagles runs through options for setting up Resolve to color in an sRGB color space, including how to set up your GUI monitor if you aren’t using external reference monitors that are calibrated.

He also runs through how to set up your Resolve project for special aspect ratios, like Instagram’s 4×3 ratio, for the best possible result and viewing while coloring. While it is being taught in Resolve 14, this knowledge can also translate to other versions, and even other software apps.

Eagles even gives awesome tips, like why you should be careful when crushing the black levels for the web, or even when and why artifacting can happen. In the end of Class 10, the lesson is to always test your output, so you can compensate for things such as YouTube slightly flattening your color, before you deliver your final product.

Classes 11 and 12 of the Looks and Matching Masterclass cover a drama workflow. Watching entire workflows from start to finish have been very beneficial in my work. Sometimes you will catch a shortcut or a technique that you have never seen before.

In this particular set of classes, Eagles goes through a few shots from a bunch of different cameras, including the Arri Alexa, Blackmagic Ursa, GoPro and others. Matching cameras is the focus here. There are even some very tricky shots that might have an incorrect white balance or something else to try and salvage. What I love about these last few classes is that you aren’t being given a list of ways to color correct. Instead, Eagles gives you ways he might or might not approach a session and tells you why he may or may not do it that way. And because every session is unique, practicing is the most important takeaway from the lessons.

Summing Up
Warren Eagles trains many colorists all over the world — just check out the class schedule over at www.icolorist.com. They teach everywhere from Chicago to New York to Germany and Singapore.

Eagles’ www.FXPHD.com course is a great foundation to supplement your Resolve learning.

A key concept that you may discover through Eagles’ lessons is that you may not always find success in a color grade, but you will always be able to take something away from it.

You can check out Warren Eagle’s FXPHD Resolve 14 classes here. And since Resolve 15 is set to deliver some time in 2018, we assume a new class is on the horizon.

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.

Review: Blackmagic Resolve 14

By David Cox

Blackmagic has released Version 14 of its popular DaVinci Resolve “color grading” suite, following a period of open public beta development. I put color grading in quotes, because one of the most interesting aspects about the V14 release is how far-reaching Resolve’s ambitions have become, beyond simply color grading.

Fairlight audio within Resolve.

Prior to being purchased by Blackmagic, DaVinci Resolve was one of a small group of high-end color grading systems being offered in the industry. Blackmagic then extended the product to include editing, and Version 14 offers several updates in this area, particularly around speed and fluidity of use. A surprise addition is the incorporation of Fairlight Audio — a full-featured audio mixing platform capable of producing feature film quality 3D soundscapes. It is not just an external plugin, but an integrated part of the software.

This review concentrates on the color finishing aspects of Resolve 14, and on first view the core color tools remain largely unchanged save for a handful of ergonomic improvements. This is not surprising given that Resolve is already a mature grading product. However, Blackmagic has added some very interesting tools and features clearly aimed at enabling colorists to broaden their creative control. I have been a long-time advocate of the idea that a colorist doesn’t change the color of a sequence, but changes the mood of it. Manipulating the color is just one path to that result, so I am happy to see more creatively expansive facilities being added.

Face Refinement
One new feature that epitomizes Blackmagic’s development direction is the Face Refinement tool. It provides features to “beautify” a face and underlines two interesting development points. Firstly, it shows an intention by the developers to create a platform that allows users to extend their creative control across the traditional borders of “color” and “VFX.”

Secondly, such a feature incorporates more advanced programming techniques that seek to recognize objects in the scene. Traditional color and keying tools simply replace one color for another, without “understanding” what objects those colors are attached to. This next step toward a more intelligent diagnosis of scene content will lead to some exciting tools and Blackmagic has started off with face-feature tracking.

