Blackmagic Design Resolve v 19.01 available

 Resolve 19 is out of Beta, version 19.01 is now available to download from BMD website:

https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion

From the release notes:

DaVinci Resolve 19.0.1

About DaVinci Resolve 19

The free version of DaVinci Resolve 19 includes all of the same high quality processing as DaVinci Resolve 19 Studio and can handle unlimited resolution media files. However it does limit project mastering and output to Ultra HD resolutions or lower. DaVinci Resolve 19 only supports a single processing GPU on Windows and Linux and 2 GPUs on the latest Mac Pro.

If you need features such as support for multiple GPUs, 4K output, motion blur effects, temporal and spatial noise reduction, multiple AI-based tools, HDR tools, camera tracker, voice isolation, multiple Resolve FX, 3D stereoscopic tools and remote rendering, please upgrade to DaVinci Resolve 19 Studio.

We hope you do decide to upgrade as your facility grows and you do more advanced work!

What's new in DaVinci Resolve 19.0.1

• More responsive timeline updating when moving a large numbers of clips.
• Smoother playback when using fixed playhead in edit.
• Addressed disabled matte nodes being enabled in duplicated timelines.
• Addressed media management issues when transcoding embedded AAFs.
• Addressed applying clip grades potentially causing unlinked mattes.
• Addressed Windows issue detecting new audio devices after launch.
• Addressed viewer annotation markers not honoring selected marker color.
• Addressed an issue with directional blur at 180º angles.
• Addressed a license activation issue on systems with macOS 15 beta.
• Addressed Dolby audio bus-assign workflows not engaging the renderer.
• Addressed incorrect GetClipProperty script return values for audio clips.
• Addressed issues with executing compiled Lua scripts on Windows.
• Addressed an issue with some shortcuts with the latest Mac updates.
• Scripting API support to query audio mapping for timeline clips.
• Scripting API support to query format for audio tracks.
• General performance and stability improvements.

Pre-Installation Notes

For DaVinci Resolve 19.0, we have taken efforts to keep the project libraries compatible with DaVinci Resolve 18.6.6. While this allows you to access the project library with 18.6.6, individual projects created or opened in 19.0 will no longer be accessible in 18.6.6.

We recommend a full project library backup as well as individual project backups before opening projects in 19.0.

Minimum system requirements for Mac OS

• Mac OS 13 Ventura.
• 8 GB of system memory. 16 GB when using Fusion.
• Blackmagic Design Desktop Video 12.9 or later.
• GPU which supports Metal.

Minimum system requirements for Windows

• Windows 10 Creators Update.
• 16 GB of system memory. 32 GB when using Fusion.
• Blackmagic Design Desktop Video 12.9 or later.
• Integrated GPU or discrete GPU with at least 2 GB of VRAM.
• GPU which supports OpenCL 1.2 or CUDA 12.
• AMD/Intel Driver – as required by your GPU manufacturer.
• NVIDIA Driver – Studio driver 550.58 or newer.

Minimum system requirements for Windows for Arm

• Windows 11 for ARM.
• Qualcomm Snapdragon X Elite series processor.
• Recommended: 16 GB of system memory. 32 GB for 4K or Fusion use.

Minimum system requirements for Linux

• Rocky Linux 8.6 or CentOS 7.3.
• 32 GB of system memory.
• Blackmagic Design Desktop Video 12.9 or later.
• Discrete GPU with at least 2 GB of VRAM.
• GPU which supports OpenCL 1.2 or CUDA 12.
• NVIDIA/AMD Driver version – as required by your GPU.

Installing DaVinci Resolve Software on Mac

Double-click the DaVinci Resolve Installer icon and follow the onscreen instructions. To remove DaVinci Resolve from your system, double-click the Uninstall Resolve icon.

Installing DaVinci Resolve Software on Windows

Double-click the DaVinci Resolve Installer icon and follow the onscreen instructions. To remove DaVinci Resolve from your system, go to the Programs and Features control panel, select DaVinci Resolve, click on Uninstall and follow the onscreen prompts.

Installing DaVinci Resolve Software on Linux

Double-click the DaVinci Resolve Installer and follow the onscreen instructions. To remove DaVinci Resolve from your system, select the uninstall option after running the installer.

Additional Information

You will also need to download and install the latest Blackmagic Design Desktop Video software for monitoring with your Blackmagic Design video hardware. Desktop Video is available from www.blackmagicdesign.com/support.

© Blackmagic Design Pty. Ltd. All rights reserved. Blackmagic Design, Blackmagic, DeckLink, Multibridge, Intensity, H.264 Pro Recorder and "Leading the creative video revolution" are trademarks of Blackmagic Design Pty. Ltd., registered in the U.S.A and other countries. Adobe Premiere Pro, Adobe After Effects and Adobe Photoshop are registered trademarks of Adobe Systems. Avid Media Composer and Avid Pro Tools are registered trademarks of Avid. Apple Final Cut Pro, Apple Motion and Apple Soundtrack Pro are registered trademarks of Apple Computer.

