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Resolve 11 What is your plan?
I knew that Black Magic would pull the rabbit out of the hat again but the news about Resolve 11 was just plain awesome. I will still stay with X, not going to abandon ship. Just curious as to who might jump over to Resolve 11 for editing as well. I like the trim features and the keyframing is very nice. On the other hand, love the idea of making generators inside of Motion for later use. Thinking of doing the heavy editing in Resolve and some finishing in X, at least on some projects. For smaller projects, going to use X from start to finish. Love to see what others think. Very exciting times ahead!
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85 Replies
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We really need to evaluate it and scrutinize it hard before anybody jumps ship. It needs to be solid.
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I’ll wait and see how it does in the real world with things like asset management, online/offline workflow, multi-editor environment, speed and stability on large projects, etc.,. Multicam is also a must for me.
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I think you may have misconstrued the intent of Blackmagic…
I think it’s not their intent to create a “full-featured” NLE to replace your current NLE, but rather to provide a toolset for finishing editors to give them some fast and powerful editing capabilities so they don’t have bail out of Resolve and into a NLE for tweaks, shot replacements, etc.
David Roth Weiss
ProMax Systems
Burbank
DRW@ProMax.comSales | Integration | Support
David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Agreed, but it is heading in that general direction. They did say online editing. Going to play the wait and see game, something worth considering, though. I plan to keep X on my system for a very long time, not going to jump ship.
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But, for the record, you should look at Smoke as a perfect example of a very powerful finishing tool, that had editing capabilities, but was never considered to be a fully-fledged editing application. Even now, since it has been given even vastly more editing capabilities, there are very few, if any, who would consider using Smoke as a true editing app in place of Avid, Adobe, or X.
David Roth Weiss
ProMax Systems
Burbank
DRW@ProMax.comSales | Integration | Support
David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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I see it as a finishing tool that could be perfect for avoiding jumping in and out of FCP7 or PR as I currently do. The editing functionality is less important but by Resolve 12 who knows.
Clearly Blackmagic are heading towards a full NLE but competing with Pr/Ae dynamic linking will be hard. If they start adding sophisticated compositing and plugin makers start supporting them then game on.
Personally I would like to see that text, credit rolls and stills handling be well translated from other NLEs. I love the fact that it also is handling multiple file AND tape deliverables. Now if we could just get a universal XML format that all other NLE makers can adhere to then my life would be so much easier.
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hi, stupid question david – do you know anyone shifted from fcp to ppro at all thinking about, or talking about employing speedgrade for internal production house finishing for certain kinds of stuff?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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I’m not David, but I know several companies who cut in Premiere Pro and grade in SpeedGrade.
Re – Resolve 11. It’s a finishing tool. Think Scratch or Smoke (minus the effect tree compositing). Capable, but weak master clips management for large scale editing. Yes, you can add/tag metadata, but that’s not the same as what you can do in most of the other options. I also think they will want to do much more with it.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Hollywood’s most powerful color corrector is now also the world’s most amazing editor!
That’s what it says at the top of the Resolve 11 product page. Nothing about online. In fact, that word isn’t anywhere on the page.
“Now you can edit, color correct, finish and deliver all from one system!”
I don’t know that they can state their vision any more succinctly.
That said, alllll the way at the bottom of a very long page, they talk about roundtripping, and being the world’s most compatible solution — and I think it’s hard to argue otherwise — but it’s anything BUT the central message. It’s the LAST message.
I certainly agree that their position now is “Use what you want to edit, and finish with us,” with the goal that more people will take advantage of editing and finishing in one place.
It’s almost beside the point, though. It’s not like BMD make any more money if somebody stops using another NLE. The object is just to sell Resolve. If the most compelling story to you is “I can use it with what I have!” – great. If the story that makes you open your wallet is “Wow, I can edit it with it too!” then that’s great too.
Because he’s been around this industry as a broadcast guy, and Blackmagic has its own post house, Grant Petty remembers first hand that no matter how many compositing features Final Cut Pro added, After Effects wasn’t going away…even after Apple introduced Motion…which offered its own compelling uses even for After Effects whizzes. The days of using one toolset are long, long gone.
On the other hand, Grant has never been known for the modesty of his ambition. Swinging for the fences is perfectly realistic if you know how to hit something out of the park. What they’ve done with Resolve in these few short years make me think pretty much ANYTHING is realistic in the next few.
Really, who needs a flux capacitor when you can bus power time travel over Thunderbolt 2 and USB 3? I’m just saying.
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[Oliver Peters] “Re – Resolve 11. It’s a finishing tool. Think Scratch or Smoke (minus the effect tree compositing).”
no totally – I’m fairly familiar with resolve at a distance, I’ve sat in once or twice with stuff being finished on it. I even half know one of the scratch assimilate reps at nab. she is a very cool lady.
I’m just curious about speedgrade potentially handling mid level material where the key advantage is premiere pro maintaining the master edit.
whether there is a logic in dumping a tangent wave down in a colour safe-ish room and seeing where it goes. dragging a daily rate colourist in.people over here tend to go somewhere to go to resolve.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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