Introducing DaVinci Resolve 17

(dramatic upbeat music) - Hi, I'm Grant from Blackmagic Design and today, I'd love to give you an update on what's new with DaVinci Resolve 17. Now with COVID, we're not launching at a trade show like we'd normally do. So we thought we'd do things a little bit differently, we're going to be using trainers to show each part of DaVinci. I'll show the Cut page, but the trainers can show the other parts. It allows them to show you in detail, much better with different sections of DaVinci. Because obviously DaVinci itself is a really big tool. This is also a very big software update. It's a very exciting update actually, it's really exciting. Now we're not adding any new pages into DaVinci Resolve 17, but we have done hundreds of cleanups, some really powerful new features. So let's get straight into it and we'll show you what's new. But before we start, there's just something I want to make a note of so you understand a bit better what we're doing. We're going to be using screen recordings, and so we're going to be using low resolution monitors so you can see the whole UI, so you can really see what we're doing because we're moving around the whole user interface. It means the UI will be a little bit bigger, but it's a bit more cluttered. So normally when you're using DaVinci, you've got a bigger monitor, in our case, we're going to be using lower resolution monitors so the user interface be a little bit bigger, but it means you can see what we're doing. So I think if you're watching the video stream, you just want to play it full screen, then you can see the UI details better and see what we're doing. So let's start with color. Now we've got a really big update like DaVinci Resolve 17's got big updates for colorists. Color grading is actually DaVinci's heritage. So it's exciting to be really doing a major change to DaVinci color correction. So let's play the clip and see what's new in DaVinci Resolve color correction. - In DaVinci Resolve 17, several major new creative tools have been added to the palettes. The HDR primary grading palette, the Color Warper and the Magic Mask. There has also been a significant update to Resolve's internal color management, and a number of improvements have been made to the Color page user interface. We'll begin with a brand new HDR primary grading palette designed for targeted grading of wide latitude media. The palette splits up the video image into overlapping tonal ranges or zones. So you can make precise color and contrast adjustments across multiple stops of light. The default palette preset features six tonal zones and a global wheel. You can see three zones represented at any given time and shift to the other zones using the banking controls under the palette header. The global wheel affects the entire tonal range of the image, tapering at the white and black point to produce color and luminance changes that feel smooth and natural. Here's the familiar control point to change hue or the exposure and saturation controls to establish the brightness and color intensity. Sliders on either side of the global wheel allow you to adjust temperature and tint. In this example, we have a wide dynamic range image with an underexposed interior and overexposed exterior, a common occurrence in documentary or on location shooting. After establishing the starting point of the grade using the global wheel, we can go to the options and include it on banking wheels, allowing us to focus on four tonal zones at once. The tonal range of each wheel can be reviewed and customized in the zones panel. The graph represents the luminance range and stops. The center of the graph, zero, represents middle gray, also known as 18% gray. Clicking on a zone name in the sidebar highlights its position on the graph. The red gradient represents its falloff, an area of gentle transition at the start of a tonal range. Everything beyond the fall off is impacted by adjustments in that range. And as you can see, there's substantial overlap between the zones, which reduces artifacting when grading. You can drag a zone line to increase or decrease the tonal range or use the range in Falloff fields underneath to change their numeric values. The black zone can be used to establish the darkest region in the frame. When working with overexposed areas, reducing the lights zone exposure and adjusting saturation can help bring back details without needing secondary grading tools. An overlapping, but more narrow zone like the specular can be used to bring out minor detail in the image highlights. Additional global controls can be found at the bottom of the palette. When adjusting contrast, the HDR palette eliminates unwanted saturation changes resulting in perceptually uniform color intensity, as you raise and lower contrast. When comparing this example before and after, you can see how much the HDR palette accomplished with just a few adjustments. Another addition to the palettes is the Color Warper and mesh based warping tool that allows for quick intuitive adjustments of color and luminance simultaneously. The expand arrow at the top turns the Color Warper into a floating palette that can be resized for better detail control. There are two ways to start using the Color Warper. First, you can click directly in the viewer and begin dragging to change the values. An orange highlight will indicate your selected control point and its position on the Color Warper grid. The second way is to click within the grid itself to select the necessary control points. As you can see, multiple hues can be adjusted on the same grid. A drop-down menu at the top allows you to switch between the two Color Warper panels, Hue and Saturation or Chroma and Luma. The controls in the Chroma and Luma grid are similar, though this time the interface is an interactive 3D cube mesh, with the hues represented on the horizontal axis and luminance represented on the vertical. The wave form in the center represents the current color and luminance values of the image. Use the access angle parameter to define the hue region you want to work on. In this example, the low grid resolution makes it difficult to change the color of the sky without affecting the rest of the image. Controls underneath the grid, let you change the division amount, increasing the Chroma and Luma resolution in cases where you need more color precision. The tools to the right allow you to refine your selection and additional locking controls below allow for very precise color adjustments. By locking off a luminant section of the image, you can darken and color the sky without affecting the data in the shadows, and then click on the clouds in the viewer and drag to adjust their brightness and hue for some chromatic contrast. Compare the image before and after to see how much detail the Color Warper has brought into the sky without affecting the surrounding areas. Another major addition to the Color page is the Magic Mask. This is a neural engine powered secondary grading tool that can save hours of work by automatically creating and tracking masks to isolate a person or their physical features for targeted color grading. At the top of the palette, two buttons allow you to select your preferred tracking mode, a full person, or a specific physical feature, which you can select from the dropdown menu. To begin tracking, click and drag in the viewer to draw a small stroke on the person you wish to track. Small strokes are better as they will follow movement without interruption. The mask overlay button is used to review the predicted selection. If you're satisfied with the mask, use the transform controls to run an analysis. After tracking, use the Mask Finesse controls to refine the resulting Mask. With the track successful, disable the mask overlay and perform your secondary grade as needed. This before and after comparison shows how you can use the Magic Mask to pop someone out of a visually busy environment. Use the invert button if you wish to focus your selection outside the tracked person. This can be effective for grading backgrounds to be less distracting or for some more creative application. DaVinci Resolve 17 has undergone the biggest changes to its internal color management since it was first introduced. When you now enable DaVinci color management in the project settings, you will see a simplified menu offering a list of common color workflow presets. Each preset includes a brief description of its intended use. The DaVinci Wide Gamut and intermediate tonal range is a new working color space listed in the settings. DaVinci Wide Gamut features a wider gamut than the UHD Rec 2020 Standard, the ARRI Wide Gamut and even ACES AP1. By mapping your timeline to the widest possible gamut at the start of your workflow, you're able to future proof your projects and prepare them for both SDR and HDR delivery. Many other additions and improvements have been made to the Color page interface. The viewer now features three new image wipe modes: diagonal, venetian blind and checkerboard. When creating smart filters on the color page, you now have a Show in all projects checkbox to save favorite filters across all projects in your database. The GPU scopes panel has improved scale and styling options for the waveform and vector scope. This includes the ability to change the waveform graticule scale to display in HDR nit values. The expanded GPU scopes now feature a three by three view, allowing you to set up multiple identical scope types with unique parameters. And when working with dual monitors, it is now possible to drag the floating scopes window onto your second display. The primaries wheels palette has been redesigned with the adjustment controls now accessible in one panel at the top and bottom of the palette. The curves palette now features a new HSL curve, Sat versus Lum, in which you can adjust the luminance of a specific saturation range. You can now also pop out the curves palette to allow for much finer curve adjustments. Some additional support and functionality has been provided for colorists who work with LUTs or lookup tables. It is now possible to create custom LUT paths and organize them into folders. Simply enter the Preferences, click on the General tab and add your LUT location. After refreshing, any sub folders in that location will appear as folders in the LUT panel. And as with regular LUTs, you'll be able to access them in the contextual menus of the timeline clips and notes. If you are working on a collaborative project in a facility, you can add your LUTs to a shared folder on the server, so you and your colleagues can access the same lookup tables while you work. The Resolve FX library has been expanded with 11 new creative tools and updates to its existing effects. Among them, the Motion Trails effect can be used to imitate a slower shutter speed while false color allows you to check the exposure values of your video based on specific camera model ranges. There's also a creative mode in which you can emulate posterization looks like thermal or night vision. If you have a DaVinci Resolve advanced panel, these new features are supported with an optional redesigned keycap set. Advanced and mini panels can now be connected to remote grading machines and multiple clients can now connect to the same remote grading session. These are just some of the new features in DaVinci Resolve 17's color page. - So as you can see, this is a big update for colorists. And a lot of the features in here have been used in engineering work, so it's really exciting to see these features finally get into the shipping product. Now, if you're using the DaVinci Resolve Advanced Console, we have a new set of keycaps in the DaVinci Resolve 17. You can use the old keycaps, but there's now a new set of keycaps. There's been a lot of changes in DaVinci over time, and so we thought the keycaps could be a lot better to support those changes but also just in general, have better usability than the old set of keycaps. Now the DaVinci Advanced Panel Keycaps is a whole new set of keys. Now there's the keys and also a tool to help you install them, now you can swap out each key individually and each key is replaced, every