Updated September 04, 2024.

The Peculiar Way DaVinci Resove Handles Interlaced Footage

 DaVinci Resolve has a weird way to deal with interlaced footage.

First with Resolve, you better pay attention to what kind of media you are bringing in, and how it is recognized. In particular with legacy footage (NTSC, PAL) the Pixel Aspect Ratio is sometimes unrecognized, or recognized as Square. You will have to manually switch to NTSC or PAL Pixel Aspect Ratio. Same with Anamorphic or 4:3 footage. Check your footage for squashed looking image.

Second, the Field dominance is usually recognized properly via Auto, but best to double check against your actual footage anyway and make sure it matches. If not, again modify it by hand, and use the correct settings for your footage, Upper Field or Lower Field. Using the incorrect field will produce unwanted artifacts.

Then, when creating a new Timeline for exporting screeners, make sure the frame rate matches the footage. Ex. 29.97 for NTSC or 25 for PAL. It's counter intuitive, but do not check "Enable Interlace Processing" box. The effect will be to double the frame rate, resulting in a 59.96fps Timeline for NTSC or a 50fps Timeline for PAL. In most cases you do not want to enable interlaced processing.

Resolve User Manual p131:

• Enable interlace processing: Interlaced media is supported throughout DaVinci Resolve. The “Enable interlace processing” checkbox forces DaVinci Resolve to process all operations internally using separated fields, in order to properly maintain the field integrity of interlaced clips in your program. In addition, each clip in the Media Pool has a Field Dominance drop-down menu in the Video panel of the Clip Attributes window that lets you specify whether clips are upper- or lower- field dominant; an Auto setting makes this choice by default.

  There is also a corresponding checkbox in the Render Settings panel of the Deliver page, named “Field rendering,” that lets you enable and disable field rendering when you’re rendering file-based output.

  There are two instances where you want to leave this setting turned off:

  • —  If you’re working with progressive-frame media, it is not necessary to turn this checkbox on. Doing so will unnecessarily increase processing time.

  • —  If you’re using interlaced clips in a progressive-frame project and you’re intending to deinterlace those clips using the Enable Deinterlacing checkbox in the Clip Attributes window, then you must keep “Enable video field processing” off. Otherwise, the Enable Deinterlacing checkbox will be disabled for all clips. For more information about deinterlacing clips,
    see Chapter 22, “Modifying Clips and Clip Attributes.”

    If you’re working on a project with interlaced media that you intend to keep interlaced, then whether or not it’s necessary to turn field processing on depends on what types of corrections you’re applying to your clips. If you’re mastering your program to an interlaced format, and you’re applying any adjustments that would cause pixels from one field to move or bleed into adjacent fields, then field processing should be enabled; effects requiring field processing include filtering operations such as blur, sharpen, and OpenFX operations, as well as sizing transforms that include pan, tilt, zoom, rotate, pitch, and yaw.

    On the other hand, regardless of whether you’re outputting interlaced or progressive-frame media, if you’re not filtering or resizing your clips, and you’re only applying adjustments to color and contrast, it’s not necessary to turn on field processing for interlaced material, and in fact, leaving it off may somewhat shorten your project’s rendering time.

You will not be able to go back to the original frame rate after you choose to Enable Interlace Processing. All outputs will be at double the frame rate. Even if you are applying resizing and other pixel shifting prone processing, you might still want to not enable it in order to maintain the original frame rate.

The other problem with Resolve is that not all formats/Codecs allow for interlaced output. For example Quicktime h264 is always progressive. There is no checkbox for interlaced rendering when selecting h264 or h265. Apple ProRes on the other hand has a checkbox and allows for interlaced rendering.

h264/h265 are mostly for delivery of files to web/computers. But they are also widely used for making screeners, and when the original footage is interlaced (legacy NTSC, PAL), it sometimes is a problem outputting either a progressive file, or worse a 59.94/50fps file.

Let's say the editor uses your files as temp clips into his/her cut, it will be a problem down the line when it's time to online with the original clip. The timing won't match, or the clip will be wrongly stamped as progressive.

Having to export first to ProRes out of Resolve, then convert the ProRes interlaced files to h264 interlaced using Compressor or AME (both allow for interlaced h264 outputs), is not an acceptable workaround, too time consuming and it adds opportunities for errors.

Granted, legacy formats are not much in use these days, except in documentary work as archive footage. And there are tons of archives recorded as NTSC or PAL interlaced. If you are moving your cut between NLEs, and/or when it's time to online, problems will arise. A good online editor will be able to flag and deal with these mismatches properly, but still.

Now if you are using the original interlaced footage in a progressive Timeline and finalizing in Resolve, then as described in the manual, just de-interlace the footage and you are in business. Just make sure all the clips settings are correct as discussed earlier.

