Beta versions 7 and 8 were published in just under two weeks, so a final release of Resolve 15 was kind of imminent. today is the day, people: The final version of DaVinci Resolve 15 is here and it’s still free to download. If you want the full package you can purchase the Studio labeled version for $299. After the announcement of DaVinci Resolve 15 at NAB back in April the first public beta followed quickly after the show has concluded. Now, 4 months later, the final version of Resolve 15 hits your download folder. With the package comes a massive 2632 pages reference manual as a PDF. DaVinci Resolve 15 To get things straight right away: There’s no upgrade cost for previous Resolve 14 users. As a new user, you can either download the free version at no cost or purchase Resolve 15 for $299. If you happen to own a dongle for version 14, there’s no upgrade cost whatsoever. Here’s Peter Chamberlain, DaVinci Resolve product manager, on that matter: Everyone can download and use the free version. Customers with DaVinci Resolve Studio dongles and activation keys, and those with Fusion Studio dongles can download and use DaVinci Resolve Studio v15 at no cost. [posted on the Blackmagic Design Forum] Let’s move on to the features of Resolve 15. If you already played around a little with previous beta versions you know what’s coming: Fusion is now an integrated part of Resolve. The tabs (as in: workspaces) at the bottom of the screen now include: Media, Edit, Fusion, Color, Fairlight and Deliver. Watch the video below for a fairly extensive overview of the new features: The above video came out just after the announcement of Resolve 15 so there might be slight changes to some features but you get a pretty good idea of the deep integration of Fusion and Fairlight into Resolve. In contrast to Adobe whose approach is to develop a whole suite of dedicated apps, Blackmagic has put all the features of several acquisitions straight into their main software tool: DaVinci Resolve. When they acquired Resolve it was just a color correction and grading tool. After that a NLE style video editor was added with version 10 in 2013. Then came Fairlight, a full-fleged suite of audio tools for manipulating and mastering audio. Now, with version 15 their latest acquisition has been merged into Resolve: Fusion, which is an advanced node based compositing tool. Installation files for Resolve 15 plus a massive reference manual. If you’re a Adobe user you could compare Resolve to Premiere Pro (editing and grading), Audition (audio) and After Effects (compositing). These are very different applications, though. Adobe After Effects for example uses layers while Fusion is based around nodes. The good thing is this: Round-tripping has become a lot easier with both, Adobe and DaVinci Resolve. No more exporting, transcoding, importing, manipulating, exporting again. Adobe uses their so-called dynamic link technology  in order to link (and update in real time) assets from After Effects to Premiere Pro. In DaVinci Resolve all you have to do is hopping back and forth between the different workspaces and that’s it. All changes are being updated in all other workspaces as you go. Download Today Using a beta labeled program is not exactly what you want to do if you’re in the middle of a paid job. Since Resolve 15 is now out of beta it’s safe to download and check out, I would say. I’ve been working with Resolve 15 beta versions on a couple of smaller projects for the past months and I barely experienced a real bad crash except for the Fusion tab which should be stable by now. The Studio version has some advanced features unlocked such as noise reduction, some 3D tools, a list of motion effects or the support for multiple GPUs. Most of what I’m doing works great with the free version but since the full Studio version is only $299 you might want to consider buying this if you need these advanced features. A dongle for the studio version also comes bundled when purchasing one of Blackmagic cameras. Resolve 15 is available for Mac OSX, Windows and Linux. You can download it from Blackmagic Design’s website or though Apples MacStore. A word of warning, though: In order to work with the new version you need to upgrade your database. There’s no going back after that so you might want to backup your database before installing Resolve 15 for the first time. Links: Blackmagic Design | comparison between free <–> studio version | full change log Do you use DaVinci Resolve for your projects? What do you think about version 15? Share your thoughts in the comments below!