key has got a replacement. Now the DaVinci Advanced Panel Keycaps will be available now, and they'll be priced at $595 and once you've installed them, it's like getting a whole new panel because I mean, the entire keycaps set will be replaced. So that's a pretty nice upgrade and it's worth checking out. Now let's talk about audio. We've got some really exciting updates to Fairlight. We've also made Fairlight more accessible to new users because you can use it better with a mouse and keyboard. It originally was designed obviously for the big studio consoles. So we've made some changes there, but there's also some very powerful updates in its feature set in general. So let's play the clip and check it out. - The Fairlight page in DaVinci Resolve 17 is faster and more powerful than ever with an enhanced edit selection tool set, automatic transient detection, comprehensive Dolby Atmos integration, plus the introduction of a brand new audio core engine and FlexBus customizable busing, clip aware automation and more. Let's start with the improved edit selection mode. This update takes Fairlight's multi-function edit selection tool and shortcuts to a whole new level with a more advanced tool set, live editing preview and lightning fast response time, even during playback and recording. Edit selection mode combines the selection arrow and the range tools to give you an advanced edit selection tool that automatically changes based on where and how you click. Drag the edges of a clip to trim the head or tail, drag the volume curve to change the level and option click to add volume key frames. Move the pointer to the lower half of a clip for the grab tool functions, click to select an entire clip and drag to move it. Click the upper half of a clip to set an edit point or drag to select a range. The new live preview feature updates the viewer while you work. So you can see a live update while dragging a selection range and moving clips in the timeline. In edit selection mode, playback will always start at the new edit selection whenever you press the space bar. So you can click anywhere in the timeline and instantly preview the audio from that point without having to move the play head. Modifier keys offer additional functionality. Hold Shift and drag to extend an edit selection. Option drag to duplicate a selection and release the mouse to paste and use Command or Shift to extend selections to additional tracks. In edit selection mode, you can solo scrub the audio for any clip anywhere in the timeline. Just hold Shift and Command while dragging over the clip. When you scrub a clip with the edit selection tool, the corresponding track is temporarily soloed. Keyboard shortcuts are the secret to unleashing the full power and speed of Fairlight's edit selection mode. For quick access to the edit selection tool set, use the right click context menu in the timeline. DaVinci Resolve 17 includes a set of shortcuts listed next to each menu option, so you can learn as you go. If you're coming from another system, you can assign your own shortcuts in the keyboard customization window. There's even a pro tools preset to make the transition to Fairlight even easier. Use a standard three button mouse and modifiers for additional zooming and scrolling options. Hold option while scrolling the middle mouse button to zoom horizontally around the play head or edit selection. Hold Shift to zoom vertically around the selected track. Hold Command to scroll earlier or later in the timeline or scroll without a modifier to scroll up or down to higher or lower tracks. And finally, you can hold Shift Option together to scroll the wave form zoom without changing volume. DaVinci Resolve 17 also has transient detection, which can be used to automatically identify transients inside audio clips. Once detected, the transients can be used for edit selection. The combination of Fairlight's transient detection and edit selection shortcuts have the potential to further increase your audio editing speed and efficiency without the need for additional hardware or third party tools. DaVinci Resolve 17 Studio is now certified with fully integrated Dolby Atmos home theater workflows. Studio users can now open, sync and play back master files in the Resolve timeline. Let's preview a master file in the media page. Here, the internal Dolby Atmos renderer is playing the clip in a seven one four channel format, but the file actually references all the content in the master file up to 128 bed and object tracks. You can use clip attributes to change the output format to a speaker layout that matches your monitoring configuration. In this case, I'll keep the original format and create a new timeline with the clip. As you can see in the Edit page, here's the new timeline with the seven one four render and I can sync and play the clip. In the Fairlight page, you can see the channels in the timeline and the Dolby badge to indicate it is actually a rendered master file. You can render the timeline in the Deliver page in an IMF package as an IAB MXF file or as an ADM broadcast wave file. You can also import a master file through the immersive audio options in the Fairlight page to recreate the full Dolby master file, including content, bed and object tracks, as well as panning metadata. To see the panning metadata, increase the track height and choose which panning curve you'd like to see in the timeline tracks. Each track in the mixer shows live panning updates during playback. Double click one of the track pan controls to open the full pan window where you can see the panning automation and controls for the selected track, or use Fairlight's space view scope to visualize all the objects used in the master file at the same time. So you can see how they relate to the immersive space and one another. Solo tracks to isolate their objects in the space view scope, or change a track's color so the corresponding object stands out among the other objects. - (Whether the soundscape system...) - Playback and monitoring is fully integrated with Dolby's internal renderer. So you can monitor, trim and down mix to standard formats, and export a new master file when you're ready. The Fairlight page offers all the tools you need to create, mix and deliver immersive projects or use the AAF options to import a session from another system like pro tools and finish it here in Resolve. The new Fairlight audio core engine is an advanced high performance audio engine designed to let you work with up to 2,000 tracks of simultaneous playback with extremely low latency on a single system. This completely scalable hybrid engine eliminates the need to run multiple systems for large format projects. To support the new audio engine and high track count capabilities is the revolutionary new FlexBus busing architecture designed for the ultimate flexibility in user-defined bus types and signal routing control. FlexBus uses logical cascading buses to help you build up each main sound group from smaller mixes for more control and better sound. Legacy fixed busing was rigid with limited options for a fixed number of main, sub mix and auxiliary buses. FlexBus offers a single user-defined bus that has the ability to pass signals from Mono to fully immersive formats up to 26 channels wide and can be changed at any time. Bus outputs and sends can be patched one at a time in the mixer or all at once in the bus assign window and users can control the routing of the buses in any way that's needed for the project, including bus to bus, bus to track or track to bus. With FlexBus, you can direct signals to many different places at the same time to achieve complex mixing. For example, if you need to generate two mixes with different output levels, simply split the final mix bus to two more buses, each with a limiter set to the necessary output level, creating two different mixes at one time. Another awesome new feature in the Fairlight page is the ability to link separate mono clips, so you can edit them as if they were a single clip. Once linked, you can also render the linked clips into a new multi-channel file. Here is the new multi-channel clip in the media pool and in the timeline. If you ever need to break a multi-channel clip into separate mono tracks, you just right click the track header and choose convert to linked group. Now you have mono clips in separate tracks that are linked as a group with a single 5.1 channel fader. And if you open the link group window, you can unlink the tracks, leaving you back where you started with linked mono clips in separate tracks. Notice in the mixer that the mono tracks are still panned to the proper 5.1 channel. And finally, to take the example full circle, you can always right click to unlink them. Fairlight's powerful automation tool set has been upgraded as well with new clip aware functionality that you can toggle on and off with the automation follows edit button. When enabled, automation data is added to the audio clips themselves. So edits will be reflected in the embedded automation. Move a clip, the automation follows. This also applies to clips that are copied and pasted somewhere else in the timeline. Automation follows edit, is great for tightening edits and moving whole scenes. To move an entire show, use the universal editing shortcuts, to select all, cut, move the play head, then paste. As you can see, all of the automation moved with the clips. These are just some of the exciting new audio features that you'll find on the Fairlight page in DaVinci Resolve 17. - So you can see this is a really big update for Fairlight. We think it'll really help people that are getting started in audio post production, but we've also had a lot of people asking about getting it to work with a mouse and keyboard a bit like pro tools. So we think it'll take care of a lot of pro tools people as well. But it's also got some really solid features for traditional Fairlight customers who are using the really big consoles. So it's really got something for everyone we believe. Now while we're talking about consoles, let's focus on that. We've got a really good range of fantastic studio consoles, go from two bay, all the way up to five bay. Originally Fairlight only worked with consoles, it came with consoles, and we've done a lot of work to make it work with a keyboard and mouse. And that really helps people get started because you don't need a console. But we do have a big gap between using it with a mouse and using it with a studio console. So we really needed something in between. Now we've come up with a new console, it's called the Fairlight Desktop Console. We've got some slides to show you so you can see what it looks like. You can see, there it is there, it's got 12 incredibly high quality faders and they're flying faders with touch sensitivity as well. And you can see the transport controls there on the right-hand side with a really nice metal Search Dial, it feels really good. The studio monitor controls at the top right hand side, there's a whole bunch of channel LCDs with pan controls on them. But all those channel control LCDs can also be used for menuing. So all the knobs can be used together for a single channel. So for example, if you push the EQ button on the left hand side, then all the knobs will be coming to EQ settings. So it's really nice. And you've got all kinds of power, those knobs can be switched across to do EQ panel or dynamics like limiters and compressors. It plugs in with USB or ethernet, there's a slide on the back, and you can see the rear connectors. As you notice, there's a HDMI connector there. Now the big Fairlight consoles have these really large LCD monitors on them. And we wanted the Desktop Console to have a similar feature. So this helps you move between the Desktop Consoles and the big studio consoles. So we think it's a really important feature and it's an exciting feature as well. So you can plug a 1080 HDTV or computer monitor into the connector there and you'll get the full channel summary of all the channels and a very similar kind of status is what the big studio consoles have. So that's really cool. Now there's loads of audio meters on the LCD monitor, all the busings displayed