It's odd to me that the proper interlaced workflow when dealing with screeners / temp outputs is so lacking in Resolve. Again Apple Compressor and Adobe Media Encoder are perfectly fine with interlaced h264 outputs.

Why is interlaced only possible with some codecs and not others in Resolve? To me it feels like a random decision on the part of BMD.

DaVinci Resolve 18.1 Continues To Have A Bug 🪲 In Video Monitor Look Up Table

 When applying a LUT to the Video Monitor, it should only affect the output, in my case the SDI out from the UltraStudio Monitor 3G.

Unfortunately it also affects the Scopes in the Edit and Cut Pages even though No LUT Selected is selected in the preferences for the Scopes Look Up Table.

Bizarrely, and thankfully, the Scopes are not affected in the Color Page, at least that's where it's most important. 

SMPTE Bars looking correct on the Scopes

When No LUT selected for Video Monitoring

SMPTE Bars displayed incorrectly on the Scopes in the Edit and Cut Pages. Why?

In the Color Page at least the Scopes look correct.

Note the LUT applied to Monitoring only, not to Scopes.

That's a BUG 🪲 that's been plaguing Resolve version after version for long time:

https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=51358

https://forum.blackmagicdesign.com/viewtopic.php?t=69732&p=389301

https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=159257&p=863595&hilit=Video+monitor+look+up+table#p863595

Why has this inconsistent behavior not been fixed by now BMD? 😡

How To Make an Unencrypted DCP with Resolve 15

DaVinci Resolve 15 offers Unencrypted DCP creation using Kakadu JPEG2000 for free. Until now we only had the paid easyDCP option available. EasyDCP is still the only option for 4K and Encrypted DCPs within Resolve.

For screenings and festivals purposes though, an unencrypted 2K DCP is great to have. Thanks to the guys at BMD you can easily make your own DCP directly within Resolve. In addition, one can also import the DCP newly created and add it into the Media Pool for instant checking, with the correct colors!

Before delivering your DCP you will need to copy the files to a portable drive that's compatible with DCP servers. More on this subject (and in-depth knowledge of DCP) on the wonderful website of Knut Erik Evensen.

Pretty cool, so how do we do this? When you have your film ready in Resolve Timeline, click on the Deliver page and choose Custom.

Browse to the location you want to render your DCP to. For Video, select Format = DCP, Codec = Kakadu JPEG2000, Type = you have three choices 2K DCI, 2K DCI Flat, 2K DCI Scope. Use what's best in your case.

Leave the Maximum bit rate at 211 Mbit/sec (default.)

Check Use interop packaging (it's the most compatible.) I note that there is nothing in the settings regarding the Frame Rate. Interop will only render a 24fps DCP. I had no problem doing so using a 23.98 timeline, so the rate conversion happens in the background, which is cool. I have not tried Subtitles.

Composition name, Click Browse. It opens the DCP Composition Name Generator with all the Metadata and naming already filled-in. Make sure to double check that it reflects your specific project. Make sure that Standard is set to OP (interop.)

For Audio, the default settings should work, Codec = Linear PCM, Output Track = make sure this reflects your tracks arrangement in the Timeline.

Add to the Render Queue, and Start Render! In my experience it takes around x3 real time to output a DCP with Resolve on my 2012 MacPro.

Voilà!

When your DCP is finished being created, go to the Media Tab, and add the DCP to the Media Pool. It shows in there just like a regular clip. You can check its Metadata, and Create a new Timeline using the DCP, from where yo can playback the DCP for checking everything is OK. On my machine, I have to use 1/2 resolution to have real time playback.

Alright so I had a post about using Premiere to check DCPs some time ago, this is another solution for DCP playback and creation. Enjoy!

FCPX 10.3.4 to DaVinci Resolve 14.3 Observations

I just downloaded DaVinci 14.3 and out of curiosity exported a fcpxml of my current FCPX project to see how well things translate. I'm currently using FCPX 10.3.4.

Let's start with audio and then we'll look at picture:

1) My FCPX project starts at 23:59:57:00 to allow for a 3 sec. preroll and then start the first image at 00:00:00:00. Well Resolve handles this differently and continues playing Timecode at 24:00:00:01 and counting... What?

What is this BMD?

Fairlight counts correctly to 00:00:00:00 pass 24hr., but does not like crossing over and plain STOPS there. Even signifies its refusal with a "T" mark in the time bar. And trying to click further down the time bar doesn't do anything.

You won't go pass that 00:00:00:00 point.

Changing the Timeline Starting Timecode to 00:00:00:00 or 01:00:00:00 effectively removes the "T" mark, or better it's out of the way, and Fairlight plays happily.

2) The Disabled Clips in FCPX Timeline are correctly Disabled in Resolve/Fairlight Timeline, EXCEPT for clips grouped into a Secondary Storyline, see below, thus creating chaos.