Thomas Fletcher together with Gary Adcock are both continuing the tradition of updating their Camera Comparison Chart with information gathered from numerous conversations with various cinematographers, rental houses, and manufacturers. Fletcher/Adock Camera Comparison Chart 2018 Page 1 Fletcher/Adock Camera Comparison Chart 2018 Page 2 It’s extremely helpful to look at cameras this way – purely for the specs – because it really allows you to see every feature side-by-side and assess it. I can only wish that future charts will mention cameras like the Canon C200, Sony FS5 and even more so, some popular mirrorless products like the Sony a7S II and Panasonic GH5(s). A step in this direction will allow us to have a comprehensive overview of the equipment the industry is currently dealing with. (I also hope that the new Blackmagic Pocket Cinema Camera 4K will find its way to this chart). One thing to remember. The camera prices mentioned in this chart are “List Prices”, so the actual prices might be cheaper. For example, the Sony FS7M2 is currently being sold at B&H for around $9,000 while at the chart it is $13,199, so if you want to compare cameras based on prices, please check for the most updated information. While looking at that comparison chart, please take a moment to read what Thomas and Gary have noted: Portions of these chart are subjective. This is not scientifically tested and collected data. We have sincerely tried to assemble accurate information to share with the industry. Our goal is to help producers make an educated decision in a rapidly changing camera and optical landscape – that said – numbers do not tell the whole story – look at the images and consult your cinematographer. We encourage you to test for yourself! click here to head for the comparison chart PDF directly. What other cameras would you like to appear in future comparison charts? Let us know in the comment section below.

A new line of Tilta cage has been announced for medium sized camcorders. The shoulder-mount configured rigs are designed specifically for the Canon C200, Sony FS5, Panasonic EVA1 and Blackmagic URSA Mini Pro. Tilta has become quite well known for it’s camera-specific cages. We’ve seen heavy support in the top and low end spectrums of the market, with skin-like support for RED as well as modular designs for mirrorless cameras. Tilta has now taken a turn to the mid-range market, targeting specifically the Canon C200, Panasonic EVA1, Sony FS5 and Blackmagic URSA Mini Pro. Speaking on the line as a whole (each is very similar, just ergonomic shifts to cater for specific cameras) the Tilta cage is broken down into 4 main components: Bottom Plate with shoulder support Top Plate Rear battery plate Extension arm Bottom Plate The bottom plate is the heart of the system. It has 15mm LWS rods on the front, rosettes on both sides, 15mm rod mounts to the rear (non pass-through) and padded shoulder support. Pretty standard stuff, but there are a couple of nice unique features. The plate is both VCT and ARRI Dovetail compatible – two solid industry-standard mounting options for tripod mounting. There is also a slider plate that mounts directly to the camera, this allows fore/aft adjustment to perfect balance on the shoulder, but the neat little feature I like is the lens/lens adaptor support on the front. Lens mounts and particularly lens adaptors on mid range cameras are not so solid; you can get a lot of play with the likes of the Sony FS5 and metabones adaptor. This lens support can help prevent movement, mounting to the plate itself keeps things very compact. Extension Arm The extension arm bolts to the rosette on the side of the bottom plate, extending the native camera handle for better ergonomics. The extension cable is brand specific (Sony/Panasonic/Canon etc.). It would’ve been nice to see one-touch adjustment to this arm like we see with other manufacturers. Top Plate The top plate is where features changes model to model. All offer camera to native top handle mounting in a compact fashion. The Tilta cage for the EVA1, FS5 and USRA Mini Pro all have front and rear 15mm rod support. Fronts can be used for accessories like magic arms for external monitors, follow focus motors, recorders etc. The rears are reserved for the battery plate. The Canon C200 Tilta cage top plate doesn’t feature front rod support, instead has a rosette on the rear for the battery plate, and “precision fitting and grip for Optional C200 top Handle”. Battery Plate All battery plates are primarily designed to mount via the top plate of the Tilta cage. I really like this way of rigging; it gives you the ability to strip the bottom plate if you want to go lightweight; it also gives you greater adjustment of fore/aft on the camera on the bottom plate. If you prefer to mount them on the bottom plate, this can be done via hex screw and simply using the 15mm rods on the bottom plate. Battery plates are available in Gold or V-Mount, and have the following outputs: • (2) 12v DC outputs • (1) 8v DC output • (1) 14.8V PTAP output Availability is expected early March 2018 for each Tilta cage, with pricing range from $650-$730.