there, but also the whole LCD can switch to focus on a single channel. So normally you see an overview, then you can see all your panning information, but if you select some of the processing, then you'll go to a single channel and you can see there's a slide that shows that, and you can see there's lots of information about the single channel and all the various processing curves, and it's really amazing. So now I have one here set up, so let's pan across to have a look and you can see one working, a real one. Now you can see it's an all metal design. It's desktop mounted, this one, it's got foldout feet, so you can tilt it up, that's tilted up there, but you can also flush mount it in the desk if you cut a hole, because it's got a ridge around the outside. So you can actually make it flush. Now, all the faders are the same as the studio consoles, they're really good quality, they're best quality possible faders we could find. You can see they're beautifully smooth and they just track nicely. Nice DC motors, beautiful bearings. Now all the faders and knobs are touch sensitive, so the knob here and the faders here are both touch sensitive and the UI will display, when you're touching it will tell you that you're holding it. Now you can also do more than 12 channels, so you can adjust some levels and then bank. So if I adjust some levels here, then I can bank across to the next 12 and I can just keep banking through. So you can see that you can have a lot of channels. Now we've got a really large multi-track project on this iMac. So if I turn on the automation, which I'll do with the button up there, there's automation controls here, you can see I can press play and you can watch all the faders move around and see how all that works. And then obviously all the flying faders there, you can see it go. You can even bank across while you're doing that. So it all just tracks and you can have hundreds of channels. It's really, really nice. Now you've got all the navigation functions on the lower left over the side there, so you can navigate the software from the panel. Now there's transport controls on the right side, you can see the Search Dial there. Now that Search Dial by default is actually jog, but it can also do a shuttle and scroll as well. So for example, if I do shuttle, I can do shuttle. Sorry, that's scroll, so you can see I'm scrolling up and down the timeline faster, but normally it's just scroll, so you can move around with much finer control. Also there's a zoom button on the bottom here, so you can spend a lot of time in audio zooming the timeline in and out and you can do that from the search dial. So if you push that button there and you can do that with your thumb when you're using it, obviously I'm using it from behind. But if you're on the other side, you can do it with your thumb and you get all that working. Now all your studio monitoring controls, your speakers are all up the top right here. And of course the channel controls are really where all the power is. So each channel has an LCD and a fader and a knob. Now, the way they work is the knobs and the buttons are on a single channel. So you see got a select button and a solo and mute and a knob, and they work on an individual channel. So you can do like, level adjustments, actually, I've got the automation on, you can do level adjustments and controls of pan, but you can then get all those knobs to work together. So if you press any of the processing selection on the left-hand side, so for example I'll press EQ, so you can see what happens. Now if you can get the overhead camera and see that's all the channel controls, and you see the information about each channel, but if I push EQ, which I've done there now, what they've done is they've switched over. And now each knob is actually one of the parameters of the EQ. So if I adjust like the gain of the high frequencies here, what I'm now doing is, this knob is being used to adjust just that one parameter. So it's really nice. You can use all the knobs to work together. So if I change to compressor, oops, there's compressor there. Now you've got a whole bunch of compressor settings and all the knobs will work together, so it's really nice. But it gets more interesting with the external LCD. Now, this is really exciting because we think that one of the great things about having the Desktop Console on the monitor here, this is a fantastic way of training people without using the cost of a giant console. Now you can see if I go back, I'll turn off the compressor settings and get the summary back on the monitor, so you can see all the meters and the channel status, and it's very similar graphics to the giant studio consoles. And so the great thing is, so what we're looking at right now is an overview of all the channels that you see here. And each channel has its pan position in 3D space, you can see there. But as I said, when the display switches over to a focus mode, that happens when you select any of the processing on an individual channel. For example, if I go back and press the EQ, and you've probably noticed this before, now you can see that it's changed over to a focus mode and on the LCD, you can see that it's selected the EQ parameters and it's also, there's a curve there. And if I adjust the gain, oops, the gain, you can see that's adjusting there and you can see there's a nice curve and everything on the front. So you can actually see what's going on. Same as if I adjust the compressor. Sorry, if I select the compressor, you can see now that the knobs in the bottom there, the enabled settings have switched across to the compressor settings. So everything about the channels, displayed on this one display, it's really nice. And you get all this just by plugging in a monitor. So it's very, very cool. Now the Fairlight Desktop Console will be available before the end of the year, it'll be priced at $3,495. We think it's the highest quality desktop audio console available. It's an amazing console and really fills the gap between a mouse and the studio console. And it'll be really exciting I think when it's available later this year, but it also just looks great. I mean, I think it just looks really nice. When you're playing and see all the meters are up, and it just looks really nice, it's incredible. I think having the LCD on is really, really nice. Now, I better stop, I guess, so I can keep talking. So look, one thing that we've also noticed over the last few months is a lot of Fairlight customers wanted to build custom consoles. Now we have the two, three, four, and five bay consoles but a lot of people would like to build their own. And so now we sell these Fairlight consoles in modular form because also a lot of people like to not fully populate a console when they buy it, so they can buy the modules as they go, but we wanted to help customers build custom furniture. So the first step, and one of the first requests people had is putting their own monitors or televisions on. So not using the built-in monitors, that you can buy for the Fairlight consoles, but using their own televisions or their own monitors, sometimes on monitor stands and things like that. So we have a Fairlight HTMI interface that we've developed, and what it allows you to do is instead of plugging the monitor in and using a monitor, it allows you to use any 16 by 9 HDMI TV or monitor. Now I'll show you what it looks like, there it is there. So it's just a simple little converter, you plug your ethernet into it, it looks like one of the big monitors, it's actually the same electronics that drives the monitor that's in the Fairlight Studio Console. In fact, this electronics is also in here and it'll then drive a HDMI or STI display, so you can choose what type of display you want. Now that's $259 and it's available now. And if you buy one of those, when you're building the console in the console application, in the DaVinci software, the software will see this as being one of the monitors, then you can use your own monitors. So I think that's pretty nice. But the other thing is what people are doing is they're also building their own custom furniture, like they're literally building their own desks and they're putting the bays in. So we really wanted to help people do that. Now the problem of course, is that you can create desks, any sort of shape. You can create all sorts of customized desks, but the problem is it can be a little difficult to get all the bays in and aligned properly, particularly with the bays interfering with each other. So we really wanted to help carpenters be able to really set these up properly and keep everything accurately aligned. So what we're also going to be shipping is these mounting bars, and I've got one here, this is a three bay I believe. So this is what it looks like. So this is what the inside of the console looks like. And what we have is we have all these pins, these mounting pins here, and what they do is they, oops, it's really heavy. What they do is the bays mount into these pins and it keeps them accurately aligned, so they don't interfere with each other and they don't strike each other if you lift them up. So the bays and the Fairlight console actually tilt up and you can put the modules in. So we'll be selling these. And also there's a side, I'll put this down, because it's a bit big. There's a side mounting arm kit as well, I'll show you that. Now what this does is this is another part that will be available. Now what happens is all the modules that you buy with Fairlight, if you buy a giant console, you get all of this. But the side mounting arms, you put the various modules in and the monitor sticks in there, and then this will then slide into the big console and it pivots up and down. So what you really want is to have these, and you need the mounting bar, unless you build your own custom furniture. This is all a bit big, so I'll move it out of the way. Now, all these parts will be available now, and the prices will be on the DaVinci website, there's a whole range of different options you need if you're building various types of custom consoles. So now we're up to the Cut page. Now with the Cut page, what we're really trying to do with the Cut page is generate like a third generation of editing. If you think back, we had linear editing in the 1970s and 1980s, then it went to nonlinear editing with editing software in the late '80s and early '90s. But there hasn't been a lot of innovation since. There's been some very good incremental updates, there has also been much better availability of editing software. But we wanted to do something bigger, we wanted to create a next generation. And so the problem we've got, or what we essentially want to do is a combination of hardware and software, we thought that was really the way to go. Traditional editing software is really designed to work with a mouse, and so the difficulty of course is trying to add any sort of hardware integration and it's quite difficult. For the Cut page, what we really focused on was designing a page that would work with hardware. Now the DaVinci Resolve Editor Keyboard is very traditional, but it's really the first step that we took, but it is very traditional, it's got the QWERTY keyboard. So it's more like a keyboard that would work with a normal edit software. What we really wanted to do is go further because that panel is really designed for older software in many ways, because of the QWERTY keyboard. So we've been working on something else and that's where really our focus was. So what I want to do is introduce the DaVinci Resolve Speed Editor. Now it's different to a regular edit keyboard and I'll bring one out, I've got one here. You can see it there. And now it's different to a regular keyboard because it's only got the keys specifically designed for the Cut page. And so it's faster, it's much faster to use. But what I'll do is I really want to show you the Cut page features first, so I'll come back to the Speed Editor later and then I'll show you how that works. It'll be a bit less confusing that way. So let's go over to the computer, I'll put this down here, I've actually got an overhead camera. So I'll put that in the right position so we