Quick Overview of DaVinci Resolve 14 Audio Editing Capabilities

 Technique  Comments Off on Quick Overview of DaVinci Resolve 14 Audio Editing Capabilities
May 132017

DaVinci Resolve 14 looks very promising and more videos about it are popping up on YouTube every day. One feature that was left out in many demonstrations until now is the integration of FairLight for audio editing. With the new version of Resolve, it’s possible to edit sound within the software. No need for an additional costly plugin, or any round-trip of a sort. Let’s see how with Casey Faris.

Resolve was primarily known for its color editing capabilities. It’s become an industry standard for grading, but Blackmagic Design wants to offer more to its users by creating a one-stop editing software. It has had editing possibilities for a while now, but audio edition wasn’t quite up to par. With the integration of FairLight Audio, it’s a whole different world, and it could potentially make other apps such as Adobe Audition useless for most video makers.

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DaVinci Resolve Studio Delivers for “Jason Bourne”

 Cinematography, Technique  Comments Off on DaVinci Resolve Studio Delivers for “Jason Bourne”
Aug 092016

Matt Damon on set during during production of Jason Bourne. Credit: Universal Pictures

Blackmagic Design’s DaVinci Resolve Studio was used to complete the online edit, color grade and HDR delivery for Jason Bourne.

Goldcrest Post, London provided full post production services for Bourne director Paul Greengrass. The ever growing community of professional and aspiring colorists and editors who rely on DaVinci Resolve will be happy to see one more high-profile production finished using this software. It’s yet another testimony to the power of the system, as well as of the hard work and innovative development that has been invested in Resolve by Blackmagic Design.

While some were skeptical when Blackmagic Design made the move to add NLE functionality to Resolve, it is arguably the most significant decision in the history of this software. Turning Resolve into a fully-featured NLE, with the most seamless workflow of any editing or grading solution on the market has catapulted Resolve into the hands of more creators than anyone could have imagined. Resolve is now relied upon as the heart and brain of more post production workflows than ever before.

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Colorist Stephe Colorist Stephen Nakamura on Grading Tomorrowland in HDR –

 Cinematography, HDR Digital Cinema, HDR Images, HDR Info, HDR Software, HDR TV, News, Technique  Comments Off on Colorist Stephe Colorist Stephen Nakamura on Grading Tomorrowland in HDR –
Jun 102015


Want to see the Dolby Vision HDR format in action? You can check it out at the El Capitan Theatre on Hollywood Boulevard, where Disney’s Tomorrowland—the first film graded for Dolby Vision—is enjoying a four-week run. AMC has the system installed in one auditorium each at the AMC North Point Mall 12 in Atlanta, the AMC BarryWoods 24 in Kansas City, and the AMC Deerbrook 24 in Houston. On May 29, those theaters replaced Tomorrowland with San Andreas, the first Dolby Vision title from Warner Bros. Pixar’s Inside Out, opening June 19, will be the next fix for HDR junkies who crave brighter whites and broader dynamic range

The key to efficiently encoding all of the brightness information in a HDR picture for Dolby Vision is something called the perceptual quantizer, or PQ for short. Dolby researched human visual perception of luminance changes, then developed a new quantization curve based on those findings. The goal was to specify brightness levels from 0 to 10,000 cd/m2 using 10-bit or 12-bit encoding. The resulting PQ curve, approved as SMPTE Standard 2084, replaces gamma for Dolby Vision image encoding. In post-production, this means the image must be graded twice—one time for the standard P3 color space that most cinema viewers will see, and then again in the PQ format that specifies characteristics of the HDR version. Read this 2014 SMPTE presentation by Dolby Labs researcher Scott Miller for the nitty-gritty.

Tomorrowland was graded on DaVinci Resolve at Company 3, where Stephen Nakamura said his goal in the 31.5 foot-lambert Dolby Vision pass was to make sure the picture took advantage of the expanded dynamic range while still retaining the feel of the standard 14 foot-lambert version. He elaborated on the grading process, and the thinking behind some of the creative decisions, in a statement released through Blackmagic.


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