Blackmagic Design’s new camera, the URSA Broadcast, is a 4K-capable live event and studio-focused camera that builds on the URSA Mini Pro lineage, but in a form factor that lends itself to ENG work. The camera, priced at $3,500, is at a more accessible price point than many other broadcast cameras on the market. All the details below:  The Blackmagic Design URSA Broadcast Designed to work with B4 mount broadcast lenses, the Blackmagic Broadcast camera has internal ND filters (¼, 1/16th and 1/64th), 4K sensor and records to dual C-fast and SD card slots. The camera records 1080i or 2160p video into NLE friendly .mov files, with a .mxf recording option promised in a future update. The B4 lens mount allows for electronic control of iris, focus and zoom, and the B4 mount can be swapped out for EF, PL or F mounts. Beyond the different lens mounts, a full range of Blackmagic accessories are available for the camera including gold and V-mount battery plates and fiber converters. The Blackmagic Design URSA Broadcast On the surface, the URSA broadcast seems like a feature-rich and shoulder-friendly camera at an impressive price point. The camera is available now and we’ll post updates and video as the camera starts to make its way into the field. Technical Highlights: 4K sensor dual CFast and dual SD card slots ⅔” B4 mount Support for DNxHD 220X, DNxHD 145, Apple ProRes 4444 XQ QuickTime, ProRes 4444 QuickTime, ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime and ProRes 422 Proxy QuickTime, CinemaDNG RAW, CinemaDNG RAW 3:1, CinemaDNG RAW Internal ND Filters (1/4, 1/16th and 1/64th) Optional PL, EF and F mounts available Available ports: Dual XLR mic/line audio inputs w/ phantom power, 12G‑SDI output XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection 4 inch touchscreen display What do you think of the new Blackmagic Design broadcast camera? Comment below!

Blackmagic Design have had quite the year. From releasing cutting edge hardware, like their recently announced Decklink 8K Pro, the mighty Ursa Mini Pro and their fantastic Micro and Mini controllers, to the latest major update for DaVinci Resolve. You’d have thought Grant Petty and his team were done for 2017! Today, however, they announced an all new DaVinci Resolve Training and Certification Programme. Ecosystem Apple, Adobe and Microsoft all learnt a long time ago that certified trainers and end-users, qualified via the relevant exams, played a key role in the growth of their software communities. Having been both an Apple and Adobe certified trainer during the past ten years, I know only too well what an important part these networks of highly-skilled instructors and training partners play in the ecosystems of these companies. Courseware After a lot of preparation, Blackmagic have now announced the start of their own, internationally-recognised, DaVinci Resolve Training and Certification programme. The first course to be available will be a three-day intro to all aspects of DaVinci Resolve 14, based on The Definitive Guide to DaVinci Resolve 14 written by Blackmagic’s own Paul Saccone. An advanced colour grading course, written by my friend and colleague Daria Fissoun, will follow next year and, further down the line, other advanced editing and workflow courses will become available. These too will be based around official courseware and exams, put together by Blackmagic and taught by certified Blackmagic trainers, such as myself. Blackmagic describe The Definitive Guide to DaVinci Resolve 14 as a “step-by-step training guide that covers basic editing, color correction and Fairlight audio in DaVinci Resolve 14. The book is designed for both new users and established professionals that are switching to DaVinci Resolve from another editing system.” The Definitive Guide to DaVinci Resolve 14 Certification All courses will be available online, as well as in a classroom environment. However you choose to learn, the courses are all run by Blackmagic Design Certified Training Partners, such as my own UK company Korro Academy * (you can search for your local one here) and delivered by official certified trainers. With a pass threshold of 80% or higher, their exams will allow only the most highly-skilled end users to become officially recognised by Blackmagic, and will be added to an online database of certified professional users. Blackmagic Design Training Partner Trainers In preparation for the launch of their new training and certification programme, Blackmagic have spent the last twelve months running train-the-trainer courses for around 300 hand-picked specialists from around the world. I was very flattered to be one of the individuals invited to join this group and, with people like Warren Eagles, Denver Riddle, Steve Hullfish, Robbie Carman and others also involved, it’s safe to say that future trainees will be in capable hands! The DaVinci Resolve Training and Certification Programme is a major new cog in the Blackmagic Design machine, helping to pad out their support offerings around the globe and no doubt leading to more and more skilled operators in their products. * As one of our sponsors, all cinema5D readers receive a 10% discount off training at Korro Academy using the code KORROC5D What do you think about certified training? Do you plan on taking the courses or exams? Let us know in the comments below!