Face Refinement

The Face Refinement function works extremely well where it recognizes a face. There is no manual intervention — the tool simply finds a face in the shot and tracks all the constituent parts (eyes, lips, etc). Where there is more than one face detected, the system offers a simple box selector for the user to specify which face to track. Once the analysis is complete, the user has a variety of simple sliders to control the smoothness, color and detail of the face overall, but also specific controls for the forehead, cheeks, chin, lips, eyes and the areas around and below the eyes.

I found the face de-shine function particularly successful. A light touch with the controls yields pleasing results very quickly. A heavy touch is what you need if you want to make someone look like an android. I liked the fact that you can go negative with some controls and make a face look more haggard!

In my tests, the facial tracking was very effective for properly framed faces, even those with exaggerated expressions, headshakes and so on. But it would fail where the face became partially obscured, such as when the camera panned off the face. This led to all the added improvements popping off mid shot. While the fully automatic operation makes it quick and simple to use, it affords no opportunity for the user to intervene and assist the facial tracking if it fails. All things considered though, this will be a big help and time saver for the majority of beauty work shots.

Resolve FX
New for Resolve 14 are a myriad of built-in effects called Resolve FX, all GPU-accelerated and available to be added in the edit “page” directly to clips, or in the color page attached to nodes. They are categorized into Blurs, Light, Color, Refine, Repair, Stylize, Texture and Warp. A few particularly caught my eye, for example in “color,” the color compressor brings together nearby colors to a central hue. This is handy for unifying colors of an unevenly lit client logo into their precise brand reference, or dealing with blotchy skin. There is also a color space transform tool that enables LUT-less conversion between all the major color “spaces.”


The dehaze function derives a depth map by some mysterious magic to help improve contrast over distance. The “light” collection includes a decent lens flare that allows plenty of customizing. “Styles” creates watercolor and outline looks while Texture includes a film grain effect with several film-gauge presets. I liked the implementation of the new Warp function. Rather than using grids or splines, the user simply places “pins” in the image to drag certain areas around. Shift-adding a pin defines a locked position immune from dragging. All simple, intuitive and realtime, or close to it.

Multi-Skilled and Collaborative Workflows
A dilemma for the Resolve developers is likely to be where to draw the line between editing, color and VFX. Blackmagic also develops Fusion, so they have the advanced side of VFX covered. But in the middle, there are editors who want to make funky transitions and title sequences, and colorists who use more effects, mattes and tracking. Resolve runs out of ability in these areas quite quickly and this forces the more adventurous editor or colorist into the alien environment of Fusion. The new features of Resolve help in this area, but a few additions to Resolve, such as better keyframing of effects and easier ability to reference other timeline layers in the node panel could help to extend Resolve’s ability to handle many common VFX-ish demands.

Some have criticized Blackmagic for turning Resolve into a multi-discipline platform, suggesting that this will create an industry of “jack of all trades and masters of none.” I disagree with this view for several reasons. Firstly, if an artist wants to major in a specific discipline, having a platform that can do more does not impede them. Secondly, I think the majority of content (if you include YouTube, etc.) is created by a single person or small teams, so the growth of multi-skilled post production people is simply an inevitable and logical progression which Blackmagic is sensibly addressing.


But for professional users within larger organisations, the cross-discipline features of Resolve take on a different meaning when viewed in the context of “collaboration.” Resolve 14 permits editors to edit, colorists to color and sound mixers to mix, all using different installations of the same platform, sharing the same media and contributing to the same project, even the same timeline. On the face of it, this promises to remove “conforms” and eradicate wasteful import/export processes and frustrating compatibility issues, while enabling parallel workflows across editing, color grading and audio.

For fast-turnaround projects, or projects where client approval cannot be sought until the project progresses beyond a “rough” stage, the potential advantages are compelling. Of course, the minor hurdle to get over will be to persuade editors and audio mixers to adopt Resolve as their chosen weapon. If they do, Blackmagic might well be on the way to providing collaborative utopia.