3) Stereo clips are brought in as Mono L/R. Why we still have to deal with this ancient mode in modern NLEs are beyond me. Are you listening engineers, programmers? We want proper multi channel audio track handling.

3) The order in which Resolve brings audio clips seem very random, and in any case doesn't take Roles into account in any way.

4) Audio grouped under a Storyline in FCPX translates into Resolve as "Secondary Storyline_L/R clip instead of the proper audio clips name. Thus creating additional chaos.

5) Some audio grouped under Storylines are NOT PRESENT in Resolve Timeline. I don't know why some audio is being dropped. That's wrong.

I guess we cannot use Secondary Storylines for audio for this workflow or we have to take all audio clips out of Secondary Storylines before exporting fcpxml.

6) Gain (a Logic Pro Effect) is ignored. Alex4D Sound Only (a FCPX/Motion Transition) is ignored.

7) Volume is ignored.

8) Fades are ignored.

So all in all, not a very satisfactory first impression audio wise  I mean we live in times where we must keep as much as possible of the information from system to system, and this is clearly not a good example of that. Sending fcpxml to X2Pro to ProTools via AAF is a much more advanced workflow. As far as Audition goes, it still can't open fcpxml, you have to roundtrip through Premiere and loose most of the info there. Audition cannot open AAF, so cannot make use of X2Pro either. Then there is Logic, but I don't have any info at this point. If you do, please leave a comment.

As for picture:

a) Basic Titles with single formatting/font translate correctly. All others do not.

b) Speed changes have been working correctly for some time now, and still do.

c) Stills translate correctly, but not the Ken Burns Effect which is IGNORED. Stills in Secondary Storylines translate as "Secondary Storyline" instead of the name of the still. Plus some seemingly random stills are discarded, and I cannot figure the reason why. That's WRONG.

d) Fades and Cross-Disolves still translate correctly.

e) Effects (Vignette, Color Correction, Gaussian Blur, Drop Shadow) are discarded.

f) Transform and associated keyframes do translate, but appear quite shifted, so adjustment will be necessary.

g) Generators are not understood and continue to be replaced by Roundtrip Dummies.

At this point all the known limitations are still in action, we continue to be in "Bake everything into QT before exporting to fcpxml" mode, or too much is lost in translation. Secondary Storylines are still a no-go and a cleaned-up FCPX timeline is your friend.

Where did Resolve 13 go? - BlackMagicDesign Resolve 14 public beta

New release of Resolve v14, Studio now $299 down from $999. Free still free.

10X Faster engine!

Improved fluidity

Open Bins in their own window

Color coded tracks

Big step up for audio, full-on DAW incorporating Fairlight inside Resolve.

Subframe accuracy

Support for multitrack audio 5.1, 7.1 with METERS (Avid tremble!)

1000 audio tracks with Fairlight engine (w. Resolve Studio only?), 60 without.

Suport for VST plug-ins

New stabiliser, match move, track facial features (all auto)

Warper! To distort or un-distort image

De-Haze

New creative filters

Huge collaborative tools improvement, track users, multiple users can work on the same project at the same time.

Locked bins, update bins button, timeline refreshing, compare and merge timelines, select changes as needed

Local or shared storage supported

Whoa! Take this Apple, Avid, Sony (Magix) and the rest of the flock. I'm downloading Resolve 14 beta today and will test drive it asap and report.

https://www.blackmagicdesign.com/products/davinciresolve

DaVinci Resolve 14 Public Beta

About DaVinci Resolve 14 Software

The free DaVinci Resolve 14 includes all of the same high quality processing as DaVinci Resolve 14 Studio and can handle unlimited resolution media files. However it does limit project mastering and output to Ultra HD resolutions or lower. DaVinci Resolve 14 only supports a single processing GPU on Windows and Linux and 2 GPUs on the latest Mac Pro.

If you need features such as support for multiple GPUs, 4K output, motion blur effects, temporal and spatial noise reduction, HDR tools, Lens distortion correction, de-interlacing, Resolve FX Lens Flare, Lens Blur and Film Grain, 3D stereoscopic tools, remote rendering, an external database server and collaboration tools that let multiple users work on the same project at the same time, please upgrade to DaVinci Resolve 14 Studio.

We hope you do decide to upgrade as your facility grows and you do more advanced work!