can play with it later. But what I'll do is I'll go across to the computer here and we'll create a new project and keep going and I'll show you what's new on the Cut page. So if you can cut across to the UI. The first thing we want to do is create a new project. We'll go to the Cut page. Okay. Now we'll need to load in some clips and I've got some clips here on the desktop. Here we go. Now we also need to create a new timeline. Now these are handheld shots I took in London. So what we'll do is let's create an edit first. We'll get into the clips and we'll look for a demo clip. That looks pretty good. Put an in point, put an out point, and let's find another clip and do the same, there's a nice clip. Now one of the new things in DaVinci Resolve is you can now manually edit durations. So I've got a nice five second clip there, I can drop that into the timeline. So I've got a nice edit. However, let's use the source tape because this is actually how normally I would edit, but it's a little slow. So by using the source tape, we can look at all our media in one go. So I'll just go up here and select the source tape. Now I'm looking at everything I've got. Let's go and find a clip, I'll take this one, select in and out point, select an out point. We'll append, let's also find another clip, there's a nice clip of people walking, scroll along a little, out point and append, or we can also do a smart insert. So if you want to insert, you can see the indicator here. So if I find a different clip like this one here, it looks pretty nice. I can just go Smart insert here and it'll insert it at this transition point at this edit point here. See, there it is. Okay, so now we've got a nice little edit. Now what's really exciting about the new Cut page is there's better transitions and a whole new palette design. So if we first off, because we're going to be adding some transitions, let's enlarge the viewer a little bit. You can see we can enlarge that now here, and then we can get a better view of what we're doing. So if we go to the transitions palette, we can see a whole bunch of new transitions and you can roll over the transitions to try them out. So let's have a look. So we've got the normal sort of dissolves and I can roll over some wipes, got some wipes here. I've also got Fusion transitions down the bottom here, so I can do all kinds of interesting things. Well, that one's kind of interesting, isn't it? Noise dissolve and burn away. So what we can do is we can add the transition just by dropping it onto the edit. There it is there. So we've got a nice new palette of transitions in the new Cut page. So I can play that and let's play through. Oh, nice. And I can also change the duration any way I want and it'll change the way the edit plays. And we also have new effects in a new effects palette, so I can go up to the effects and you can see all the effects, there's a lot of effects in here. So you can see I've got a whole range of different effects, I've got all kinds of like blurs, there's a zoom blur which is cool, there's a mosaic, all kinds of interesting features about stylized effects, color effects, generators, here's some of the stylized effects. Some of them are quite dramatic, Emboss. Vignette. We've also got some other ones like stylize effects, texture effects, one really fun one is analog damage and I'm really shocked about how well it does. I'll drag it down. It's really quite amazing, it looks like an old VHS machine and it's really quite accurate in what it does. So you can see if I play that, it really looks like an old VHS machine. Now the other thing we've done down the bottom too, you'll notice that when you do add an effect there's a larger effects icon down the bottom because that was a bit hard to catch sometimes. So one thing that is also worth noting, all these effects are designed for feature film users, but we think they're also a lot of fun for everyone. But a good example is there's a lens flare and lens distortion, they actually simulate actual lenses. So these go well beyond simple NLE effects because they're effects designed for high end work, but at the same, so you get so we have to do them in a different way. They have to be sort of almost accurately implemented versus just making them look like a lens effect. So they're really very, very high quality effects. There's also new titles in a titles palette, there's some really nice titles. We've upgraded some of the titles, but we've also got some new Fusion titles, which use the Fusion engine. So let's add a title and see what it looks like. So I'll give our timeline a bit of space, see we've got a nice title here. So I should move it across because it's getting in the way of our burn effect as you can see it there. It animates on, I can move it down. Now we also have some new timeline features, you notice that we've got a much thicker CTI now, this looks much more substantially larger and it's bit easy to read and grab hold of. The other big thing we've got is when you insert a clip now, it'll keep its transitions. So for example, if I put a transition, I'll go back to the media pool and I'll select a... Here's a nice clip, an in point, just a five second duration, but I'll also put a dissolve on both these points here. When I drag that clip into this point, it'll keep the transition on both ends. Now when I move a clip, it'll also keep the transition. So if I grab this clip and move it down to here, it'll move the transitions with it. Also made some improvements to the timeline spacing, so when you go down to a large viewer, it doesn't have as much free space here. One of the other things we've done is if you're using a moving CTI, like where the CTI moves, like the Edit page, we've now added the proper scroll bar in, so you can scroll around and this now works exactly the same as the Edit page does. And if you want to work like that, then that's exactly the way the Edit page works. Although I really quite like the fixed CTI, it works really well with a hardware panel when using a fixed CTI. We've also got another new feature in the Cut page called audio trimming. This new button here, if you click this button here, when you do an edit, it'll turn the clips into audio wave forms. So it helps you do your trimming against the audio. And when you release, it goes away. The other thing we support is Alpha Channel keying in the timeline now. So you can drop clips in with Alpha Channels, and there's also a new chroma keyer. So you can do chroma keying in a timeline, and there's actually more information in the edit video which I'll play next. Now we also have a redesigned inspector. So if I go and click there's an inspector button up here now, and you can see that the information is now all ordered by topic. So it helps you organize yourself, you can see what's what, including metadata changes, video changes and more. The inspector is common between the Cut, Edit and Media page, so you get some commonality. And also the Inspector live updates, so let's have a look at that. So if you go in the audio and you do some, make some changes here, now when you scroll along, you'll see it live tracks. Now the Inspector works on both the timeline and clips in your bin now. And you can also edit timecode and dates. So if your timecode and dates aren't right, you can also change those. So let's check that out. So we've got a shot here, I go into the file, I can change the date, make that the 10th. You can also open transitions in Fusion. And there's more information on that in the Fusion video coming up. Now there's also been some big updates to the bin. Now it correctly flattens the bin in the source tape, and that's really important because the source tape eliminates media management. You don't need to do media management with the source tape because you can visually browse. So let's have a look at that now. So I'll close the Inspector, I'll click the source tape button here. And you can see now all my media is flattened out, even though the media is inside a folder. But if you have a lot of clips, it can get really hard to manage. And I've got one friend who's got over 200 hours of clips. The client just keeps bringing in more and more media every day. So the new bins are much more powerful in DaVinci Resolve 17. Now we have this new feature called bin dividers. So to see this, let's load in more media so we can create a large group of media, now this media, I'm going to load it into a different job, but it helps show how this all works. I've got some media from a cooking show video, so let's load that in. Now I've got all my media in the one bin. So now what you can do is you can see the bin dividers are actually showing us dates. Now we can see these bin dividers, even if we go into icon view or clip view, or even in list view. See there they are there. So as I'm scrolling through the source tape, I can see that it'll track me. You can see what's going on. I've got a lot of media here. Now we've also added new sort modes, so there's other sort modes that we can use and the bin dividers will change based on the sort mode. So let's have a look at the sort menu here, you can see we've got a lot more items in it. So we can actually now sort by clip name, and you'll see the letters, so now now the titles have become letters, reverse ordered, or I can even sort by clip color but of course there is no color assigned to any of these clips, so they're all the same. And I can also sort by scene and shot. You can see scene one, oops. Now the bin has an unsorted section for any clips that don't have metadata, but we can use the new Inspector to organize these clips. So let's check that out. Now let's go into this clip here and we'll open Inspector up, go to file, and you can see actually we've got no scene information in here. In fact, if we go and click on that one, you can see it's scene one, I'll click on this one, it says, there's no scene information. Now we can update these clips really quickly. I can select on auto select the next clips, actually even faster, I can then type in scene two and enter. And now automatically, what it's done is it's gone and taken that clip, added scene two to it, it's sorted it in the bin to scene two's location and it's automatically selected the next clip that doesn't have any metadata on it. So I can just go through here and update each one of these. Let's make some of them scene three as well, so they'll give us some variation. And now you can see that the bin has sorted them all and they've all been assigned their spots. Now, normally you just copy what's on the slate into this metadata here so that the clips would actually match the slates that are being done. Or obviously the metadata could come out of the camera and the clips like these clips, for example, where it says scene one, because they come out of a Blackmagic Pocket Camera 4K, and that has metadata support. But what it means is that the bin's always sorted correctly. Even if you're going to the timeline and doing work on the timeline, I'll close my Inspector, or you go back, whenever you go back to the source tape, your bins are already sorted you don't have to keep doing it all the time manually. Now another powerful feature is we can actually then focus the source type by the metadata. So this is really exciting. What it means is that we can zoom into a region by pressing the source tape button and it will then focus on that region. So example, if we're scrolling along and we're now in scene two, if I push the source tape button again, it'll now only show me scene two. So it means I can go into scene two and then work just on scene two. If I push Escape, it'll come back out. And if I scroll along, I'm in scene three, push the source tape button now it's in scene three. Push Escape, it'll go back. Normally the source tape, if you put an in and out point, pushing source will focus on the area between the in and out point. But if you don't have an in and out point set, it'll now focus on the region. So now I'm in scene one, I can go and click the source tape button again. And now it's showing me just the winter wonderland media from London, and it's not showing me that new cooking show stuff that I brought