![]() Arguably, this is also the case on other platforms, but in Resolve there is no way to just render part of the timeline, and it takes much more time for the software to recover from dropped frames. Simple playback might be fine, but even going backwards of fast forward using JKL is not that responsive, often you will notice a significant lag between key being pressed and the reaction to it.Īlso, if you are using effects and third party transitions, these are hardly ever rendered in the real-time. It lives purely on a GPU, so if your edit is anything more than straightforward cut and occasional dissolve, or your resolution is high, you are going to encounter performance issues, if your graphics card is not good enough. Coming from the high-end, big iron background, Resolve has not yet transcended its legacy limitations. ![]() I need my heavy-weight Windows workstation to get the performance which makes me comfortable. While any other NLE can fly on my MacBook Pro 2012 Retina, Resolve struggles, and sometimes fails, especially with heavily compressed H.264 media. Resolve needs a powerful machine to work properly. Does Resolve 12 live up to the expectations? How does editing in Resolve 12 feel though? After all, the editors are used to an immediate feedback, seamless, realtime playback experience and working with tons of media. While editing using the source monitor is important, and a lot of people do work that way, it is not always the most efficient, and especially the newer brand of editors might be missing them. There are also a few nifty features speeding up the editing process that Resolve is still lacking – one of them is the ability to set in and out point of the clip while scrubbing over the thumbnails or the filmstrip in the project media browser. Some options are pretty well hidden though! The additions to Resolve 12 trimming and editing make it a viable tool for creative editing. Another example: creating subclips is only possible when you right-click on the selected in-out range in the source monitor. Some tools are simply hidden too well, not present in any menu. It takes a moment to realise what the modes do and how they work, apart from being just tools that to open a timeline in the source monitor you have to drag it there or that to perform Lift you have to use Delete Selected with in and out set. The only thing I can complain about is the discoverability. Dynamic trimming is also there, available with a single keystroke. Similarly, the way you switch modes from Normal Edit (no operation changes timeline length) to Trim Edit (all operations are now rippling) is clever, possibly not innovative, but very clear and agreeable to my way of operating. In fact, one thing that Resolve should be commended for is the way it handles track collisions on rippling – it’s intuitive, clever and saves a lot of time in the end. Most of your usual suspects are there, including such useful things as head and tail edit, and a sync lock, which actually works properly and predictably, unlike in certain other applications. This brings the editing toolset almost to the completeness, at least in the sense of 2015 NLEs. There are quite a few significant improvements, especially in the audio area, like the possibility to use VST and AU effects, more priority given to audio over video playback, a brand new audio track mixer, as well as new editing tools – multicam clips and compound or nested timelines plus any trim type that you can possibly imagine. The recent release of Resolve 12 is supposed to change that. After the initial waves of enthusiasm, Resolve editing faded into background and became little more than a curiosity. ![]() But I have not seen any projects edited purely from start to finish in Resolve 11. There were some brave souls who attempted to try it out on their projects, and even some universities decided to forego installing an NLE in their suites, in favour of Resolve. Regardless of the initial hype and of impressive initial toolset, editing in Resolve 11 was clunky, the experience far from seamless, and in the end not really suited to anything but casual editing or correcting bad conforms. With the release of version 11, Resolve started to aggressively expand from purely grading tool into non-linear editing. Now it is attempting to take over your edit suite, and this is what I decided to focus on in my assessment. It’s simply a great, affordable grading tool, a worthy replacement of Apple Color. While this perk might have influenced my opinion about the company and the product, it’s no secret that I have liked Resolve for a long time, used it on my projects since version 9, and trained people how to work with it. Full disclosure: I was offered a full version of Resolve Studio from Blackmagic Design in exchange for this review with no other strings attached.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |