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Tracking the search terms “da Vinci Resolve” or “DaVinci Resolve” in Google Trends reveals that interest in Resolve has been slowly but steadily increasing ever since Blackmagic’s 2009 acquisition, and that’s because they have poured resources into developing it into the product it is today.ĭa Vinci Systems was hemorrhaging money back in 2009 when Blackmagic Design acquired it, and Resolve was just an esoteric tool for digital intermediate color grading on high-budget productions. Almost two years before the NLE tumult of 2011, Blackmagic Design had already acquired da Vinci Systems, back in September, 2009. Most pros soon pivoted to one of these three, but few realized that a sleeper suite was already gaining traction.

#Davinci resolve 14 video noise reduction pro#

Since Apple declared Final Cut Studio end-of-life in 2011, post-production professionals have been loudly arguing about what software suites might fill the void-Apple’s own Final Cut Pro X, Avid’s Media Composer, or Adobe’s Premiere Pro.

Film restoration and dust removal tools ported over from da Vinci Systems’ Revival software.

Support for cutting-edge technologies that haven’t quite caught on yet, like HDR and also legacy technologies that have come and gone, like stereoscopic 3D and.

Mastering into any format required, from web to broadcast television, and even digital cinema packages.

A new audio interface with the guts of the recently acquired Fairlight DAW (Digital Audio Workstation) to compete directly with Avid Pro Tools and Adobe Audition.

Standardized data interchange tools like XMLs, EDLs, and AAFs to send and receive timelines across other NLEs, DAWs, and VFX programs.

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A solid offline editing interface with unique tools that allow editors to switch editing tools without even having to type a key or click the mouse.

The ability to render a timeline either into either a single clip for “roll-up” dailies or as individual proxies whose file names and timecode streams match their corresponding original digital negatives from the camera.

All the tools needed for preparing and delivering dailies, including audio sync by SMPTE timecode, linear timecode, or audio waveform analysis color correction, and easy management of data burn-ins.

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Secure media ingest with assorted checksum verification options.

A comprehensive interface to add, organize, and track media metadata.

Robust support for all kinds of digital cinema formats.

Resolve provides a ton of amazing features:

Blackmagic has avoided cloud-based subscription pricing, so unlike Adobe or Avid, they charge no recurring fees.

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Their price discrimination strategy is to include a vast majority of their features in a completely free build of Resolve, while simultaneously selling the larger and more serious post-production facilities with more advanced features, like mastering at DCI 4K (4096 x 2160), noise reduction, deinterlacing, and stereoscopic 3D. Dailies.īlackmagic Design distributes DaVinci Resolve for Mac, Windows, and Linux with mysteriously aggressive pricing. It’s the glue that holds the entire post-production workflow together.

This whole collection of tools, together, makes Resolve one of, if not the most powerful tool in post-production.

The sound mixing tools are brand new, so the industry hasn’t adopted them widely yet, and the editing tools aren’t yet as robust as what you’d see from Apple, Adobe, or Avid, but they’ll suffice in a pinch. However, it’s also great for syncing audio, preparing dailies, conforming, and in the past few years, has even started to offer tools for editing and sound mixing. You may have heard of DaVinci Resolve as a color grading tool-it has a strong pedigree in color, and about a decade ago, you only would have seen it inside high-end post-production houses and finishing facilities, replacing the color timing workflows for film with cutting-edge digital intermediate workflows. Perhaps the single most powerful post-production tool that has emerged in the past few years is Blackmagic Design’s DaVinci Resolve.