in because it zoomed into scene one, and all these clips are all being tagged to scene one. Now you can do that with any type of metadata. But all this lets me move between scenes really quickly and then focus in and zoom into the scene that I'm working on, and zoom back out when I want to see everything. Now, all this works much faster in the Speed Editor. So let's just pop across here for a second, have a look, and you'll see how this all works. Because we've got these big buttons for the source tape and the timeline on here, so it's really quick. Now you notice it's actually running if I scroll up and down the source tape, so you can see like there's nothing plugged in. So obviously it's Bluetooth and that's how it's working, it's got a couple big batteries in it too. So let's have a look and see how this works on the Speed Editor. So I can just scroll up and if I push source, I go in and I push Escape and I come back out again. I can scroll down here and push source, now I go into scene two, If I push Escape to come back out. And if I want to scroll down to the scene one media I just push source and there I am. So you can see really how fast that is, the Speed Editor makes it so much quicker to do this. This is a much more natural way to navigate media. It's really based on what the shot is and not where it's located on your disc. And from an editing point of view, that's much better. I mean, all the editing software is always focused much on really where your shots are on the disc and that's not really the way you edit. What you want to know is where the shots actually are, so we think this is a whole new way to visually navigate media, and with this focusing, it's really much more exciting, it's much, much more powerful. So let's go back and we'll see what we can also do because we can still navigate by file path. So let's have a look back here. Now you might be getting folders of shots from clients, like my friend was, and you want to really look at the folder. You might be scrolling along and see something in the folder and go, hey, what else is in there? So we can show you that the file path feature in the new Cut page is also much more powerful. So you can see the file path up here now, and that's showing the folder where the media is. And as I scroll around, you can see the path will change. So what that also means is I can navigate down the path as well as up the path. So if I click on that, now the source type has shown me just the content in that folder. And if I click back, I get everything, I can scroll along to these shots here, and I can then click on the cooking show. I can see just the cooking show clips. And every time I do it, the source type rebuilds, it allows me to navigate by file path if I really want to, and it rebuilds every time. Another problem we have is icon view is not very detailed. There's not a lot of information with it, and the list view has no image. You can see if I look at these three bin views, there's just not a lot of information on them. This one doesn't have any visual of what you're doing, and this one doesn't have a lot of information. So we have a new view called Metadata view. If you click on that, you can see we've got a metadata tile In fact I'll scroll up and down the source type. I'll get back to master so you see everything, and you can see the media there. So this lets you see the clip and its information and the title will change based on the type of sort you do. So for example, if I sort by timecode, you'll see the title change. So let's sort by timecode and you can see now, it's a date and timecode. And if I sort by scene and shot, it goes back to showing you the scene and the shot. And the title changes every time. All this makes editing scripted work a lot easier. And the bin dividers remove all the manual work of working out where you are. You can move from scene to scene, and it's just seamless, you can zoom in, zoom back out again. You can select shots visually, it's all automatic and instant, as soon as you select the source tape, all this happens for you, it's all assembled for you automatically. So it's very exciting. Now there's also a lot of other Cut page features, I'll show you some of those now. Now DaVinci is much, much better relinking clips. So if you've moved a folder, you can relink clips really quickly. Let's go back to the clips and we'll have a look. What we'll do is we'll move one of our folders, we'll create a new folder here and we'll move our winter wonderland media into there. Now the interface will have lost track of all that media, so it's all gone offline. So if you move media and you want to relink, you can do that really easily, and the relink icon's up here, it'll now show relink, it'll enable, I can select a location like to the desktop. There's my untitled folder, there it is. And when I select it, it relinks all the media for me. There it is. So it's super fast now to relink media. There's now a whole new media manager as well, which lets you export projects out and pass them to other people. So let's check that out. So we go into the media management, I get a new media manager window, I can export out a timeline and I'll export out the edit I just did. I'll also create some low resolution proxies, let's do something at 720P. What I'll also do is I'll put some handles on our media. And now what it's doing is it's rendering out all my content. Now this is in addition to the regular archive feature, the archive feature, you can take all your media and give it to someone. The problem is often that's too big to send. So what this allows you to do is send just the media for the single timeline, but only enough media to support it. And you can also, as I just did, export with handles and you can export the raw media or the transcode, and I just did a transcode. Now this means you can send the timeline and the media to another user and they can then work that timeline and then return it back to you, and it'll relink back to the original media. So say for example, if you wanted to send a timeline do a colorist so they could do a bit of color correction, they can send you back a new type of file called DRT file, which is a DaVinci Resolve timeline file. When you load that back in here, it'll recreate the edit. So let's see how that works. What I'll do is I'll create a new project and I'll load in my media that I just created on the desktop. There it is there. And there's the shots I need, and I'll also load in my DRT file. Now the DRT file is a timeline file, so it's very small. There it is there, there's my timeline. So this is what it would be like if I was a colorist and I've just imported the media you've given to me in the timeline. So if I go to the color page and I select some of this, look at how small the color wheels are in this view. So I'll just create a horrible looking grade, there it is there. So I'll go back to the Cut page. Now what I can do is I can export out the file, I can export the timeline, desktop. Now if I go back to my other project, I can now see what the colorist has given me by importing that timeline file. Here's my new color correction, that's got my terrible color grades in it, there it is there, and that's relinked back to the original media. So the great thing about this is only the timeline file needs to be sent back, and the DRT timeline files are really small, so they can be emailed. Now the remote user can also send you constant updates, so if you've got someone who's doing a large job and you're doing constant work, they could keep sending you a DRT files back and you can just keep loading them in, it'll link back to your original media and you can see the work they're doing as they're progressing. There's also been some improvements in the viewer, we've got a full screen button now, so you can go full screen and play. I probably should get rid of this, change back to my original edit because my color grade wasn't good. We've also got safe area and safe title markers now. Which you can turn on there's a menu for those, so you can set all kinds of aspect ratios. There's also a better, quick export menu window as well now, you can see we've got more items in there and it fits better. So you can see there are some really nice updates to the Cut page. But now let's have a look at the Speed Editor. So the big question I guess, is why did we develop the Speed Editor? Well, we didn't want to waste space on a QWERTY keyboard, which we really felt like is probably designed as a modification to a normal keyboard for traditional editing. But we wanted to design a keyboard specifically for the Cut page. We wanted something that worked better with laptops, we also wanted something that worked with your regular QWERTY keyboard if you really liked that keyboard, you can keep using it because this works in conjunction with it, that's why it was Bluetooth. So obviously as I mentioned before, it's Bluetooth and it's got an internal battery. Now the USB, if you look at the back, the USB can be used to charge it, or you can use it with the USB if you don't want to use Bluetooth. But the reason we did Bluetooth is there's no cable, so you can sit it in front of a normal keyboard, and that's really important. Now I've got an overhead camera, so if we cut to that, we can have a look at the regions on the keyboard and I can explain what's on here. Now all the transport controls are on the right hand side here, there's a search dial on the right that's a solid metal search dial with roller bearings, you got your shuttle, jog and scroll buttons there. Now there's timeline and source tape selectors, when you push the timeline, you're on the timeline, push the source tape, you're back on the source tape as we did before. And you really use all this with your right hand, your left hand side is for your editing functions, and those are what you use with your left hand. So what it means, you're editing with both hands, you're looking for shots here and you're working with your left hand. Now there's really large in and out buttons. And so the top of the, sorry, before I mentioned that, I forgot that the editing functions are up here and this is the way you do your smart insert, append, ripple, overwrite, close up, place on top and source over write buttons. And you've got the big in and out buttons here, you can find them by feel. There's a slight gap in here, so you can find them. And then there's a whole bunch of trimming modes and that's incredibly powerful feature of this. And then there's transition types, you can select between types of transitions. Now on the top middle is the general functions, is a whole bunch of random, not random, but different functions here, and the lower middle is the camera control, the camera controls for the sync bin which I'll get to. And then of course, you've got the play and stop bar, which is very traditional for a keyboard. So let's see what it can do and really show how fast it can be. Now I've got a monitor just below the camera here, so it lets me actually use the Speed Editor here while I'm talking to you, and we use the overhead camera so you can see what buttons I'm pushing. And it'll be a bit more uncluttered than if I try to use it in front of the computer. So we've set up a separate monitor here. Now what I'll do is I'll create a new project and I'll import the winter wonderland clips into that so we can do some edits and we'll show you how it works. So I'll just pop back here for a moment to do that, and I'll load in some shots. So I got my winter wonderland shots in there now, I'll also create a new timeline. So we've done that now, and let's create some edits with the Speed Editor keyboard. Now what we'll do is we'll select the source tape so we can see what shots we want to get and we'll scroll along and see what we want to get. Now what we want to do is want to select these shots and put them in the timeline. So we'll scroll around looking for nice shots, I'm just using the search tool, I'm using the scroll function. If I want to get really accurate, I can use jog. So let's get some of this shot there, that shot there looks good, place an in point, I'll place an out point, this is a very fast way to find