You can jump to an exact timecode by typing in the numerical value: great if you are assembling an interview from the timecode in a transcript, for instance. If you reorder the clips in the bin – perhaps by clip name instead of timecode – then the KEM roll re-orders, too. The Cut page has a ‘Source Tape’ – essentially an invisible sequence of all the clips in a bin that behaves in exactly the same way as my KEM roll, but with added benefits. You can use this ‘KEM roll’ to quickly skim through the contents of a bin and even cut straight from it into For historical reasons I call this a KEM roll (KEM edit machines were used back in the days of film). My first task – on traditional NLEs – is to create (or ‘cause the edit assistant to create’) a sequence with all the clips in a bin in timecode order. There is a massive, outstanding and totally brilliant feature of the Cut page. Once your masterpiece is trimmed, the cut page can still be used to add transitions, effect, text and graphics If you want to spend ten minutes agonising over a frame or two, then you should be in the Edit page. It’s not that accurate, but it’s fast – and that is the point here. You can even drag a clip from the magnified region and drop it into place in the overview timeline. This arrangement means that you no longer have to zoom in and out all the time – indeed there are no zoom controls active in the timeline (which confused the bejeebus out of me before I realised how it works). The Timeline is split into two parts – a traditional ‘zoomed in’ view of the area you are currently working on, and an overview, showing the whole of the timeline in one. The upper right panel is a single viewer, and the lower part of the screen is the Timeline. Upper left is usually your Media Pool window, though it can also show Transitions, Titles and Effects. The Cut page consists of three main panels. Version 16 of Resolve introduces the new dedicated keyboard Cut page Of course, the timeline you are hacking in the Cut page is mirrored in the Edit page, so you could still assemble quickly in the former and finish in the latter, even if you have a more relaxed edit schedule.
The ethos of the Cut page is that it allows you to grab your media, review it, assemble, trim and re-edit, and then output the finished product all from a single page, with tools optimised for speed over complexity. The cut page allows you to grab your media, review it, trim and re-edit For these people, Blackmagic has added a Cut page to Resolve, along with a new Editor Keyboard – the latter, perhaps perversely, giving the new generation of YouTubers the kind of interface familiar to those of us old enough to remember edit controllers like Sony’s BVE 9000. Many editors simply need to cut their programmes together quickly, from news and current affairs to YouTube programming.
Resolve 16 attempts to find a solution to that issue – at least as far as editing goes. It is a cliche that it’s become the Swiss Army knife of post-production, though Blackmagic has recognised that it’s quite possible to spend several minutes turning the thing over and over in your hands, bewildered by all the attachments, looking for the gizmo that gets Boy Scouts out of horses’ hooves.
HOW MUCH IS DAVINCI RESOLVE 16 SOFTWARE
It was already a capable grading tool when Blackmagic purchased DaVinci way back when, and they have developed and added to the software at a prodigious rate. Words Adam Garstone / Pictures BLACKMAGICīlackmagic’s DaVinci Resolve is well named, it seems. We look at the latest iteration of DaVinci Resolve and Blackmagic Design’s new dedicated keyboard hardware
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