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The new smart indicator constantly live-updates as the editor moves around the timeline. The smart indicator provides a small marker in the timeline so users get constant feedback and always know where DaVinci Resolve 16.1 will place edits and transitions. That’s the reason for the beta version’s new smart indicator.
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The software guesses what the editor wants to do and just does it - it adds the inset edit or transition to the edit closest to where the editor has placed the CTI.īut a problem can arise in complex edits, where it is hard to know what the software would do and which edit it would place the effect or clip into. The new cut page in DaVinci Resolve 16 introduced multiple new smart features, which work by estimating where the editor wants to add an edit or transition and then applying it without the editor having to waste time placing exact in and out points. There’s even a menu for directly selecting folders in a user’s project.Īlso new in this public beta is the smart indicator. Clips will appear in all folders below the current level, and as users navigate around the levels in the bin, the source tape will reconfigure in real time. The Resolve 16.1 public beta features changes to the bin that now make it possible to place media in various folders and isolate clips from being used when viewing them in the source tape, sync bin or sync window. This new public beta will help Blackmagic continue to develop new ideas while collaborating with users to ensure those ideas are refined for real-world workflows.
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With Resolve 16, introduced at NAB 2019, now in final release, the Resolve 16.1 public beta is now available for download from the Blackmagic Design website. Main Image: (L-R) Frank Verderosa, Brian Beatrice and Gary Scarpullaīlackmagic Design has announced DaVinci Resolve 16.1, an updated version of its edit, color, visual effects and audio post software that features updates to the new cut page, further speeding up the editing process.
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Tools employed across post are Avid Pro Tools, D Control ES, S3 for audio post and Avid Media Composer, Adobe Premiere and Blackmagic Resolve for editing. “Digital Arts’ existing infrastructure was ideally suited to leverage itself into end-to-end production,” Donnelly says. “Now we can deliver from shoot to post.” The company has already delivered projects for agencies Area 23, FCB Health and TCA.
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In addition, Digital Arts’ in-house theater/mixing stage has proven to be a valuable resource for some of the most popular TV productions, including recording recent commentary sessions for the legendary HBO series, Game of Thrones and the final season of Veep.Įspecially noteworthy is colorist Ericson’s and finishing editor Mark Spano’s collaboration with Oscar-winning directors Karim Amer and Jehane Noujaim to bring to fruition the Netflix documentary The Great Hack.ĭigital Arts also recently expanded its offerings to include production services. Beatrice mixed spots for Tom Ford’s cosmetics line.
Gary Scarpulla worked on color for HBO’s Veep and Los Espookys, while Frank Verderosa has been working with agency Ogilvy on several Ikea campaigns. The former Nutmeg team has hit the ground running working their long-time ad agency, network, animation and film studio clients.
The current facility boasts several state-of-the-art audio suites, a 4K finishing theater/mixing dubstage, four color/finishing suites and expansive editorial and production space, which is spread over four floors. Brian Donnelly, Lauren Boyle and Mark Spano.Īs part of this expansion, Digital Arts will unveil additional infrastructure featuring an ADR stage/mix room.
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