Sunday, February 19, 2017

Toolbox

  • Tuesday, Nov. 8, 2016
AbelCine opens Development Center in Brooklyn’s Industry City
NEW YORK -- 

AbelCine announced the opening of a 12,500-square-foot Development Center located in Brooklyn’s Industry City. The new facility is home to AbelCine’s expanding engineering, product development and integration units and will serve as a hub of innovation within the company.

“Evaluating new technologies and adapting them to the needs of the production and broadcast communities has always been at the heart of what we do as a company,” said Pete Abel, CEO of AbelCine. “With the opening of our new Development Center, we are greatly expanding our capabilities in this regard, which ensures creatives can always rely on us to help them navigate the next big thing.”
 
AbelCine’s Development Center features an engineering lab where products are designed to address specific technical needs within the industry. Thanks to AbelCine’s unique position as an equipment provider and technology leader, the company is able to identify limitations of traditional gear and develop effective solutions. AbelCine’s successful line of Cameo camera accessories and resolution analysis charts is an example of this approach. With expanded design, prototyping, machining, and manufacturing capabilities in house, AbelCine will continue to work with industry partners to bring innovative products to market.
 
AbelCine’s Solutions Group, another key component of the Development Center, has an expanded base of operations for integration design, assembly, and staging, as well as ample space for project management, technical collaboration, and administration. This will enable the company to take on more complex assignments, and collaborate on integration projects utilizing emerging imaging and media technologies.
 
“We are excited to a be a part of the creative community at Industry City,” said Jonathan Epner, director of market development at AbelCine. “Since our range of knowledge and experience encompasses traditional broadcast and production, as well as exciting new mediums, such as VR and 360 imaging, we see ourselves as a resource for any media company looking to maximize the impact of new technology on their creative projects.”
 
AbelCine’s Development Center is currently open to their customers and business partners by appointment only from Monday through Friday from 9am to 6pm, while all other locations continue to operate under normal business hours.

  • Tuesday, Nov. 8, 2016
Firmware upgrade rolled out for SmallHD production & studio monitors
Several models in the Small HD line of monitors.
CARY, NC -- 

SmallHD announces a free firmware update that adds an array of new features to increase the functionality of its groundbreaking line of 13”, 17”, 24” and 32” production monitors, including the HDR (high dynamic range) displays.

To provide a better viewing experience, the Firmware 1.3 update adds De-Interlacer to view interlaced video in a progressive mode. It also adds V-Log and S-Log 3 DeLOG and HDR Preview support. A new Color Picker tool has been added to the toolbar to view the specific color values of a selected pixel on the video signal displayed.

The upgrade also supports a Studio Mode for SmallHD’s 1303HDR 13” monitor, which provides a brightness setting engineered for studio environments. Additionally, the multi-view function has been simplified to allow viewing of just two video outputs for A/B Camera setups, and repeated pressing of the input button will now cycle through all available inputs.

The free update, as well as a detailed list of the firmware update’s new features, is available here. The 1.3 firmware upgrade can be installed on the following models: 1303 Studio, 1303 HDR, 1703 Studio, 1703 HDR, 2403 Studio, 2403 HDR and 3203 HDR.

Introduced in 2016, SmallHD Studio and Production monitors have rapidly become a new standard due to their daylight-viewing ability, extensive software toolset, compact form, unmatched durability, unprecedented accessory flexibility, and affordable pricing.

  • Tuesday, Nov. 8, 2016
Grass Valley unveils new features in EDIUS 8.3 upgrade
MONTREAL -- 

With version 8.3 of EDIUS Pro and EDIUS Workgroup, Grass Valley, a Belden Brand, is introducing a number of new features that will make video editing more productive and more creative. The new version brings high-quality slow motion, more DVD/Blu-ray burning options, and other new usability improvements to all EDIUS Pro and Workgroup 8 users.

“Our customers choose EDIUS because they know that it’s a smart investment that will keep up with their needs as technology advances,” said Steve Wise, director of product marketing, Grass Valley. “We are constantly adding features and improving performance in response to feedback from users, which means that the software never falls behind the needs of the market. And the permanent license structure is such that existing users have access to the incremental upgrades within a version at no additional charge.”