What's new in DaVinci Resolve 14

Collaboration

• All new collaboration workflow which allows multiple users to work on the same project at the same time
• Added ability for collaborating video/audio editors and colorists to work on the same timeline at the same time
• Resolve Collaboration supports any shared storage technology and works with a PostgreSQL shared database server
• Support for live saving all collaborator actions in a collaborative project
• Support for Project Manager indicators to show collaborative projects
• Ability for collaborators to pick a profile on their shared projects
• First come first serve write access for Media Pool Bins with read access for everyone else
• Live Media Pool side bar bin updates including user locks and refresh available indicators
• Timeline indicators to show user locks and refresh available
• Live update of Color Page thumbnail icons to indicate user locks and refresh available
• Live sharing of Color Page still galleries
• New compare timeline tool to simplify merging timelines from multiple collaborative users *
• Live group chat feature on collaborative projects

Improved Performance, Fluidity And Usability

All new image processing engine with numerous performance improvements and optimizations

• New image processing engine which maximizes single and multi-GPU utilization
• Support for GPU processing using Metal on Mac
• New optimized performance mode for improved playback
• New dynamic memory manager for optimized CPU memory usage
• Improved performance on single GPU laptops and workstations
• Improved editing and playhead fluidity on the Edit page timeline
• Dramatically improved latency of JKL playback
• Improved Color Page playback start/stop latency
• Improved Multicam playback performance
• Improved pan and zoom on viewers when using the trackpad with support for an Alt/Option modifier
• Improved performance when scrubbing H.264 and similar codecs
• Support for improved CPU usage

All new database engine for improved management and performance on PostgreSQL and DiskDB

• Support for a new live save option where changes are saved as you work
• Support for incremental fast saves in the new and improved DiskDB
• Ability to save, load, update and delete user UI layout presets

Improved media access and performance

• Improved H.264 encode and decode performance
• Improved performance for file listing in Media Storage
• Improved scrolling performance in Media Storage folders and Media Pool bins with many clips
• Improved speed of importing AAF timelines
• Improve speed of Optimized media generation, transcoding and fusion rendering
• Support for Optimized Media in 3D stereoscopic clips
• Support of high frame rate timelines up to 120 frames per second - DaVinci Resolve Studio only
• Support for up to 16Kx16K source images and timeline resolution
• Ability to drag a file or folder from Finder/Explorer to Media Storage in order to navigate there

Audio

• New Fairlight audio processing engine for all audio in Resolve
• New Fairlight page with dedicated audio editing, mixing, finishing and mastering controls
• Support for unlimited audio tracks, 8 main, sub and aux outputs
• Support for Fairlight Audio Accelerator and I/O hardware
• Support for Fairlight free standing and desktop consoles
• Single and dual monitor UI configurations on the Fairlight page
• Fairlight page includes Media Pool, timeline, metering, mixer, effects, video preview, timeline index and inspector

Key Features

• Six band EQ for every track
• Expander/Gate, Compressor and Limiter Dynamics for every track
• 2D and 3D Pan control for sound placement *
• Timeline toolbar includes a pointer and a marquee tool, automation state, snapping, flags, markers and timeline options
• Automation includes trim state, touch, latch or off mode, event selection
• Support for separate enables for fader, mute, pan, EQ, compressor, Gate, Aux, Limiter and Plugins

Monitoring and metering features

• Level meters for all channels, Masters, Subs, Aux and groups
• Monitoring of main outputs available in mono, stereo5.1, Atmos, Auro, DTS, IMAX and multichannel up to 22.2
• Compound metering includes speaker group selection, phase and loudness with integration control
• Video preview available as docked or popup viewer with SDI video output

Timeline features

• Track sidebar includes controls for gain, automation, lock, solo, mute and record
• Track sidebar includes indicators for track number, name, color, linked track and meters
• Timeline clips include user selectable indicators for clip name, gain, FX, group, EQ, Source, Speed, Linked status, stem/channel bit depth, sample rate and source channel
• Timeline clips include full or rectified audio waveform with waveform border, gain level, fade handles and automation keyframe control
• User selection of timecode display with subframes and samples, feet and frames or only samples
• Five preset and custom user selectable track height with locks
• New timeline index shows tracks and markers

UI dialogs for setup and assignment

• Each mixer track includes input selection, effects, insert, EQ and dynamics graphs, output selection, aux, pan, main and submix selections
• Mixer also includes track name and color, grouping, record, mute and solo selection and gain fader with meters

General audio improvements

• New audio processing engine includes support for 192 KHz 24bit audio
• Support for pitch correction when performing speed changes on all platforms
• Support for pitch correction during FFW and FRW playback on the Edit page timeline

Edit

Key new features

• Support for track colors on the timeline
• Support for dragging just video or audio from the source viewer
• Support for a toggle to switch between single viewer and dual viewer mode
• Support of OFX plugins as filters in Timeline
• Ability to drag and drop a transition from one clip to another
• Redesigned Effects Library for easier navigation and search
• Support for improved "Play Around" functionality with contextual behavior depending on selection
• Support for Blur Dissolve transition
• Support for audio waveforms on Multicam Clips, Compound Clips and Timeline Clips
• Support for alpha rendering from source when using Fusion Connect

Clip adjustment improvements

• Ability to "Remove Attributes" from one or multiple clips
• New menu option to freeze frame the current frame under the playhead
• Ability to select all keyframes in Keyframe and Curve editor using Ctrl/Command+A
• Ability to linearize/smoothen curves for multiple selected keyframes in the Keyframe and Curve editor