shots. And now all I need to do is go and add in with the Append button. So I've got one shot of my timeline and then we'll go and do it to another. So let's have a look around, now I don't need to do anything, I can just keep looking for shots, here's an interesting looking shot. I'll append that. So I've got two shots in the timeline, so you just go along here looking for different shots. Now we can resize the viewer, there's a resize viewer button on here. And so if I push and hold this button, I can resize the viewer. So I can do that with the search dial. Now because we're looking for source media, we'll actually make the viewer nice and big. Now using in and out points is quite slow, so we can do it without doing in and out points. Now you'll notice on the front of the smart insert and the append buttons, there's the word clip. Now a bunch of buttons on this keyboard have secondary functions and in this case, by selecting those, I can insert the whole clip without needing to put in in and out points. So let's clear the in and out points and then we'll go along and we'll just put some clips in. So let's append the whole clip, let's have a look for something. Let's find some of the, that looks pretty good, so let's put that in. That's the whole clip and we'll look for another store, that looks pretty good. Append that, just did an auto save let's see what else we've got. Scroll along looking for something, oh, that looks pretty good. I'll append that. I don't know why I got so many shots of food and that's probably a bad sign. So we've got a bunch of clips in the timeline, I just added those in just by pushing append. So you can see this is why it's so important we start on the source type because you can just roll along, looking for clips and drop them into the timeline. Well now let's do some trimming. So we'll get back to the timeline, we can scroll along here and see some of these clips. Now we want to trim off a little bit of some of these clips so we can trim out, here's the trim out button here. So if you hold the trim out button, you can then trim, and it live trims, I can also trim in. I can go down there, you'll see that little smart indicator, see that little arrow there, just above the edit point. That edit point shows you where it's going to trim. So you don't even have to do any in and out points or anything, you just have to hold trim. If I hold trim out, I can just scroll that back. If I got trim in and it'll do the next clip. I can scroll along here and do trim out, trim in, I can even trim out at the end. So you don't have to select, it's very, very quick and you don't have to select any of the, you don't need to select any in and out points or anything like that. So the great thing about that is that you can just like, I think trimming is probably one of the most powerful functions of the keyboard and makes it so fast. So now we've done some trimming, let's go and add some dissolves. Now that you can select transitions on the bottom here just by turning on and off. So normally you've got a drag and drop transitions, or you can do a keyboard shortcut, we have a button that allows you to turn on and off dissolves, so let's do that. So I'll go to the front of the timeline, I can pretty much push a dissolve, scroll along, and add transitions. Now everything's got a nice dissolve, I can play and I've got my nice transition and I can do additional trimming. Another thing I can do is I can remove the dissolve just as quickly, so let's have a look at that. So if I roll along here, I can pretty much go along here and remove the dissolves just as fast. Now I can also change the default duration of a dissolve or I can change the direction. So if I put a dissolve back in, I can go along here and I can go transition duration. I'm not going to change the length, so if I want faster transitions that are 10 frames long, oops, there I am there. Now I can make that the default transition duration. So the way I do that is I double press, and that's because it's got a set key on the front. If I double press the transition duration, now that will be the default transition duration. So if I go along and then create my transitions now, I missed one back there. Now they're all the same format so I can change those anytime I like. Some of the other modes, I can roll transitions and slip and clips. So let's have a look at that. So I'll come down here, I can roll by pushing this roll button here. I can roll the transition up and down the timeline, I can also slip the clip, I can slip clips either the side, I've got slip in, sorry, slip source. So I can slip the clip there or I can slip the destination clip. I can also move a clip up and down the timeline and that's very fast. So let's have a look, see how that works. So if I hold the move button, the clip will highlight and I can just drag it down and then release it. And now it's moved the clip up and down the timeline. I have a nice full screen button up here, if I want to play full screen, I can just push the full screen button and then play. I push escape to get out of that. Now, if I'm working and I want to trim and edit, what I can do is I might want to review that last edit. So if I double push the full screen button, it'll now take me a couple of seconds before the edit point and then play through it. So it's a really fast way of reviewing an edit in full screen. And if I double press it again, it goes right back to the same spot. There's also a button to adjust the audio level of a clip. I've got the audio level button just here. So if I hold that, I can adjust the audio up and down. You can see it there as I adjust the search dial, you see the level going up and down on the clip. I can also add markers anywhere I want. If a double press, the word marker that's in front of the audio level button, so if I double press it, now I get a marker. So I can add markers if I need to fix something later, and I want to come back to it. And in fact, if I want to change the color of the marker, it'll put down the marker that's on the right-hand side of the user, on the left hand side of the user interface, just on the left of the lower timeline ruler. If I want to change the marker color, I double press and hold, and it'll bring up a nice marker color window, so I can select a new marker color, I can scroll along. And now all the markers will be that color. There's also a snapping function, but snapping works a little bit different with the Speed Editor. When you're using snapping in the UI, it tends to be magnetic, it'll snap onto the edit point. With a Speed Editor, what it'll do is, it'll pause as you scroll through the edit points. So if I turn snapping on there's a lit indicator to highlight it there, there it is there. Now, as I scroll along, it'll stop and pause for a moment on markers and also pause on edit points. So it will pause for a certain number of degrees of rotation of the search dial, and that's how that works. Now I can also insert new clips and keep the transitions with the Speed Editor as well. So if I go to the source tape and I go along and look for a new clip, so I want to get a bit of that. When I go and do a smart insert, it'll include the transition that was at that in point when I'd put the clip in. So that's really nice too. Now there's other edit modes in the keyboard that are much smarter because they're designed to work with the keyboard, like the place on top for example, places the clip on top of the current layer in the timeline, ripple overwrite will replace the clip in the timeline, and if the new clip is a different length, it'll basically just accommodate it. So if it's shorter or longer, it'll basically change the space and swap out a clip. The closeup function is really smart, it uses some image recognition to do closeups of people when they're talking. And it also now in DaVinci Resolve 17, copies the color grade. So when you do a closeup of a shot, if it's got a color grade on it, it'll copy to color to the closeup clip. But one of the most unique edit modes is actually called source overwrite. It's extremely powerful for cutaways. So what I'll do is I'll do a quick multicam project and you can see really how that works. So I'll go back over here and create a new project. So go over here, add a new project, we'll create a new timeline. Also bring in our multicam media, it's our cooking show stuff. Now come back to the Speed Editor and I can click source tape, I can find my wide shot. Now what I want to do is lay down a base layer from the wide shot. So I'll scroll along and have a look, there it is. Well, actually I can just push the Append button, it'll drop that whole clip down into the timeline. So there it is there. Now what I want to do is I want to create some cutaways. Now, the first thing I'll do is I'll set it to video only because once I've got my baseline, I've also got my audio track. Now what I want to do is find some video cutaways and drop them in. This is where it shows you what the source overwrite function really does, it's very powerful. So let's go back to my source tape. Let's look along and find, oh, we've got some nice shots there. Well actually let's get the shots here where they're using the cutting things, let's have a look at that. So she's cutting something here, so if I go and create an in point on that and an out point, I can show you how the source overwrite function works. So now I've got that shot. Now the great thing about source overwrite, it'll place the shot in the timeline on a layer above synchronized to that base layer, because this is a different camera view. So let's go and push source overwrite. And there it is there. Now if I go to the timeline and have a look at that, I'll say that cuts away nicely. And that's all synchronized. You don't need to care about what you're doing, you can pretty much just run along looking for good cutaways. Anytime you find anything, you drop in another cutaway, so let's find another cutaway. She's doing something there. Well, let's find a different, we got a different camera actually. Oh, the wok, this will be good, there's some good stuff here. Let's find. Well, that's good. That bit there. Let's have a look at that. Got an in point, out point, source overwrite. Let's look for something else. Well she's putting in the ingredients. In. Out. Source overwrite. So I can just pretty much go along and add in cutaways, and there's all my shots in here and they're just laid on top and you see they're perfect cutaways. Now that's great, you can just run along, looking at all your camera sources, find different cutaways and drop them in and it'll synchronize the timeline for you. So it's very fast to use, but the problem is what happens if you have multiple cutaways? This is where it gets really exciting, and this is what the sync bin is for. So the button up here for the sync bin, if I press that, what it does, it goes off and gets all my synced angles, it's synchronized this point in the timeline and shows you all those angles at the same time. So you can see them all there. And I've got six different angles. So as I scroll along the timeline, I've got a bunch of different views and I can work out what to do. Now that is the reverse of looking at cutaways, because before, what we did is we added, we found a shot and added it to the timeline using the source overwrite. The question of course is: which cutaway? The sync bin shows us all the camera angles all at the same time. It tracks when we scroll on the timeline, so you can see what all the different angles are and it means it does all the work for you, it's like having an assistant editor that goes off and gets things. And this panel is really, really good for doing, using the sync bin. So let's have a look at a shot number and we'll go and find something else to add in. There's a good bit there where she's using camera two, so we'll push camera two and you see it's automatically selected an in and out point for us. Now we can trim that out point and give a little bit more. I can even trim the in point back a little bit while she's stirring and I can go and add that source overwrite, then I can go along and see what else we've got. There's a bit