Specific improvements for EDIUS Pro 8.3 and EDIUS Workgroup 8.3 include:

  • High-quality slow motion using optical flow interpolation
  • Bin now shows timecode information
  • Many more “Burn-to-disc” options for DVD and Blu-ray
  • More proxy resolution options
  • GV Browser improvements
  • GUI improvements
  • F-Log (Fujifilm) color space

EDIUS is available in two versions—EDIUS Pro 8 is targeted at the professional production user, while EDIUS Workgroup 8 is aimed at editors working within a broadcast-based, collaborative editing environment that might require GV STRATUS or third-party MAM connectivity, or to edit-in-place on K2 server/storage.

  • Monday, Nov. 7, 2016
Sphericam releases Beast 360 VR camera system at NAB Show In NY
Sphericam Beast camera head
NEW YORK -- 

Sphericam Inc. will be launching its newest 360º camera system at the NAB Show in New York City on November 9 after several months of intense stealth development. 

The new Sphericam Beast camera system is a large-format, high-end, cinema grade, modular and easily scalable 360º video capture system that can also stream live to the web or to headsets. The first iteration of the system uses four 1” inch sensors and four M.2 SSD drives to capture uncompressed 360 degree video at an output resolution of more than 6K at 60fps and 10-bit RAW format. 

Sphericam is expanding its product portfolio with a new studio-grade virtual reality camera system designed from the ground up to offer best-in-class fully spherical image capture and streaming performance for high-end filmmakers and broadcasters. The Sphericam team has created this “truly cinematic” system with great care and consideration, providing production groups the level of quality and resolution they have been asking us for. “For a young venture backed company the decision to address the challenges of the professional users rather than to focus on the large volume consumer solutions is a defining moment. We feel our strengths are understanding the most demanding product and technical aspects of spherical video capture and providing the industry with no-compromise tools to empower a true cambrian explosion of quality immersive content,” said founder and CEO Jeffrey Martin.

Practical features of the Sphericam Beast camera system are a direct answer to production community needs 

  • Closely positioned large sensors in a portrait configuration offer exceptionally small parallax for easy stitching
  • Live preview 5-inch FullHD displays for each camera ease on-site production workflow
  • Practical two-piece design allows the small camera head to be unobtrusively positioned up to 5m from the rest of the system
  • Live stitching supports immediate streaming to headsets or through a streaming service at 4k 30FPS
  • Captures 512GB of RAW sensor data (Cinema DNG) per sensor in under 10 minutes to avoid any compression losses
  • Monday, Nov. 7, 2016
Assorted fall TV shows created using Blackmagic Design cameras and software
"Empire" (Motion Picture © 2016-2017 Twentieth Century Fox Film Corporation. All rights reserved. Photographs © 2016 Fox and its related entities. All rights reserved.)
FREMONT, Calif. -- 

Blackmagic Design announced that several Blackmagic Design products, including digital film cameras, Fusion Studio visual effects and motion graphics software and DaVinci Resolve Studio color corrector and editor, are being used for production and post production work on some of the most anticipated shows in this year’s fall television lineup.
 
More than 46 of 2016’s fall television shows use Blackmagic Design’s cameras, Fusion Studio and DaVinci Resolve Studio. Top directors of photography, VFX artists, colorists and post production facilities rely on Blackmagic Design to deliver shows for the top primetime and cable networks, including returning hit shows like Modern Family, 2 Broke Girls, Jane the Virgin and Blindspot.
 
The following list is a sample of some of the shows being completed on Blackmagic Design products, and there are many more.
 
Fall TV Shows Using Blackmagic Design

For Cinematography:

  • DP Allan Westbrook uses a Video Assist 4K and Micro Cinema Camera to shoot in tight quarters and small spaces on ABC’s Marvel's Agents of S.H.I.E.L.D.;
  • DP David Tuttman uses the Blackmagic Cinema Camera and Pocket Cinema Camera on NBC’s Blindspot;
  • DP Glen Keenan used a Pocket Cinema Camera, Production Camera 4K, ATEM Switcher and DaVinci Resolve Studio on Fox’s A.P.B. pilot episode;
  • On CBS’ Blue Bloods, the show’s DPs use Blackmagic Production Camera 4Ks and URSA cameras. 