Summing Up
Resolve 14 is a massive upgrade from Resolve 12 (there wasn’t a Resolve 13 — who would have thought that a company called Blackagic might be superstitious?). It provides a substantial broadening of ability that will suit both the multi-skilled smaller outfits or fit as a grading/finishing platform and collaborative backbone in larger installations.

David Cox is a VFX compositor and colorist with 20-plus years of experience. He started his career with MPC and The Mill before forming his own London-based post facility. Cox recently created interactive projects with full body motion sensors and 4D/AR experiences.

My NAB 2017 top five

By Brady Betzel

So once again, I didn’t go to NAB. I know, I should go, but to be honest I get caught up in my day job and my family, so usually I forget about NAB until the week before and by that time it’s too late to pull off. I’m hoping to go next year, like really hoping I make plans.

So there or not, I was paying close attention to the announcements that came out of new products, and even updates to older products. Let’s be real, other than doing some face-to-face networking, you can really get the same if not more info by lurking online. Below are five announcements that really got my attention.

Blackmagic’s DaVinci Resolve 14
Blackmagic saw that this year’s Resolve update from 12.5.5 to 14 is so good they skipped 13. There was a significant drop in the DaVinci Resolve Studio price from $999 to $299, while adding features that many of the top NLE/color correction software dogs are lacking.

The beauty of Resolve is that it is first and foremost an industry-proven color correction powerhouse, one that is used on many of the top movies and television shows in the industry.

They are also expanding their footprint laterally to encompass professional audio as well as professional video. In Resolve 14, Blackmagic has added a Fairlight audio page to allow for a much more Pro Tools-like editing experience within the same Resolve app we have all grown to become extremely excited about. In my mind that means that at a professional facility, or your own garage, you can have a editor/colorist sitting with a re-recording engineer to review a movie or a show with the client at the same time.

The Fairlight page within Resolve 14.

As long as you have two separate workstations, the colorist and audio mixer can be addressing notes on the same sequence inside of Resolve 14 because of the newly updated collaboration enhancements. The Audio mixer or colorist could then refresh their sequence to update it with any changes the other had made and see them immediately reflected.

I haven’t gotten my hands on this update in a proper environment to test out the collaboration functionality, but the timeline comparison and review features seem like a godsend to anyone who does any sort of conform work. It is the beginning of Blackmagic’s path toward Avid Media Composer’s lock on the industry with their sequence and project sharing.

On Twitter, Blackmagic’s director of DaVinci software engineering, Rohit Gupta answered my question about whether EDLs and AAFs will fall in line with the timeline review. He said it will work “irrespective of how you create the timeline. So it will work with EDL/AAF too.”

Clip, sequence and bin locking are the future for collaborative workflow inside of Resolve. I would love to see how someone uses these features in a large collaborative environment of 10 or more editors, sound editors and colorists. How does Resolve 14 handle multiple sequence updates and multiple people knocking on a bin? How does Resolve work on something like an Avid Nexis?

Moving on, while I’m not an audio guy I do realize that Fairlight is a big player in the pro audio industry, maybe not as sizable a footprint as Avid Pro Tools in the United States, but it still has its place. So Blackmagic inserting Fairlight technology, including hardware compatibility, into Resolve 14 is remarkable.

The Resolve 14 update seems to have been focused on everything but the color correction tools. Except for the supposed major speed boost and options like face tracking, Blackmagic is putting all its eggs into the general NLE basket. It doesn’t bother me that much to be honest, and I think Blackmagic is picking up where a few other NLE players are leaving off. I just hope they don’t spread Resolve so thin that it loses its core audience. But again, with the price of Resolve 14 Studio coming in at $299 it’s becoming the major player in the post nonlinear editor, color correction, and now audio finishing market.

Keep in mind, Resolve 14 is technically still in beta so you will most likely run into bugs, probably mostly under the Fairlight tab, so be careful if you plan on using this version in time-critical environments.

