Resolve 10 is a fully featured NLE...

....and it looks strangely familiar to me....

It looks like FCP, except it has those horrible track things.

Wow! Didn't think much of Adobe's offerings and AVIDs was just a joke but THIS!

They have replaced the Audi with a Mercedes :silly:

And yes tracks are horrible kind of like straight jacket!

Close, but no fcpx. I do like how this is more visually oriented. But resolve plays well with fcpx and I imagine this version will play even better.

Julian wrote: Close, but no fcpx. I do like how this is more visually oriented. But resolve plays well with fcpx and I imagine this version will play even better.

I really think they're aiming to carve a chunk out of the finishing world, not to compete in the ever crowded NLE space, but who knows. They sure do seem to like Apple and FCP X based on their marketing pix and resolves current and new specs published. Who knows... On another note... from a blog post on the Cow

And of course, behind the curtain of products themselves. Companies adding a lot of features that aren't new and haven't been new in a million years. And being revered for it. Don't get me wrong, I'm always happy to see updates and feature requests fulfilled. But thinking as a person from the other side of things, more critically than accepting, I can't help but see how this isn't the same as those frilly Vegas showgirls. We love you, give us your money and we'll dance around a little bit and make you feel good.

I agree...

Agree wi those sentiments. What these features do is make Resolve a more compelling finishing solution. Where you might be able to create different versions and such using the editing tools. Going after Smoke and Symphony.

my new favorite company

Great. I don´t think they aim at the NLE market as such, but try to be an extension of it.

I currently have a project that is being shot on several days in different weather, different cams (C300, F3, FS700) and it is not exactly clear yet how many versions and clips will be needed for this.

I was considering grading in Resolve at first, but then if the client wants major changes or different edits it would be cumbersome to go back and forward to have consistent grade throughout the campaign.
So I planned to edit and finish in FCPX (with Colourboard and MagicBulletLooks).

But if you can stay in REsolve while changing some edits, without breaking the whole structure of the project (i mean the project not the timeline ), this will be great and they will have a market, because clients more often than not decide to throw out different versions of their content nowadays. It is not the clear: 2 min edit, chop down to 30 seconds, done.

So basically you organize and edit in FCPX. After the edit you know where your shots are and changes can be made in Resolve, snips replaced, etc. I wonder how the audioside will look though.

I just saw the video on Vimeo so it looks like BlackMagic is tapping into the NLE market.

For the interface I have noticed this when I start using Davinci Resolve 9. Maybe thats where Apple got there design for the Colorboard?

I can see Blackmagic's new motto:
Pre-Pro-Post from one maker! :woohoo:

There's no doubt from this that Grant definitely thinks FCP X is the way to go. Otherwise this product would be looking more like Premiere or AVID.

In some ways there are a lot of parallels between Black Magic and Apple.

Make it simple but powerful, beautiful yet functional and most of all affordable.

Could be a replacement
But I would think the other way around since Resolve was released before the days of FCPX.

Here at NAB, BMD is in fact calling Resolve 10 a finishing tool, stressing it is not an NLE. One of the best things is that it can ingest projects from different editors, all using their own favorite NLEA, and finish/assemble them into one final output. Can even conform and output for digital theater systems. Reads plugins, so your FCPX filters come over, too. They are in fact saying it is a finishing tool, not an NLE. But the Inspector window & audio clips are exactly FCPX. Gradient power window, multiple power windows in one node, playback options for lower powered hardware, it is major impressive. Releases Q3 this year.

BTW, resellers are authorized by BMD to take pre-orders do the new cameras.

Final note, they are running the Resolve 10 demo on a Windows machine. It keeps crashing, a lot.

Hey Ben,

Already placed an order for the BMC4K with a reseller.

Can you ask them about the compressed Raw codec they have? Any ideas about the approximate size of files etc?

Good question, will do. But the bulk of my info is going to my FB journal, may want to check in there. Not enough time to repeat stuff in a dozen different places.

Final note, they are running the Resolve 10 demo on a Windows machine. It keeps crashing, a lot.

Serves them right. Just kidding!

I have a weakness for almost anything that is open and eliminates borders.

Like imagine importing from FCP X, Adobe, AVID or Lightworks.

How does that work. I remember Edit Share had a solution where you could decide whether to edit your material in either FCP or AVID. Probably still do. Never went into it in detail.

I guess in this case Blackmagic is importing XML and linking too Prores and bingo!

If I owned a big old fashioned TV station or similar I would not really need to care with what NLE my editors edited in.

Edit. Approve and throw it into Resolve do some CC and throw it out the door.

It opens up whole new dimensions. I can hire people for their skills and not because of the tools they use if you know what I mean…

Might be interesting to look deeper at the publishing options? Like having ingested all the stuff how do you actually get it out the door…

Resolve links to original files via XML, yes. Can also output XML to any of the three big NLEs, regardless of the source NLE. And then can assemble several different imports into one output. If you have a license from EasyDCP you can even output from Resolve to DCP ready for digital theater distribution. So Resolve is the common hub multiple NLEs can work around, together.

Now supports compound clips, unlimited audio and video tracks. But, each video clip is limited to ONLY 16 audio channels. Oh my, I have SO MANY video clips with 50 audio channels imbedded! NOT! LOL

I learned that the main UI designer has a major "excitement" for FCP X and its interface, thus why you see a lot of it in Resolve.

BMD 4K Cinema RAW files are still being tweaked. The bit rate is not locked in yet and may change between now and release. A ballpark being used is 110Mb/s, around what DVCPR-HD does. But again, there is strong caution to not base any decisions on that, because it will most probably change one way or the other before the final release.

Most of the menu functions at NAB for these new cams were disabled as they are not fully developed. I was seriously disappointed that there seems to be a physical limitation prohibiting 60 fps. A BMD engineer told me if they did it, it would be limited to about 3 minutes or less of shooting time. If enough users request it, they'll figure out how to do it, but it will be a long time coming. Maybe even next year's upgraded model, is my impression. No one knows for sure. But 60 fps is NOT coming to the new BMD cams any time soon. Don't hold your breath.

Low light was a subject BMD reps danced around, lots of techno-babble, a subject they didn't seem to want to discuss, really.

Tom Wolsky wrote: It looks like FCP, except it has those horrible track things.

Am I the only one who sort of misses the option of having tracks? For audio at least, it would be a blessing in FCP X.

swester wrote:

Tom Wolsky wrote: It looks like FCP, except it has those horrible track things.

Am I the only one who sort of misses the option of having tracks? For audio at least, it would be a blessing in FCP X.

NO! Tracks are :evil: However, I do agree that Roles need to stick together as much as possible. Clips can still move out of each others way as they do now, but, say the Music Role clips would all stay in a group, DIA would stay in a group, FX would stay in a group etc, sort of like invisible compound clips. That would do essentially what tracks do, but still maintain the advantage of a trackless magnetic timeline. Perhaps the "invisible CC's could also be bussed/mixed. And also maybe collapse to a single "visible" CC if you have a complex timeline with 20-30 or more clips. So if all you need to be working on is dialog, everything else could be minimized. How does that sound?