For Visual Effects:

  • Inhance Digital VFX Supervisor Eddie Robison and his team use Fusion Studio for VFX work on The CW’s Jane the Virgin, EPIX’s Graves and Fox’s Empire;
  • Muse VFX Founders and VFX Supervisors John Gross and Fred Pienkos and their team use Fusion Studio to composite El Rey Network’s From Dusk Till Dawn: The Series, MTV’s Teen Wolf and Mary + Jane, and CBS’ NCIS: New Orleans and Elementary;
  • Warner Bros. Motion Picture Imaging Colorist Scott Gregory uses DaVinci Resolve Studio for VFX work, including comps, beauty work and sky replacements on CBS’ 2 Broke Girls and MTV’s Sweet/Vicious.

For Color Grading:

  • Chainsaw Supervising Senior Colorist Todd Bochner uses DaVinci Resolve Studio to grade The CW’s Jane the Virgin and No Tomorrow and HBO’s The Leftovers;
  • Chainsaw Colorist Joe Finley uses DaVinci Resolve Studio to grade HBO’s Insecure;
  • ColorTime Senior Colorist Russell Lynch uses DaVinci Resolve Studio to grade ABC’s Modern Family and CBS’ Life in Pieces;

    Deluxe’s Encore, Company 3 and Level 3 teams are currently coloring and mastering a number of fall shows, many in HDR, including those below, and others not listed:

  • Company 3 Senior Colorist Cody Baker uses DaVinci Resolve Studio to grade USA’s Shooter;
  • Company 3 Senior Colorist Siggy Ferstl uses DaVinci Resolve Studio to grade Hulu’s Shut Eye;
  • Company 3 Senior Colorist Shane Harris uses DaVinci Resolve Studio to grade HBO’s Westworld and IFC’s Documentary Now!;
  • Encore Senior Colorist Tony D’Amore uses DaVinci Resolve Studio to grade CBS’ Elementary and Starz’ Power (project shared with Deluxe’s Company 3 colorist Sofie Friis Borup);
  • Encore Senior Colorist Kevin Kirwan uses DaVinci Resolve Studio to grade FX’s American Horror Story: Roanoke and Fox’s Scream Queens;
  • Level 3 Senior Colorist Randy Beveridge uses DaVinci Resolve Studio to grade Netflix’s The Ranch and Fox’s Lucifer;
  • Level 3 Senior Colorist Ken Van Deest uses DaVinci Resolve Studio to grade The CW’s The Flash and Legends of Tomorrow;
  • Level 3 Senior Colorist Mark Wilkins uses DaVinci Resolve Studio to grade Fox’s The Exorcist;
  • DigitalFilm Tree Colorist Patrick Woodard uses DaVinci Resolve Studio to grade ABC’s Mistresses and American Housewife, and CBS’ NCIS: Los Angeles;
  • Light Iron LA Supervising Colorist Jeremy Sawyer uses DaVinci Resolve Studio to grade FX’s Better Things and AMC’s The Walking Dead;
  • Light Iron LA Colorist Nick Lareau uses DaVinci Resolve Studio to grade Investigation Discovery’s True Nightmares;
  • Modern VideoFilm Colorist Aidan Stanford uses DaVinci Resolve Studio to grade ABC’s Fresh Off the Boat;
  • NXNW Colorist Sam Read uses DaVinci Resolve Studio to grade Syfy’s Z Nation;
  • Picture Shop Senior Colorist George Delaney uses DaVinci Resolve Studio to grade CBS’ NCIS: New Orleans;
  • Picture Shop Senior Colorist Chris Boyer uses DaVinci Resolve Studio to grade NBC’s Blindspot;
  • Picture Shop Colorist George Manno uses DaVinci Resolve Studio to grade Fox’s Lethal Weapon, ABC’s Once Upon a Time and The CW’s Arrow;
  • The Foundation Owner and Colorist Gareth Cook uses DaVinci Resolve Studio to grade ABC’s The Real O'Neals;
  • The Loft Owner and Colorist Dan Judy uses DaVinci Resolve Studio to grade The CW’s Frequency and Fox’s The Last Man on Earth;
  • Warner Bros. Motion Picture Imaging Colorist Scott Gregory uses DaVinci Resolve Studio to grade CBS’ 2 Broke Girls and MTV’s Sweet/Vicious; and
  • Warner Bros. Motion Picture Imaging Senior Supervising Television Colorist Scott Klein uses DaVinci Resolve Studio to grade Fox’s Empire and AMC’s Halt and Catch Fire
  • Friday, Nov. 4, 2016
Qwire launches qwireMusic 2.0
TV series “Fargo” deployed qwireMusic 2.0 in 2016
NEW YORK -- 