You can find all of Blackmagic’s NAB 2017 updates at www.blackmagicdesign.com, including a new ATEM Studio Pro HD switcher, UltraStudio HD Mini with Thunderbolt 3 and even a remote Bluetooth camera control app for the Ursa Mini Pro.

SmallHD Focus
There was a lot of buzz online about SmallHD’s Focus monitor. It’s an HDMI-based external touchscreen monitor that is supposedly two to three times brighter than your DSLR’s monitor. People online were commenting about how bright the monitor actually was and about the $499 price tag. It looks like it will be released in June, and I can’t wait to see it.

In addition to being a bright external monitor it has a built-in waveform, false color, focus assist, 3D LUTs, Pixel Zoom and many more features. I really like the feature that offers auxiliary power out to power your camera with the Focus’ Sony L Series battery. You can check it out here.

Atomos Sumo
Another external monitor that was being talked about was the 1,200-nit Atomos 19-inch Sumo, a self-proclaimed “on-set and in-studio 4Kp60 HDR 19-inch monitor-recorder.” It boasts some heavy specs, like the ability to record 4K 12bit Raw and 10-bit ProRes/DNxHR — plus it’s 19 inches!

What’s really smart is that it can double as an HDR grading monitor back in the edit suite. It will map color formats Log, PQ and HLG with its AtomHDR engine. Technically, it supports Sony SLog2/SLog3, Canon CLog/CLog 2, Arri Log C, Panasonic Vlog, JVC JLog, Red LogFilm Log formats and Sony SGamut/SGamut3/SGamut3.cine, Canon Cinema, BT2020, DCI P3, DCI P3+, Panasonic V Gamut and Arri Alexa Wide Gamut color gamuts. While the Sumo will record in 4K, it’s important to note that the monitor is actually a 10-bit, 1920×1080 resolution monitor with SDI and HDMI inputs and outputs.

The Atomos Sumo is available for pre-order now for $2,495. Get the complete list of specs here.

Avid Everywhere
This year, Avid Media Composer editors saw a roadmap for future updates like an updated Title Tool that is higher than HD compatible (finally!), an advanced color correction mode and Avid Everywhere based on the MediaCentral platform.

If you’ve ever seen an app like Avid Media Composer work through the cloud, you will probably agree how amazing it is. If you haven’t, essentially you will log in to Media Composer via a web browser or a light on machine app that runs all of the hard processing on the server that you are logging in to. The beauty of this is that you can essentially log in wherever you want and edit. Since the hard work is being done on the other end you can log in using a laptop or even a tablet that has decent Internet speed and edit high-resolution media. Here comes that editing on the beach job I was wanting. You can check out all of the Avid Everywhere updates here.

In addition Avid announced Media Composer First — a free version of Media Composer. They also released an updated IO – DNxIQ, essentially with the Thunderbolt 3 update along with a live cross-convert .

Sony a9
With all eyes on Sony to reveal the most anticipated full frame cameras in prosumer history — a7RIII and a7SIII — we are all surprised when they unveiled the 24.4MP a9. The a9 is Sony’s answer to heavy weights Canon and Nikon professional full-frame cameras that have run the markets for years.

With a pretty amazing blackout-free continuous shooting ability alongside an Ethernet port and dual SD card slots, the a9 is a beauty. While I am not a huge fan of Sony’s menu setup, I am really interested to see the footage and images come out on the web; there is something great about Sony’s images and video in my eyes. Besides my personal thoughts, there is also a five-axis in-body stabilization, UHD (3840×2160) video recording across the entire width of the sensor and even Super 35 recording. Check out more info here .

In the end, NAB 2017 was a little lackluster in terms of barn-burner hardware and software releases, however I feel that Blackmagic has taken the cake with the DaVinci Resolve 14 release. Keep in mind Blackmagic is also releasing updates to products like the Ursa Mini Pro, new Hyperdeck Studio Mini and updates to the ultra-competitive Blackmagic Video Assist, adding ever-valuable scopes.

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.