If you’re an audio editor who also wants video, the approach to real post-production tools in a video editor is compelling. Here’s a tiny difference no one is talking about that I love – “Option to always perform copy and paste actions on selected color nodes.” Yes.īut Resolve is really an interesting choice, especially for the sorts of creatives who read CDM. PC users – and Resolve runs nicely on Linux as well as Windows – get H.265 decode on Intel, too, plus if you have RED clips even OpenCL GPU support. Both Resolve and Resolve Studio now run on Apple Silicon-based Macs, which for now is the M1 in the Mac mini, MacBook, and MacBook Pro. It’s almost worth looking at Resolve just to see what it’s like if those workflows exist in one place.Īnd if you’re curious to try it, even alongside your tool, here is an amazing 16-minute tutorial:ĭaVinci Resolve – and (okay, you might need to pay a smallish fee here) Resolve Studio have some new high performance features. All of them that start with ‘A’ lack this level of integration.
Both Apple (with Final Cut Pro, Color, Motion, and Logic Pro), and Adobe (with Premiere, After Effects, Audition, and its whole sprawling suite) tend to come at you with a bunch of different tools. The all-in-one approach – and the ability to do some serious workflows even in the free version – differs pretty strongly from companies starting with the letter ‘A’. Now, steadily, Blackmagic have filled in a lot of those gaps. (Heard of Fairlight, maybe?) And despite the hype, in early versions it felt a little like it was trying to do a whole lot in a bunch of new ways. But there’s also audio post-production built in. But it also is exceptional at color grading. That release also runs faster on PC, while you’re at it, and this is kind of the tool that does everything on every platform and a lot of it for free. Resolve 17 quietly exited beta recently – then turned heads by releasing a speedy Apple Silicon M1 version, too.
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