Clip trim improvements

• Ability to Alt/Option+Shift drag to resize a clip's In or Out point over an adjacent clip to automatically create a transition
• Ability to Alt/Option+Shift drag a clip from the Media Pool to overlap a clip in the timeline to add a transition
• Support for two new trim commands in the Trim menu
• Slip Playhead to In
• Slip Playhead to Out
• Support for slip functionality when performing an Extend Edit
• Ability to duplicate and superimpose dragging selected clips from a track while holding down Alt/Option + Shift
• Support for snapping when dragging and placing text elements in a Title in the Timeline viewer
• Support for improved snapping when performing ripple edits
• Ability to perform playback using JKL in Dynamic Trim Mode when no clip or edit point is selected

Conform improvements

• Support for user selectable conform criteria when performing "Reconform from Bins"
• Ability to "Reconform from Media Storage folders" for a Timeline
• Support for missing on disk indicators and missing in Media Pool indicators in the Timeline
• Support for importing 3D Warp Pitch and Yaw parameters in AAF from Avid Media Composer
• Support for the following Index filtering options
• Show Clip Color
• Show Clips with Composite Effects
• Show Clips with Transform Effects
• Show Clips with Filters
• Show Clips with Speed Effects
• Show Fusion Connect Clips
• Show Compound Clips and Nested Timelines
• Show Clip conflicts
• Show Flags of a particular color
• Show Markers of a particular color
• Show Stills and Freeze Frames
• Ability to see conflicts in the Index Match column
• New Position Lock on toolbar to lock ripple on tracks and timelines for Online Editing
• Project setting to enable/disable automatically Conform when adding clips to Media Pool
• Ability to set default number tracks and types in Project Settings > Editing > New Timeline Settings

Marker improvements

• Ability to display Marker names and notes as viewer overlays
• Ability to list clip markers in Media Pool list view
• Ability to convert an In and Out point selection into a duration marker
• Ability to navigate between markers from the option menu in the viewers
• Ability to search and filter in the Index using Marker Name and Marker Notes fields
• Ability to multi select timeline markers using a marquee

Media Pool improvements

• Support multiple Media Pool windows either as a 2-up/4-up docked view or as new pop-up windows
• Ability to hover over Media Pool thumbnails to mark in and out
• Ability to "Rediscover Optimized Media" in the Media Pool
• Ability to "Unlink Selected Clips" in the Media Pool
• Support for missing on disk indicators in the Media Pool for both the thumbnail and list view
• Support for Smart Bin and Smart Filtering based on Display Name
• Ability to Create Bin With Selected Clips
• Ability to create Smart Bin filters using Marker Name and Marker Notes
• Ability to search in the Media Pool using Marker Name and Marker Notes fields
• Ability to perform comma separated text matches in Media Pool search, Smart Bins and Smart Filters
• Ability to add/remove items from current selection with keyboard modifiers (Ctrl/Command, Shift and Alt/Option)
• Ability to Alt/Option drag clips in the Media Pool to duplicate them and put them in another bin

General improvements

• Previous/Next clip now ignores selection when the selected clip is not visible
• Support for a "Playback post-roll" option in the Timeline menu
• Ability to drag video only or audio only from the timeline to the Media Pool
• Support for retaining playhead position and in and out positions when swapping timelines
• Ability to drag a OpenFX/ResolveFX filter onto one or multiple selected clips
• Support for selecting resize algorithm per clip in the Inspector
• Support for a progress bar when applying Lens Correction
• Support for 100% levels in EBU Color Bar generator
• Ability to search "All Fields" when applying a search filter in the Index
• Support for toggling "Show Reference Wipe" is now available on the Edit page
• Ability to Alt/Option click only the audio or video to override a linked clip selection

Color

ResolveFX improvements

• ResolveFX plugins are now sorted into logical groups of effects
• Support for starred favorites for OpenFX is not available on the Color page
• Ability to paste tracking data between the FX tracker and the Power Window tracker
• Improved ResolveFX Lens Flare
• Support for Gamut Mapping from Timeline to Output Color Space in Resolve Color Management
• Support for Gamut Mapping in the ResolveFX Color Space Transform plugin

New ResolveFX Plugins

• ResolveFX Face Refinement - DaVinci Resolve Studio only
• ResolveFX Warper - DaVinci Resolve Studio only
• ResolveFX Match Move - DaVinci Resolve Studio only
• ResolveFX Color Stabilizer - DaVinci Resolve Studio only
• ResolveFX Timelapse Deflicker - DaVinci Resolve Studio only
• ResolveFX Contrast Pop - DaVinci Resolve Studio only
• ResolveFX Color Compressor
• ResolveFX Abstraction
• ResolveFX Watercolor
• ResolveFX Lens Distortion
• ResolveFX Gamut Mapping
• ResolveFX Dead Pixel Fixer
• ResolveFX Alpha Matte Shrink and Grow
• ResolveFX Color Palette
• ResolveFX Dehaze
• ResolveFX Sharpen
• ResolveFX Sharpen Edges
• ResolveFX Soft Sharpen Skin
• ResolveFX Camera Shake
• ResolveFX Deband
• ResolveFX Grid