Qwire, a provider of cloud-based tools for managing scoring and licensing music to picture, has announced the launch of qwireMusic 2.0. This new version significantly expands the collaboration, licensing, and cue sheet capabilities of qwireMusic, which has been further enhanced by a highly-intuitive new user interface and support for Windows OS.

Many new features of qwireMusic 2.0 were developed to address feedback from the platform’s growing user base of content creators. Since qwireMusic’s introduction in 2014, it has been chosen by an increasing number of TV series and films. qwireMusic 2.0 has been used by music supervisors, composers, picture editors and music editors on over forty productions so far in 2016, including Animal Kingdom (TNT); Animals (HBO); Casual (Hulu); CSI: Cyber (CBS); Fargo (FX); Guilt (Freeform); Harley and the Davidsons (Discovery); How to Get Away With Murder (ABC); People of Earth (TBS); Pitch (Fox); The Score (Vice); Shameless (Showtime); Teen Wolf (MTV); This Is Us (NBC); and Z: The Beginning of Everything (Amazon). 

“Having everyone in the know on every cue ever put in a show saves a huge amount of time,” said Patrick Ward, post producer for the series Parenthood, The West Wing, and Pure Genius. “With qwireMusic I spend about a tenth of the time that I used to disseminating cue information to different places and entities.” 

qwireMusic is a suite of integrated modules that simplifies, consolidates, and streamlines a wide range of tasks and interactions for everyone involved with music and picture, across all stages of post-production, as well as music clearance and administration. qwireMusic facilitates successful collaboration among picture editors and post producers, music supervisors and clearance, composers, music editors, and production studios.  
  
Highlights of qwireMusic 2.0 include:

  • Presentations — Presentations allow music cues and songs to be shared between music providers (like supervisors and composers) and their clients (like picture editors, studio music departments, directors and producers.  
  • With Presentations, selected music is synced to video, where viewers can independently adjust the balance between music and dialogue, adding comments on each track. The time-saving efficiency of this powerful tool centralizes the music sharing and review process, eliminating the need for the confusing array of Quicktimes, Web links, emails, and unsecured FTP sites that often accompany post production. 
  • Real-time licensing status — With qwireMusic 2.0, music supervisors can now easily audition music, generate request letters, and share potential songs with anyone who needs to review them. 
  • When the music supervisor receives a quote approval, the picture editor and music editor are notified and the studio music budget is updated, instantly and seamlessly. In addition, problem songs can be instantly flagged. As with the original version of qwireMusic, request letters can be generated and emailed in one step with project-specific letterhead and signatures.
  • Electronic Cue Sheets — With qwireMusic’s “visual cue sheet,” users can review all of the information in a cue sheet displayed alongside the final picture lock.  The cue sheet is automatically populated from data already entered in qwireMusic by the composer, music supervisor, and music editor.  Any errors or missing information are flagged.  When the review is complete, a single button submits the cue sheet electronically to ASCAP and BMI.
  • qwireMusic 2.0 also benefits from a completely revamped user interface, which is more intuitive and easier to read. A wealth of additional user suggestions have been implemented throughout, including marker import of scenes from the Avid for post, Excel export functions for all important forms and reports, full compatibility with Windows OS, expanded file sharing options, and more.

“With its proven ability to save time and money while enabling creativity, qwireMusic has proven invaluable for a growing number of studios and media production professionals,” said Scott Freiman, co-founder of Qwire. “qwireMusic 2.0 makes this cloud-based collaboration tool more intuitive, responsive, and comprehensive than ever before.”