where she's putting something in the wok there, so we can go to camera one. I can trim the, out of that, I can do a source overwrite on that. So that's all pretty good. So that's all there is to it, you just go along and you can find which source is the best source and you can add that in. Now, one thing worth noting if you've selected one of the camera numbers, say you got camera number two and you don't want to select that, there's an Escape key up on the keyboard here, so you can push that. And in fact, if you double push Escape it does undo. But if you push Escape, you come out of the camera, if you push a camera number, you go into the camera, push Escape, you come back out of the camera. So if you don't like the camera you've selected, "Yeah, I don't want that one", just push Escape and you come back out of it. Now that's really fast, but there's an even easier way of doing that than this. So let's have a look and it's called live overwrite. So if we scroll down the timeline a bit to where there's some action, and I think there's a bit where she's plating up, Let's have a look where that is, that's the bit down there, there's a bunch of stuff happening here. So let's have a look here. Now what we can do is we really like camera number one here. So if I hold camera number one and scroll along, it'll now live overwrite that into the timeline. I can scroll along until she's done, moved away from something else. And then she puts the plate down on camera two. So I want to go to camera two, so I can drop camera two down. That looks good. I go back to the wide shot, bit of that, and then I really like camera three, that looks pretty good, you can see her putting something in camera three, so you can hold that down. There it is there. So you can see how powerful live overwrite is. It basically just paints the shot into the timeline automatically, and you can see how easy it is to do a bunch of cutaways. But it's really quite easy to bump the jog knob. Now when you release, it'll finish on the out point, but the jog knob's a little bit sensitive and so you can, I'll turn off snapping. So you can bump it a little bit, sometimes you can put jump cuts, like a little gaps in the timeline. So the Speed Editor has a dedicated live overwrite button. So what that means is it transforms the keyboard a bit like a switcher. So if I turn live overwrite on, it acts a bit like a switcher. So the camera number buttons are lit up. So for example, which camera number do I like? I like camera number one. So now when I scroll along, it'll scroll along and undo is scrolling backwards. So I scroll along and I kind of like camera four, now I push camera four, I scroll along, oh, actually I like, I want to get back on change that because I quite like camera two, there's camera two. And there's a bit on camera six, it looks quite interesting, so I can scroll along. Basically, I'm just switching across and scrolling along, adding clips, so it's just as simple as that. Scroll along and add clips. Now, the transition type is indicated on the bottom here and I've been doing cuts, but I can push dissolve. And now what it'll do is it'll transform into dissolves. I can also push the transition button up here. So what I can do now is when I scroll along, everything will be a dissolve. So if I scroll and go to six, oops, sorry, I want to go to four. It'll do a dissolve to four and it'll be a default transition, go back to six. Go to three, I like three there, and everything's now a dissolve. So that's pretty cool. Instead of selecting just dissolves, I can also select transitions from the transition palette there, and then when I select a shot and I'll go to camera one, then I'll add those transitions, and they are different again, back to camera three and camera two, and so on. And then when I go back to the timeline and I've got my cutaways and I've got the manual transition, And I can of course change that transition just by holding down the transition palette, I might want to change to a Ripple Wipe, so you can still do all the trimming that you'd like to do. I can roll the edit, if I don't like the edit points, I can do all that. So I can scroll along and there's my edit. So you can see how fast that is. Now what's really funny about this is that's not even fast enough, let's go back a little bit and I'll show you something we added as a bit of fun. So I'll get back to this point here. I'll go back into the sync bin and I'll turn the live overwrite function back on. Now we thought it'd be really funny is if a lot of times when you're editing, say a music video or something like that, doesn't really matter what camera you cut to and really quite on the duration that you are either, so we thought it'd be funny to create a random function. So if you push the live overwrite button twice, it's got the word random on the front. It'll just pick a camera source and have a roughly random duration and just put it down. And if you keep doing it, it'll keep placing transitions. I can push dissolve and it'll do them with dissolves. And now, this is not really the best media for it, but if I'll go back to the timeline now I've got pretty much a random edit. Oops, go back to the timeline, and I've got this sort of random edit, if that was a music video or something, that can be a lot of fun and you can, sometimes it works quite well. And again, you can go in and trim if you need to trim. So I've really only shown you your editing shots from a single camera, and I've shown you some multicam editing. But you can really see how much faster this is. So we think the Speed Editor is going to be really exciting. Now the Speed Editor is just starting production now, it'll be priced at $295 and we think it's going to be very affordable and really help people adopt this sort of new way of editing. It's a really great combination of hardware and software working together. But we'll be introducing it with a special offer, what we're going to do is we're going to bundle the keyboard, the Speed Editor free with DaVinci Resolve Studio. So if you purchase the DaVinci Resolve Studio at the $295 price, the keyboard will be included free. Now, if you buy DaVinci Resolve online, we can't do that because there's weird tax problems around the world. But if you buy it through a reseller, then we'll be able to get the keyboard and bundle that. So it'll be really exciting. So it means you don't need to buy both. You don't have to buy the DaVinci Resolve Studio and the keyboard, you can just buy the DaVinci Resolve Studio and you get the keyboard for free. Now this is just an introductory offer, it'll be available for the next few months, but we think it should be really exciting. So moving on, now the next step is the Edit page and we've got some really nice updates at the Edit page as well. Now we do have a longer term plan to share more features between the Edit and the Cut page, but we've really been focused on the Cut page for speed because the pages have different uses. So we've really been focused on the individual pages for the moment, but you will see in future updates, some cross-pollination between the Cut and Edit pages. However, let's play a clip from one of the trainers to show us what's new in the Edit page. - There are dozens of new time-saving features and creative tools for editors in DaVinci Resolve 17. When working with multi-camera projects, it's easier than ever to set up and sync angles on the Edit page timeline. You can let Resolve do the hard work of aligning multiple clips using either time code or audio waveforms. Once you have your clips synced, it's now simply a matter of creating the multicam clip directly from a timeline or compound clip. Perfect for ensuring the different angles are set up and aligned just the way you need. DaVinci Resolve 17 now supports better handling of interlaced footage for both editing and delivery. New options in the project settings allow you to deinterlace the footage using the DaVinci Resolve Neural Engine for much higher quality results when integrating archive footage in your progressive edits. And there is now full support for interlaced timelines. With the option enabled, all footage, including motion graphics and key framed animations are processed at the field level for smooth interlace results. You can even step through the individual fields directly on the timeline. Adjusting a traditional 16 by 9 timeline for the square or portrait delivery formats, common to online and social media, used to mean resizing and manually tracking content to the new aspect ratio. In DaVinci Resolve 17, Smart Reframe uses the DaVinci Resolve Neural Engine to automatically identify the main focus of the shot, adding key frames where necessary to keep that subject in frame. DaVinci Resolve 17 gives editors even more tools and enhancements to build commonly required visual effects without requiring you to leave the comfort of the Edit page. The new 3D Resolve effect keyer lets you perform keying tasks using intuitive on-screen effect controls to select, refine and mask the matte, all without the need to go to the Fusion or Color pages. And you can now use internally and externally generated traveling mattes by using the new composite mode options to specify the Alpha or Luma mattes and the foreground layer to combine multiple images together for creative results. When looking for effects in the effect library, new thumbnails for transitions, titles or filters provide a live preview of that effect, making it quicker to locate and select the exact effect you're after. And for editors, there are some essential new creative effects to choose from. The new Transform effect allows you to distort your image. Using the overlays, you can stretch, squeeze and corner pin an image quickly. Changing the composite mode to soft light, and adding a couple of key frames really helps sell this final effect. The brand new video collage effect allows you to build complex, but uniform composites, and then quickly animate them on and off screen using simple built-in presets or manual keyframing. Use it to set up simple yet effective split-screen and picture-in-picture effects or use it to just simply enhance your graphics. The new Proxy editing workflow dramatically improves performance for projects which use high quality media allowing for a smoother editing experience. From the project settings, choose the resolution, format, and location where your proxy files will be created. Then select the clips in the media pool and choose generate proxy media. Alternatively, you can link to any type of externally generated proxy media. Simply select a folder of proxy media and Resolve will automatically align it to the appropriate clips in the media pool. And the original media is only a click away. Just turn off the menu option to bypass any proxies and use the original media for grading and effects work. You can choose to include the available proxy media when creating project archives, or simply selecting the proxy media option on its own will allow you to create a more compact and portable project archive, allowing you to easily transport entire projects between edit systems, whether on hard drive or via cloud storage. These are just a few of the many enhancements that DaVinci Resolve 17 brings to your editing workflows. - So you can see some really nice features in the editing in DaVinci Resolve 17. Some of the features are common between the two pages, but we think both ways of editing are very powerful and you can always switch just between the pages or use both, so that's really nice. Now we've also done some good updates with Fusion as well. There's much better integration with editing. So let's play the Fusion demo video and have a look and we'll see what's new in Fusion. - The Fusion page in DaVinci Resolve 17 introduces several new features. These include Fusion effect templates, shape nodes an anim curves modifier, the ability to convert and modify transitions, audio playback and waveforms and several user interface updates. Fusion effect templates are Fusion compositions that can be used as plug-ins on the Edit or Cut page. This brings the power of Fusion's tools to an editor's fingertips. As an added