General improvements

• Support for a new advanced Stabilizer in the Tracker palette
• Ability to add and control favorite ResolveFX and OpenFX plugins under Modes from the DaVinci Resolve Advanced Panel *
• Support for improved jog and shuttle control on DaVinci Resolve Advanced Panel
• Ability to toggle LightBox SDI output from the DaVinci Resolve Advanced Panel using Shift Down + CONFORM
• Ability to toggle full screen LightBox from the DaVinci Resolve Advanced Panel using Shift Up + CONFORM
• Ability to press and hold Reset on the DaVinci Resolve Micro and Mini panels to reset the node graph
• Ability to press and hold Previous/Next Frame on the DaVinci Resolve Micro and Mini panels to jump to the beginning/end of the clip
• Ability to press play/reverse repeatedly on the DaVinci Resolve Micro and Mini panels to increase playback speed
• Ability to set the LCD brightness of the DaVinci Resolve Mini panel using LCD brightness in Control Panel settings
• Ability to set the key backlighting of the DaVinci Resolve Micro and Mini panels in Control Panel settings
• Ability to remember Bars vs. Wheels when switching to Primary from a Control Panel
• Improved various knob and parameter sensitivities on the DaVinci Resolve Micro and Mini panels
• Support for the Common LUT Format (CLF) with examples - DaVinci Resolve Studio only
• Support for scopes as an overlay on the Cinema viewer
• Support for new commands and shortcuts to move selected keyframes
• Selection of multiple keyframes no longer needs a modifier key
• Support for track color on Color page timeline
• Support for plugin name on FX nodes
• Support for full height OpenFX inspector in full screen mode
• Ability to set default number of neighboring clips for Split Screen in Project Settings > Color
• Support for Clip Color indicators in the Color page Timeline
• Support for adding any Media Pool clip as a matte to the current clip on the Color page
• Improved support for ACES v1.0.3
• Support for ACEScc, ACEScct and ACEScg color spaces in Resolve Color Management
• Support for ACEScc, ACEScct and ACEScg color spaces in the ResolveFX Color Space Transform plugin
• Support for ACEScc, ACEScct and ACEScg IDTs and ODTs when using ACES
• Support for clip output render caching from pre and post group node graph
• Support for showing picker RGB values in 8 bit or 10 bit available in the View menu
• Ability to to toggle the viewer overlay mode on/off using Shift + `
• Support for Ctrl/Command and Ctrl/Command+Shift for half and quarter increments in Printer Lights Hotkeys

Media

• Support for user selectable checksum methods in Clone Tool option menu
• Ability to unmount drives from Media Storage on Mac and Windows
• Ability to set custom whole number frame rates from 1 to 120 fps in Clip Attributes
• Support for option to import ARRIRAW clips at the Open Gate resolution in Project Settings > CameraRAW > ARRI
• Support for automatically cropping ARRI Quicktime clips to show only the active area of the sensor
• Support for latest EasyDCP library
• Support for decoding Nikon RAW files
• Support for MultiPart OpenEXR
• Support for Constant and Variable bitrate in Quicktime ProRes and DNxHR codecs
• Support for H.264 multi-pass encoding on Mac
• Support for decoding H.264 Intra 422 10bit - DaVinci Resolve Studio only
• Support for encoding to the MP4 format
• Support for decoding High 10 Profile H.264 files on DaVinci Resolve Studio
• Support for encoding VP9 profiles with higher bit-depth
• Support for Network Optimization option on Quicktime renders
• Support for 10b and 12b encoding options for DNxHR HQX and DNxHR 444

General

• Support for an improved Project Manager with an integrated Database manager
• Ability to copy and paste one or multiple projects between databases
• Ability to sort list of databases in Database manager
• Support for a new Bicubic resizing filter option
• User settings such as layout preferences are now saved locally on the machine
• Ability to drag a bin into another bin in the Media Pool right hand side view
• Support for a smaller page switcher on smaller screens
• Ability to type in Project Manager and browse dialogs to automatically navigate to and highlight matches
• Support for searching for shortcuts by command name or shortcut in Project Settings > Keyboard Mapping
• Support for displaying conflicts when assigning shortcuts in Project Settings > Keyboard Mapping
• Tags now support non-text parameters such as Timecode, Dates, Numbers and Resolutions
• Support for undo/redo history available in the Edit menu
• Support for an option to stop playback when frames are dropped on the SDI output
• Support for remembering the last open page across multiple sessions

