It does raise an issue with the Cut page’s overall user interface design, as it’s a very weird software patch to put out an entire piece of hardware for it – which is what this feels like.īut it does feel good. While it might seem counterintuitive to have an entire dedicated piece of hardware for a singular page, once you lay your hands on it and begin to actual edit, it makes total sense. It takes some getting used to, but why bother when you can just manhandle the project in the Edit page instead? Everything feels inverted, with the mouse wheel scrolling up to go down, etc. The main issue here is that the Cut page on a mouse and keyboard feels – notice the current tense – terrible. You can then re-edit to finesse the final product on the Edit page. The Cut page brought with it a whole new way to edit video in the program, stripping it back to the absolute basics and creating a virtualisation of the classic cutting room floor, complete with a ‘source tape’ button that would string all your footage together.
Or Version 16 did to be pedantic about it. So after a few revisions, versions and upgrades, DaVinci Resolve 17(.43 at time of writing) has lowered the bar to entry even further. Its colour grading was sublime, but why edit in something that doesn’t have half the features of the others? Well, it was made free.
If you’ve seen a video editor before, you’ve seen DaVinci Resolve.įor a few years, the software was seen as the third or fourth choice of editor.
Hot under the collar for a good SDI to HDMI converter.ĭaVinci Resolve used to be its own company, bought by Blackmagic for their colour grading software, they eventually evolved it into what it is today, a full-featured package with an audio editing suite, Fusion VFX and a full non-linear editor to compete with Adobe’s Premiere Pro and Apple’s Final Cut. In production, their ATEM vision mixers can be seen across the industry and let me tell you, their converters? Baby. They take intensely expensive equipment and software but provide it at a much lower cost than either previous competitors or current.įrom their Netflix certified URSA Mini Pro – a 4.6K camera that you can now find under £2500 – to the more recent refresh of their Pocket Cinema Cameras, providing 4K and 6K production cameras for lower-end, behind-the-scenes or indie films, without the need to invest heavily into a specific system. Blackmagic Design’s push of bringing down the barrier to entry for video production has to be applauded.
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