  • Thursday, Nov. 3, 2016
RED Digital Cinema to showcase latest in product line at Camerimage
RED's WEAPON® 8K S35
IRVINE, Calif. -- 

RED Digital Cinema will be exhibiting at Camerimage International Film Festival in Bydgoszcz, Poland, from November 12-19. Those visiting RED’s stand can interact with RED’s DSMC2TM cameras including the newest cameras, RED EPIC-W and WEAPON® 8K S35, which feature RED’s new HELIUM™ sensor.

These RED cameras will be featured alongside Dedo Lights and Cooke Optics within the Main Foyer of The Festival Center. This stand will use a mock set displaying the Camerimage Frog Festival Trophies, rarely seen on the exhibit floor or outside the awards. Additional RED EPIC-W cameras will be featured on the Leica and Angenieux stands as well.

  • Thursday, Nov. 3, 2016
Quantum sets lineup for NAB Show NY
Xcellis Shared Workflow Storage
NEW YORK -- 

Quantum will showcase the power of its StorNext platform across the full media life cycle, including production, delivery and archive workflows and content management, at the NAB Show New York at Javits Convention Center from Nov. 9-10.The company’s booth (1119) will feature the converged storage architecture of Xcellis and the benefits that media companies can realize when embedded applications run natively on high-performance workflow storage.

Quantum products at the NAB Show NY will include:

•End-to-End Workflow Support: Xcellis™ Shared Storage Powered by StorNext®   
Quantum will showcase its award-winning Xcellis workflow storage and demonstrate how the unique converged capabilities of this system empower users to boost their efficiency, productivity and creativity in delivering the products and services that drive their businesses. Xcellis consolidates media management, extends connectivity options for both Fibre Channel and Ethernet clients and supports hosted applications in a single hardware system that greatly enhances productivity in collaborative media environments. Working with a growing array of technology partners and application providers, Quantum is continually extending the ways in which Xcellis can optimize end-to-end workflows. Based on the powerful StorNext 5 platform, Xcellis facilitates flexible configuration of performance and capacity. The system supports online work-in-process, ingest and delivery, and archive through Quantum’s portfolio of Lattus object storage, LTO tape and Q-Cloud services. In addition to providing exceptional performance and reliability, Xcellis enables continuous scalability that not only reduces the cost and complexity of storage deployment and maintenance but also enables future expansion in an intelligent, sophisticated manner.

•Xcellis™ Dynamic Application Environment
Xcellis has the unique ability to support embedded applications, which run on the system to deliver valuable functionality while streamlining operations. During the 2016 NAB Show New York, Quantum will showcase this capability, the execution of applications via virtual machines within the storage system and how this approach both reduces the need for dedicated application servers and provides a flexible foundation for future technologies and workflows. A growing number of Quantum technology partners have introduced embedded applications for Xcellis that address tasks such as media asset management, transcoding and QC, provisioning resources in an exceptionally efficient on-demand model.

Tech demo
Quantum will also present a technology demo, showcasing the IPV Curator media asset management (MAM) system running natively on its Xcellis high-performance shared workflow storage system. Deploying Curator and its operating system environment as a virtual machine on Xcellis, users realize advanced asset management capabilities while eliminating the need to invest in and maintain a new server to support the application and its functionality.

  • Tuesday, Nov. 1, 2016
Panavision to showcase Millennium DXL Camera and T Series Lenses at Camerimage
Panavision Millennium DXL 8K Camera
WOODLAND HILLS, Calif. -- 

Panavision will showcase many of its newest offerings, including the Millennium DXL 8K Camera and T Series anamorphic lenses at the 2016 edition of the Camerimage International Film Festival, which runs Nov. 12-19 in Bydgoszcz, Poland. Panavision is also presenting two workshops, and exhibiting alongside subsidiaries Light Iron, LEE Filters and Panalux. 