As already stated by Blackmagic Design: “DaVinci Resolve 14 is the world’s first post production tool designed for true multi-user collaboration.” In this article we’ll sum up the main features and capabilities regarding multi-user collaboration in DaVinci Resolve Studio. A multi-user collaboration workflow could be a complex mission without the right tools dedicated to this kind of post production environment, and one that may lead to lengthy conforms and synchronization issues. With DaVinci Resolve 14 editors, assistants, colorists, and sound editors can make conforming and managing changes in parallel on the same project and at the same time. This is made possible by an impressive arsenal of multi-user coloration tools like project management, open storage, bin locking, built-in chat and timeline comparison. Project management The new DaVinci Resolve Project Management software makes collaboration possible by managing traffic and saving the changes from each user. The software allows setting up a shared project database so users can log in and start working on their projects. It’s really straightforward and made easy thanks to a friendly graphical user interface which contains dedicated icons and indicators. Bin and timeline locking Bin and timeline locking allow multiple assistants and editors to work together without the risk of overwriting each other’s work. One user can create bins for organizing footage and adding metadata, while another works in a different bin. The bins and timelines remain “read only” until they are unlocked by the user that’s working on them. This feature is a must-have on a collaborative post environment because it helps accelerate the workflow without running over each other’s work. Built-in Chat DaVinci Resolve grants editors the ability to quickly message and communicate with assistants, sound designers and colorist with its built-in realtime chat feature, making it an essential tool for the whole post-production team. Timeline Comparison This is a really cool interface in DaVinci Resolve Studio which allows to visually compare timelines between an editor and assistant.  There are also options to delete, move or trim, so working together on the same timeline becomes possible via a very friendly graphic user interface. Timeline Comparison This recent BMD tutorial demonstrates all of these collaboration options between five users: editor, assistant editor, colorist, colorist 2 (the main purpose of DaVinci Resolve is grading after all…) and audio editor, and is definitely worth watching. Also, visit the multi-user collaboration page to learn more. At first glance, it seems that BMD have put a lot of effort to turn their industry-standard color-correction platform into a professional NLE, and have delivered a nice, easy-to-use, yet powerful multi-user collaboration interface (Read more in our article : The Battle of the NLEs).  It’s worth mentioning that I’ve been following various DaVinci Resolve Facebook groups to discover that there are some bugs and mishaps when actually using the software for heavy editing tasks. Have you used DaVinci Resolve Studio on multi-user collaboration environment tasks? Let us know your experience in the comments below.

