Sue Lawson here, NAB 2017
where I have decided that Blackmagic put the B in NAB.
That's what it stands for now. These guys are awesome they never fail to excite and inspire and
this year was really no exception. In fact this year they hit it out of the park, again.
I'm not sure I can deal with an introduction like that, Sue.
Too low key?
I'm not sure I can follow that, but ya.
Resolve will step up to the introduction that you've given it.
Here in NAB, Blackmagic has DaVinci Resolve 14.
And 14 is not really just a small incremental upgrade this one's a big leap forward in terms
of what we've done with Resolve.
People know resolve of course for it's color correction tools.
It's been used for decades in terms of color correction.
We took Resolve into the editing side of things as well.
By introducing all the edit functionality.
And we've has now gone one stage further.
What we're seeing here is it setup on an iMac with DaVinci Resolve 14.
We've got the micro panel. These are really cool.
This just gives the user all the control of our grades.
And what we've done now, there's an extra tab at the bottom of Resolve
and this is audio post-production tools.
This is Fairlight, embedded into Resolve as an application.
Now what that means, and it's kind of easy to miss
how quick we just did that because it's just one click.
One click game changer.
It's one click between your edit, your grade
and your audio post-production. Now that's incredible
because typically the standard workflow has been to finish and lock down your edit or your grade
move that project into audio, to have all the audio dialogue, the sound effects and
everything finessed and tightened up etc..
But what happens when somebody wants to take a shot down or replace something or
extend something or trim something and that audio track that runs beneath is now how to sync?
Or all the sound effects are out of sync?
The ability now with DaVinci Resolve 14 is for all of those people in the post-production
pipeline to work together.
So these people are not working independently any longer, your editor, your colorist,
your audio engineers are all working on the same timeline the same project the same media and
that's just going to change post-production workflows forever.
You have made our lives so much easier.
I can sleep at night because of the tools that they have given us.
The integration of this absolutely amazes me.
So whether or not, truthfully whether or not you are a one-man band having to do it all
and a lot of the post places are these days because the producers with those shrinking
budgets they want you to do it all and they want you to do it all
at a very very reasonable price.
You guys, again you you set the bar that nobody else is coming close to.
The interface when we look at the Fairlight side.
Fairlight can have a thousand tracks of audio.
If you want a thousand tracks is some acceleration in hardware.
On a standard computer you'll get up to sixty tracks which is going to be more than most
people ever need.
More than I want. (laughs)
And Sue, what you said is right, in that
A lot of people might be those small individual production guys that, you know, the camera guys
are the same as the editor, is the same as the colorist, is the same as the the audio engineer.
It's one person and they need access to that same tool set to finesse and finish
their project so that it looks at the quality they want.
Now of course they can do that now for the first time because it's all built into the application.
What we're not saying that in the higher end suites.
A lot of people say "well are you trying to make the colorist
into an audio engineer?"
No.
You're giving people the tools that they need to be successful.
The specialisms will remain.
It's every bit as important that we've got those key specialists within the post-production
environment.
But what they are saying is that when something needs to change, when something needs to be
tweaked, and that happens daily, hourly.
So what they now can do, you can have guys down the hallway that are just going
to go "well no worries I can fix that audio, no problem because we're working on the same
material and the same project".
So, what we're seeing here is within all the audio tracks. We're seeing all the channels up here.
You'll see is how quick this is. We can scrub the audio, the typical J, K, L functions on the keyboard
It's immediate. We've got immediate playback.
And we can do Surround Sound with this too.
5.1, 7.1, 22.2.The power of this is unbelievable.
Now of course we we're looking at this on software only
but we have the Fairlight consoles.
So you can build a Fairlight console to match whatever your need is using the fader panels
and the edit controllers.
So if you want hardware control over that final mix or over the editing, you can build
a console that's designed to fit your needs.
And that's all modular and it's all really easy.
So starting software, move this into the suite, into the console.
So the the opportunity, the power, the flexibility is really is kind of cool.
It's making a lot of people really interested on the on the show floor.
Absolutely. Let's talk price point on it.
The DaVinci Resolve 14 is of course available for free as a public beta today, so you can
download a public beta of Resolve today and there's the free version.
DaVinci Resolve Studio was previously priced at $995. We've done a 70% price reduction on that
and dropped it to $299, US dollars.
Da Vinci Resolve 14 is absolutely amazing.
With that type of price point you can't afford not to jump in and take advantage of all this.
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