bonus, these templates are stored as text files that are small enough to email to people on your team or share online with the wider DaVinci Resolve community. On the Fusion page, you can use almost any 2D or 3D node to create your desired effect. Once you've created your desired effect, you package this into a template by selecting your Fusion nodes and selecting Create Macro. The Macro window allows you to select which parameters to display on the Edit page. You can also change the name of parameters, starting default value and minimum and maximum ranges in the Macro window. This helps simplify the template, so it's easy to use and tweak on the Edit or Cut page. Back on the Edit and Cut page, this plugin is now available to apply to any clip and adjust to get the final result you want. You can also create Fusion effect templates that make use of more than one clip to create a multi-layered effect. (upbeat music) The Fusion page in DaVinci Resolve 17 introduces a new category of nodes called Shape Nodes. These nodes are designed to generate, modify and render vector shapes. They are perfect for a variety of motion design projects like graphics, commercials or title sequences. When creating animated templates for titles, transitions or effects, the new anim curves modifier allows that animation to easily scale based on the clip's duration. That means the templates automatically adjust to fit the length of the clip or transition, even if you change the duration on the timeline. In this node tree, we modify the X parameter of a transform node with anim curves. This will animate the image from left to right. In the Inspector, under the anim curves modifier, there are a variety of controls. Scaling controls the stretching or squishing of the animation and offset controls the starting points. Now comes the really powerful part. You can adjust the curve setting to change the interpolation from linear to easing or to a custom setting that allows you to draw your own animation curve. For this clip, we choose sine curve to create a smooth start and finish. Back on the Edit page, the animation scales properly as the length of the animation changes. Now, any transition can be converted to a Fusion cross dissolve. This allows you to customize a transition however you would like using Fusion's tool set. To modify a transition, we add any standard transition to the timeline. Then via the pop-up menu, we convert the transition to a Fusion cross dissolve, then open that transition in the Fusion page. Media in one represents the first clip and media in two represents the second. We can modify the Fusion cross dissolve by opening the group and changing the dissolve nodes operation. For example, a gradient wipe allows the artist to connect an arbitrary gradient to be used as the wipe source. In this example, fast noise and displacement nodes are used to create a distortion effect. By using the anim curves modifier, we ramped this distortion effect from 0% to 100% on clip A and 100% to 0% on clip B. This modified transition can be used as is or similar to Fusion effect templates, it can be saved as a transition template. On the Edit or Cut pages, this transition will appear in the Fusion transition section and can be added and modified like any other transition. Audio playback and visual waveforms are now available on the Fusion page. This makes syncing VFX to a musical beat, sound effects like gunshots or audio cues from a narrator a snap. (door sliding) Customizable toolbars allows an artist to create their own toolbars tailored for their needs or a specific task. Edit and Cut page timeline markers are now visible and editable on the Fusion page. Node editor bookmarks have been added to help Fusion artists quickly navigate large node trees. Bookmarks can be manually created and are also automatically generated when you use underlays. New advanced optical flow processing brings significant speed increases for retimes, frame repair and other operations that use optical flow. Lastly, additional GPU accelerated Resolve effects tools are now available on the Fusion page. This includes utility operations like film grain and noise reduction, and also high quality creative effects like lens reflections and analog damage. No matter if you're an experienced Fusion artist or an editor trying it out for the first time, there are incredible new features and enhancements available to you on the Fusion page. - So that's a really nice update for Fusion. Plus the rendering speeds have been really increased, which is nice. Now Fusion is popular with visual effects artists, but it's also great for titles too. And we're finding a lot of broadcasters are starting to use it for graphics. Yeah, because it's got a true 2D and 3D workspace, so it's really, really powerful. It's much more powerful than simple title generators. So one of the last things I wanted to talk about is Collaboration. Now this has become more important since COVID. So what we're doing today, we're announcing we're going to make the Collaboration free of charge for both DaVinci Resolve the free version and DaVinci Resolve Studio. So you'll just be able to download it. Now we think this will help people work together and Collaboration will be the free download, you just go and download it manually. Now at the moment, it'll work with both, as I said, it'll work with both versions of DaVinci Resolve, but we haven't had time to actually build a special installer for it. At the moment, it's still actually bundled with DaVinci Resolve Studio. So what we'll do is before DaVinci Resolve 17 goes final, we'll basically make a separate installer and that'll be downloadable from our website directly. So you have to keep an eye out for that and then just be able to download it. But we thought it might be a good idea to show you a video on some of the capabilities of DaVinci Resolve Collaboration and really show you how powerful it is. So let's play the video and we'll show you how the multi-user Collaboration works with DaVinci Resolve. - Using Resolve's Collaboration tools, multiple artists can organize, edit, color, mix audio, and create visual effects at the same time. When working with multiple editors or assistants, timelines work on a first-come first-served basis. The first person to open a timeline has ownership as indicated by the red play head. If your play head is gray, someone else is already working on that timeline and you won't be able to make changes. However, you can still play back and review it with all the current updates. Once the changes have been made by the owner, a refresh icon appears in the upper right corner of the timeline viewer to let you know that the timeline has been modified. Clicking the icon updates the timeline to the most recent cut. Bins also work on a first-come first-served basis. A bin is locked and is displayed with the team member's color if they have it selected. You can also right click the bin and select lock bins to keep other editors from making any changes even if you select another bin. The bins you lock have a lock icon next to them, and the other members of your team will see your Collaborator icon color next to that bin. If you need access to a locked bin, the chat functionality is a great way to ask for another editor to release that bin. The color page works a little differently in the sense that it is clip locking instead of timeline locking. This means you can have a colorist or multiple colorists working at the same time in the same timeline. When you're on a clip in the timeline, your Collaborator icon will appear on the clip on other members' workstations. This lets everyone know who has ownership of that clip. The colorist can set a look on a clip, then send a message to another colorist via the chat function and ask them to match-grade the look. Using multiple colorists allow you to move at a much faster pace through the material. Once the grades have been updated, you will see the refresh icon appear in the upper right corner of the clip. Jumping to that clip will immediately refresh it to the current grade so you can see the new look. You can also see these changes occurring in real time on the Edit page, just as when you were updating your timeline, you will see a refresh icon appear in the upper right corner of the clips that have been updated in the Color page. Clicking the refresh icon will update the Color on the Edit page. Like the Color page, the Fusion page also uses clip locking. Similar to the Color page, a VFX artist can work on the Fusion page while other artists work in the same timeline on any of the other pages. When you are on a clip in the timeline, your Collaborator icon will indicate to the other team members who has ownership of that clip. In this collaborative environment, a lead VFX artist can quickly QC other artists' work or make tweaks immediately. A lead artist can also set up a composite tree and message another artist to take over and finish some final tasks like rotoscoping, or have another artist copy those nodes and apply them to similar shots. Once you've locked picture, you are now ready to move on to the final mix. All you need to do is move to the Fairlight page and begin. Like the Edit page, the timeline is first-come first-serve. If you open a timeline, you can tell you have ownership when your timeline playhead is red. On other members stations, your playhead will look gray. You will not have the ability to make changes, but you do have the ability to play back the mix for anyone to review. Just as when you were on the Edit page, you will be able to see any updates that are made on Color and Fusion in real time. With the collaboration features in DaVinci Resolve 17, your entire team can work simultaneously on the same project to edit, grade, composite and mix faster than ever before. - So you can see Collaboration has a lot of power. It's integrated so well in DaVinci Resolve and it's used by a lot of high end facilities. It's powerful enough for big feature films, but we think more people can benefit from it, which is why we want to make it free of charge. So DaVinci Resolve 17, it's a big update. Now what we're going to do is we're going to make a public beta available today. You'll be able to download it once the website goes up, DaVinci Resolve 17 will be a free update for all DaVinci Resolve customers. We think it's the biggest update in the history of DaVinci, and it's got a lot of really polished features, and I think this will really upgrade the work you do, it'll be really exciting. So that's about all we have for this update, I want to thank the engineering team who've worked really hard on this update and really long hours in some difficult conditions, often working from home and weird locations. Some of the features in DaVinci Resolve 17 have taken a long time to develop too, and we think they've done a fantastic job. Also again, thanks to the DaVinci Resolve community. You guys have created some fantastic feedback and we've had some great conversations, even without trade shows, we're still being able to have great conversations. Now there's a new website for DaVinci Resolve, the marketing team have been working really hard on it, they've done a great job and includes a lot more information about DaVinci Resolve, especially if you're a new user and you want to learn about some of its key functionality. We also want to thank people who've upgraded to DaVinci Resolve Studio, those upgrades pay for engineering. Obviously so do sales of keyboards and well, not that keyboard because we're giving it away for free, but sales of keyboards and audio consoles and color panels also help us pay for engineering, and it just makes DaVinci Resolve even better. So we hope you like the new DaVinci Resolve 17, we hope of course to be able to catch up and talk soon. We hope you really liked this update and we can't wait to see how you use the new features. And that's always the most exciting spot. So thanks very much for watching and take care and talk soon. Bye.

Channel: Blackmagic Design

Views: 167,567

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Id: A2YJo96KQHw

Length: 99min 16sec (5956 seconds)

Published: Mon Nov 09 2020