The first thing is the new look UI (or at least new to me since I last used Resolve).
So for me DaVinci is recognised as, and must succeed first and foremost as the colourist’s tool. So I’ll put it straight down on the table – it’s good and a very accomplished package of software. But my only concern with that approach is most people won’t actually get to the end of the piece to take away an impression. When writing this up, I was quite tempted to do a ‘Top Gear’, you know where Clarkson leads you down one path listing the great performance, amazing acceleration, etc, only to burst the bubble towards the end with the Stig’s hopeless attempts to get the vehicle around a corner. DaVinci needs to pair up with some chunky GPU and a compatible I/O card, so it’s worth keeping that in mind.Ī week later and now on a loaner system, it was a straightforward install to get going, but you can still feel the software sucking the life out of the GPU and RAM so it’s definitely not a program for a weak system. I had hoped my three year old Mac with it’s maxed out lump of RAM, SSD and stuffed extras would have the grunt to do something but ‘computer says no. I downloaded the software, whacked in the license and duuumph – not much – think of the sfx for the Millennium Falcon with a flat battery. I have to say it has been a while since I really took a close look at Resolve and although it was never a turkey at the time it just didn’t seem the right fit for me. The marketing crew from Blackmagic were working every angle. So, my dongle arrived in the post – “Go on, take Resolve 12 out for a spin,” the note said and, “We’d like to hear what you think of it, a lot has changed”. Please note, it’s written from the point of view of a colourist/editor who is returning to try Resolve after exclusively grading and editing on other kit for the last few years, so is more a general catch up of today’s Resolve rather than just an extensive review of the new features added to version 12. Here is Robin’s review of DaVinci Resolve 12, which was released late last year.
Robin is also an editor and compositor with credits for Harry Potter as well as title sequences and TV commercials. He has built up a wealth of experience on a broad range of projects covering broadcast docs, commercials and feature films. Robin Doelly began his career as a colourist at Rushes and, having worked in several Soho post facilities, now freelances at Fifty Fifty Post among other facilities in London.
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