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1. #DAVINCI RESOLVE SUPPORT PHONE NUMBER MOVIE#
2. #DAVINCI RESOLVE SUPPORT PHONE NUMBER SERIAL#
3. #DAVINCI RESOLVE SUPPORT PHONE NUMBER FULL#
4. #DAVINCI RESOLVE SUPPORT PHONE NUMBER PRO#

You can also use the Decklink card while in the Deck screen to ingest and output to traditional tape formats. You will need a supported Blackmagic video card, and at the time of this testing only the Decklink Extreme 3D was capable of giving me stereoscopic output. The Resolve software has the tools that set it apart in both price and features, including stereoscopic support. The object tracker was smooth and fast, allowing me to track masks and selections without having to manually go back and fix keyframes. I really beat up on Resolve’s tracker, which held up better than some other point-based tracker packages.

#DAVINCI RESOLVE SUPPORT PHONE NUMBER MOVIE#

You can use Resolve’s auto scene detection to split the movie up into reels to make it easier for the conform and grade.

#DAVINCI RESOLVE SUPPORT PHONE NUMBER FULL#

Let’s say you’re given a full ProRes movie and an EDL, for example. Each structure has its advantages in certain grading workflows.Ĭolorists will really like the automatic scene detection tools.

#DAVINCI RESOLVE SUPPORT PHONE NUMBER SERIAL#

The node structure of Resolve works in either serial or parallel nodes. All your media branches off from a main source (the media) and the nodes (your tools, such as keyers, trackers or color controls). Resolve is a node-based tool - if you are new to node-based applications, you can use the analogy of a tree or river. You can feed Resolve a standard EDL from your NLE or an AAF file and start out in your Color page using the powerful color correction tools. One thing I like about Resolve is within the different “pages” or “tabs” you have a lot of features that can be used to your advantage, whether you are using it purely for grading or as a conform tool. Here is something that may throw the typical FCP user off a little bit, but when you get a few projects under your belt you will come to appreciate the media management set-up. Resolve, as well as some other grading tools, usually deal with media management in a database or media pool structure. This may sound like a lot of gear, but you’re looking at a system for around $10K US, minus storage, that would have cost you over $200K a short time ago.

#DAVINCI RESOLVE SUPPORT PHONE NUMBER PRO#

Rounding out the equation for RAID was a G-Tech G-Speed Es Pro to handle Red, Arri and large sequences of DPX and EXR files. Resolve likes to offload handling of the GUI to the GT 120, leaving more of the heavy lifting effects to the Quadro 4000. The cost of the software-only Resolve makes putting together a powerful system possible without busting the bank.įor most of my tests I was running a 2010 Mac Pro 8-core, a Blackmagic Decklink Extreme 3D, a Tangent Wave panel, an Nvidia Quadro 4000 and an Nvidia GT 120. Prior to this announcement, it could have cost in the hundreds of thousands for a full-blown Resolve Linux system.

This is where Blackmagic had people awestruck last year at the announcement of a $995 software-only version of DaVinci Resolve for the Mac.

The days of being pampered in color suites with lattes, food and big comfy couches are still around, but the tools for the most part have changed and prices have come down to an unbelievable advantage to all in the film and broadcast industry.

Native file format support, including DPX, EXR, CIN, QuickTime, DNxHD, Arri RAW, Phantom Cine and Red R3DĬolor grading has always been thought of as an extremely expensive cost to the line item of producers, directors and DPs, and with good reason. Support for PCI Express expansion chassis, allowing for GPU acceleration via multiple graphics cards. PRODUCT: Blackmagic Design’s DaVinci Resolve software