Pre-installation Notes

• CUDA is only supported on NVIDIA GPUs with compute capability 3.0 or higher (Kepler architecture or newer)
• Automation of clip audio effects is no longer supported
• Audio clip mixer is no longer supported
• Support for AU plugins is not currently available
• Support for audio playback and render of nested compound clips and timelines is not currently available
• Support for output audio channel assignment is not currently available
• Support for DaVinci ACES has been removed
• Support for older versions of ACES has been removed
• Support for render cache is not currently available in Collaboration
• Support for the Login page and Resolve users has been deprecated
• Dual machine servers are no longer supported on Linux

Minimum system requirements for Mac

• Mac OS X 10.11.6 El Capitan
• 16 GB of system memory is recommended and 8 GB is the minimum supported
• Blackmagic Design Desktop Video version 10.4.1 or later
• CUDA Driver version 7.5.25
• NVIDIA Driver version – As required by your GPU
• RED Rocket-X Driver 2.1.34.0 and Firmware 1.4.22.18 or later
• RED Rocket Driver 2.1.23.0 and Firmware 1.1.18.0 or later

Minimum system requirements for Windows

• Windows 8.1 Pro 64 bit
• 16 GB of system memory is recommended and 8 GB is the minimum supported
• Blackmagic Design Desktop Video version 10.4.1 or later
• NVIDIA/AMD/Intel GPU Driver version – As required by your GPU
• RED Rocket-X Driver 2.1.34.0 and Firmware 1.4.22.18 or later
• RED Rocket Driver 2.1.23.0 and Firmware 1.1.18.0 or later

Minimum system requirements for Linux

• CentOS 6.4
• 32 GB of system memory is recommended and 16 GB is the minimum supported
• Blackmagic Design Desktop Video version 10.4.1 or later
• NVIDIA/AMD Driver version – As required by your GPU
• RED Rocket-X Driver 2.1.34.0 and Firmware 1.4.22.18 or later
• RED Rocket Driver 2.1.23.0 and Firmware 1.1.18.0 or later

Upgrading your PostgreSQL database server on Mac

Until DaVinci Resolve 12.5.2, the Mac installer used to ship with PostgreSQL version 8.4.2. Starting from macOS Sierra 10.12, PostgreSQL version 8.4 is no longer supported. If you intend to upgrade to the latest OS, you will need to upgrade your PostgreSQL database server to version 9.5.4 prior to upgrading macOS. Once your PostgreSQL installation has been upgraded and your data has been ported, you can then proceed with your macOS upgrade.

We have provided apps to simplify upgrading your PostgreSQL version on your Mac.The apps along with instructions can be found in the:

/Library/Application Support/Blackmagic Design/DaVinci Resolve/Upgrade PostgreSQL

folder. Starting from DaVinci Resolve 12.5.3, new installations will include PostgreSQL version 9.5.4.

Installing DaVinci Resolve Software on Mac

Double-click the Resolve Installer icon, follow the onscreen instructions and then restartthe computer after installation.

Installing DaVinci Resolve Software on Windows

Double-click the Resolve Installer icon, follow the onscreen instructions and then restart the computer after installation.

Installing DaVinci Resolve Software on Linux

Open a Terminal shell, login as root and run the command:

# DaVinci_Resolve_12.5.5_Linux.sh

Removing DaVinci Resolve Software from Mac

To remove DaVinci Resolve from your system, double-click the Uninstall Resolve icon from the DaVinci Resolve folder in Applications.

Removing DaVinci Resolve Software from Windows

To remove DaVinci Resolve from your system, go to the Programs and Features control panel, select DaVinci Resolve, click on Uninstall and follow the onscreen prompts.

Additional Information

Please refer to the latest DaVinci Resolve Configuration Guide for your platform detailing support, including certified driver versions for third party hardware. It is available from www.blackmagicdesign.com/support.

You will also need to download and install the latest Blackmagic Design Desktop Video software for monitoring with your Blackmagic Design video hardware. Desktop Video is available from www.blackmagicdesign.com/support.

© 2001-2017 Blackmagic Design Pty. Ltd. All rights reserved. Blackmagic Design, Blackmagic, DeckLink, Multibridge, Intensity, H.264 Pro Recorder and "Leading the creative video revolution" are trademarks of Blackmagic Design Pty. Ltd., registered in the U.S.A and other countries. Adobe Premiere Pro, Adobe After Effects and Adobe Photoshop are registered trademarks of Adobe Systems. Avid Media Composer and Avid Pro Tools are registered trademarks of Avid. Apple Final Cut Pro, Apple Motion and Apple Soundtrack Pro are registered trademarks of Apple Computer.

Some applications use the QT UI framework (http://qt.digia.com, http://qt-project.org) under the terms of the LGPL version 2.1. The QT dynamic libraries, built from unmodified source are included in the application bundle. A copy of the LGPL is included in the Blackmagic application support directory. The support note at http://www.blackmagicdesign/support provides further details including how to obtain the QT source.

Updated April 22, 2017.