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The user interface design is a lot like Final Cut Pro X, except with bins and tracks. Whether or not you like the editing is more a function of personal style and preference. I encountered a number of application crashes only in the Fairlight page, while scrubbing audio. The pace of Fairlight integration was quite fast, but it’s still a bit rough.

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Mixing and audio editing is good with subframe accuracy and the 14.1 update added linked groups to lock faders together. Stick with those and you’ll be happy, although other audio filters on your computer, like Apple AU plug-ins, are accessible. Each track can have its own combination of Fairlight audio processing functions.

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That’s how Fairlight treats these software channels or tracks. Many well-known physical mixing consoles, like those from Solid State Logic, feature channel strips with built-in EQs, compressors, etc. The Fairlight mode will likely require a bit of rethinking by editors used to mixing audio in other NLEs, since it uses a DAW-style interface. With dual displays, the edit interface can be on one along with fullscreen video on the other. There is also a Cinema viewer function for fullscreen viewing on your computer display. If you want audio/video output, Blackmagic Design Decklink or UltraStudio hardware is required. General media management, editing, and audio processing is top notch. I put both versions of Resolve 14 through the paces and the application is reasonably solid, given how much has changed from version 12 (there was no version 13). This means that in a multi-suite facility, you can have task-specific rooms optimized for editing, color grading, or audio mixing – all using the exact same software application without the need for roundtrips or other list translations. Not only is the interface that of a respected DAW, but it is also possible to expand your system with Fairlight’s audio acceleration card, as well as add a Fairlight mixing desk. The engineers completely swapped out the audio guts of Resolve and replaced it with the Fairlight audio engine. The Fairlight mixing page isn’t just a mimic of the Fairlight interface. Color switches to the familiar tools and nodes of DaVinci color correction. The Edit page sports a standard source/record/bin/track layout similar to Media Composer, Premiere Pro, or Final Cut Pro 7. With each page/mode change, the user interface is reconfigured to best suit the task at hand. The workflow follows a logical, left-to-right path through these five stages of post-production. In the case of Resolve, Blackmagic Design has taken a modal approach by splitting the interface into five pages: Media (ingest/import), Edit, Color, Fairlight (audio mixing), and Deliver (export/output).

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But is that enough to sway loyal Final Cut Pro X, Premiere Pro, or Media Composer editors to switch? There’s certainly interest, as Stephen Mirrione pointed out in my recent Suburbicon interview, so I wouldn’t be surprised to hear news of a TV show or small feature film being edited with Resolve in the coming year.Ĭreating a single application that’s good at many different tasks can be daunting and more often than not has been unsuccessful.

Regardless of the version, Resolve is a very deep application that’s been battle-tested through years of high-pressure, enterprise-grade deployment. The primary limitations are that exports are capped at UltraHD (3840×2160), and that features such as stereo3D, lens distortion correction, noise reduction, and collaboration require Resolve Studio. Resolve offers the majority of the same features as Resolve Studio.

These versions are basically the same as those on Blackmagic Design’s website, but with some differences, due to the requirement that App Store software be sandboxed. Mac users also have the option to download Resolve (free) or purchase Resolve Studio through the Apple Mac App Store.

It’s the only NLE to support three operating systems: macOS, Windows, and Linux. (*This review was originally written right after the release of Resolve 14 in late 2017.)ĭaVinci Resolve 14 comes in two flavors, DaVinci Resolve 14 (free) and DaVinci Resolve Studio ($299).

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Right at the start, let me paraphrase the judges on History Channel’s Forged in Fire series – ‘This NLE can cut!’ If you have no prior allegiances to other editing platforms, then using Resolve as your NLE of choice is a no-brainer. I’ve reviewed Resolve in the past as a grading application, but my focus here is editing. Advanced editing functions and the inclusion of the Fairlight audio engine put Resolve on track to be the industry’s latest all-in-one post-production powerhouse. With the introduction of Resolve 14*, it’s clear that Blackmagic Design has set its sights higher. DaVinci Resolve has made its mark as one of the premier color correction applications for the film and video industries.

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