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Issue link: https://digital.macdirectory.com/i/1522076
DaVinci Resolve Studio 19: Even the Great Gets Better Resolve 19 one of the most significant updates in recent memory, with AI tools being added to nearly all the pages and several moves to make Resolve as appealing to broadcasters as it is to digital filmmakers. For editing Resolve 19 adds speaker detection to audio transcription. It lets you rename a single instance of a generic speaker label (Speaker 1) and the change will be rippled throughout the text transcription. It lets you edit out portions of dialog in the text window and the edits will be reflected in the timeline. While the Resolve interface is already exceptionally mature, the new release includes some welcome additions, like an enhanced trim function and the option for a fixed playhead, where the timeline moves and the playhead remains centered, in the Edit page. And (at last!) it’s possible to key in timecode values in the timeline or viewer, using plus or minus keys to move a specific number of frames. Both features will be huge time and mouse click savers. The Color page adds an ingenious mode named “ColorSlice” that adjusts the six traditional video vectors (RGB and CMY) plus a dedicated Flesh vector. AI also comes into play in a much smarter and easier to control tracker and enhanced noise reduction. Noise reduction lets you choose the part of your image that will be sampled for analysis. Among numerous additions and improvements, the Fusion page adds enhanced AI tracking, following several objects simultaneously. Text+ features are now accessible from both the Edit and Fusion pages as well as via a right-click in the viewer window. The Fairlight audio page also received a visit from the AI genie. For example, the Music Remixer can isolate the instruments and voice in a music track and adjust their levels individually. This includes eliminating the vocals. This intelligent feature also bleeds into dialog tracks, letting you independently adjust (or mute) voice, background and ambience. Knocking down distracting background sounds but maintaining a room’s ambience provides particularly impressive results. These features can all be controlled over time by keyframes. However, the enhanced music ducker that provides control over five different parameters for the most pleasing rise and fall of the music track. One of the most remarkable new Fairlight features is audio panning IntelliTrack. Select the object in the viewer you want your audio panning to track and let IntelliTrack do its work. It will track the object left and right and front and back. Since their release, Blackmagic has been rewriting the codec processing in Resolve to take advantage of Apple silicon, the M-series CPU’s. These chips have ProRes processing onboard, so even a MacBook (or the new iPads) have the equivalent of a rack of hardware encoders built in. The result is, in most cases, wait-less rendering of transitions and many effects while working with ProRes footage. (A quick hint: we’ve found that it almost always saves time to reencode compressed mp4 originals to ProRes. It not only speeds up editing but seems to help the files tolerate grading and effects.) As is the Blackmagic tradition, all these new products and features offer incredibly innovative technology and design at affordable prices. Just about everyone who has been able to survive and thrive in the video business knows how important it can be to go the extra mile to get a better product. At least Blackmagic is behind us, seeing that we don’t have to spend an extra dollar to do it. For more information, visit: www.blackmagicdesign.com