From a journalist’s point of view, I have always hoped for the opportunity to interview two particular respected people from our industry – individuals that, in my opinion, are responsible for making TV and filming equipment much more accessible and affordable at both ends of price spectrum. In reality, there is nothing really that connects them more than sharing a vision and passion to innovate. I’m talking about RED’s Jim Jannard and Blackmagic Design’s Grant Petty. While I’m yet to interview Jim, I had a chance to have a one-on-one open and honest talk with Grant Petty while attending Inter BEE 2017, the local broadcast industry exhibition that takes place in Japan.  Grant – who is undoubtedly one of the people we can consider as having brought affordable working tools to production companies and individuals – was kind enough to openly share with me some of his views regarding our filming and TV industry. We had a chance to talk about topics such as what made him start a company that strives to produce affordable equipment including cameras, the reason behind Blackmagic Design ceasing to announce new cameras before bringing them to the market, and lastly, if there is anything we should expect to see from them in the near future. For those of you who do not have the time to watch the discussion and are still asking yourselves, “How come Blackmagic Design is not able to supply a camera in time?”, here is a spoiler alert: it only takes ONE part to be delivered late at the factory to cause delays across the entire production chain of such an electronically complicated camera, making it impossible for the manufacturer to deliver it in time. I truly hope that opening a small window into the manufacturers’ world can serve to cultivate an open conversation to better understand the process of the people behind the brand name, as well as communicate the needs, wishes and thoughts of users like us.

That age-old question: what gear should I get? In this episode of cinema5D essentials, I decided to answer this question once and for all, in a video as entertaining and educational as I could think of. Which Gear Should I get? For the last 9 years we’ve been constantly on a quest to find better gear to work with and make digital filmmaking easier and more affordable. As we like to work with the gear we test, my new Gear Guide is an attempt to share some of the experience I’ve had with the equipment along the way. Note that this gear guide reflects only Seb’s gear recommendations for the time being. The other authors of cinema5D will follow. Some of our regular readers will notice that the video is targeted at a broader audience looking for gear tips and recommendations. We receive requests for gear tips quite regularly but, even though we try to answer them individually, this can unfortunately be difficult sometimes due to our everyday workload. Gear Used in the Video The video should really speak for itself, so I will not go through the seven essential pieces of gear in this text. Instead, I would like to give you some background on the video production itself. Camera I used the Blackmagic URSA Mini 4.6K as it gave me beautiful, cinematic 4K rendering in a studio environment. I never use it outdoors, but in a studio environment there is no other affordable camera that’s so easy to use and gives such a pleasing picture. I went back and forth between camera and computer to check and implement my shots into the evolving editing timeline and it was an effortless process. Lens My lens of choice was the Zeiss CP.2 50mm Macro T/2.1. This is probably my favourite lens of all time and, although it’s bulky and expensive, whenever I put it on a camera I just love the image it gives me. Additionally, its macro design means I’m not as limited on how close I can get to an object. Bokeh and highlights are beautifully cinematic. Lights I mention the ALZO 3200 Low Noise in the video, which I used with the ALZO 36″ soft box. While it doesn’t have the best build quality, it is super affordable and is an extremely bright light with a great, clean white rendering. I used it as a key light for the top-shot gear photos and every single shot in the video. Due to its special design it is just a little inconvenient to use, but produces a relatively low fan noise. The second light I used was the Aputure Light Storm 120d. It has a lower output than the ALZO, but delivers good light color and is convenient to use. I used this one with a 24″ Westcott beauty dish, the best soft box I know albeit not the largest, which makes it perfect for a back light. I added two additional CTB gels to give me that blue back-light tone on my skin. The blue color in the video comes from a tiny light that will knock your socks off. The Luxli Viola 5″ is a very small LED that lets you dial in any color you like. It isn’t cheap, but it’s the perfect background color light and is super convenient to use. I have two of these, but only used one of them for the video. Tripod The Sachtler FSB-6 with quick legs was my tripod of choice. It’s getting on in years now and the FSB-8 would be a better option today, but it still gets the job done even though the URSA Mini is a bit on the heavy side. I hope you found this video and gear lists helpful. We have never had a proper gear guide on cinema5D, but I know we’re one of the websites where people regularly look for gear tips. With over 3600 articles on our site, it can be pretty hard to find stuff, so hopefully this gear guide will make things a bit easier. Let us know how you liked this episode of cinema5D essentials. And if you have gear tips of your own, why not share them with us and the rest of the world?