Unveiled earlier this year, the Panavision Millennium DXL was developed through an unprecedented collaboration of three companies, bringing together large-format optics and modular accessories from Panavision; an 8K sensor from RED Digital Cinema; and new color science and optimized workflow from Light Iron. Presentations on the DXL will take place each day from Nov. 14-17, with demo footage screening at the MCK. The camera is expected to be available in early 2017 for rent exclusively through Panavision facilities worldwide.

The company also announces the availability of the Panavision T Series anamorphic lenses. At Panavision’s exhibit, attendees will see the product portfolio, ranging in current focal lengths of 35mm, 60mm, 100mm, 135mm, 150mm, and preview the upcoming additions to the lineup in 50mm, 75mm, 180mm. The lenses build on Panavision’s long tradition of designing and developing high-quality anamorphic lenses for motion picture. They combine new optical layouts with mechanical advances from the G Series, but have a larger sweet spot and focus closer than some of their predecessors. They are also tuned to be compatible with digital sensors without losing any of the imaging characteristics that have become part of the anamorphic grammar.

Camerimage’s Lifetime Achievement Award recipient Michael Chapman, ASC will be taking the stage at the MCK on Nov. 15 at 11:00 a.m. CET. This event is a highlight of the festival, which is presented by Panavision. Oscar® nominated for his work on Raging Bull in 1981 and The Fugitive in 1994, Chapman’s legacy of film images over four decades places him among the elite of cinematographers. His list of credits includes The Last Detail, Taxi Driver, Invasion of the Body Snatchers, The Lost Boys, Rising Sun, Primal Fear, Space Jam, Six Days Seven Nights, The Story of Us, The Watcher, Evolution, and Eulogy.

Following Chapman’s seminar, Panavision’s Cinematography Workshop will explore the technical and artistic characteristics of anamorphic and larger format optics. Led by Dan Sasaki, Panavision’s VP of Optical Engineering, the workshop will be held Nov. 15 from 2:00 p.m. CET in the MCK.

Also on exhibit will be the new Outpost by Panavision, a powerful mobile post-production system for on-set or near-set workflows. Originally developed by Light Iron and refined with Panavision’s modular engineering, Outpost’s lightweight, compact form factor provides efficient solutions for both creative tasks, such as look setting and processing tasks, including  verified backups. Outpost helps creatives maximize their schedules with faster than real-time transcodes and same-day editorial deliverables, even for 8K footage. Like the DXL, Outpost is designed with many details and custom modules that can be configured to each production’s needs.

LEE Filters will debut its Cine Filters, a new range of glass neutral density camera filters. Also highlighted at the exhibit will be LEE’s Zircon Lighting Filters designed for LED lighting with new technology that gives them an increased lifespan of up to 200 times longer than standard lighting filters. Attendees can also pick up the latest copy of the famous LEE yellow swatch book, containing all their color effects filters as well as their full range of technical and diffusion filters for cinematography.

Panalux, a provider of lighting rental equipment for film, television, and media production, will display its latest in LED lighting technology. The rental and service provider will showcase and demo the lightweight, battery-powered Panalux LED Flex Light and yet-to-be-released soft box accessory. The bi-color, super-slim Panalux LED Flex Light is bendable and portable. The newest accessory to the Flex Light is a quick-assemble, large-format soft box that produces a beautiful, even soft light that makes the low-consumption Flex Light even more versatile. Also on display will be the Panalux Tektile2 slimline LED panels and Panalux NessLED Kit.

  • Tuesday, Nov. 1, 2016
Blackmagic Design rolls out DaVinci Resolve 12.5.3 update
DaVinci Resolve 12.5 Pro Suite
FREMONT, Calif. -- 

Blackmagic Design announced a new DaVinci Resolve 12.5.3 update for its professional editing and color correction software. DaVinci Resolve 12.5.3 features support for importing and exporting projects from the latest version of Final Cut Pro X, as well as additional improvements to Media Composer interoperability, ACES color science and more. DaVinci Resolve 12.5.3 update is available now for both DaVinci Resolve and DaVinci Resolve Studio customers, and can be downloaded free of charge from the Blackmagic Design website.
 
DaVinci Resolve 12.5.3 update adds compatibility with the new XML 1.6 format used in the latest version of Final Cut Pro X. That means customers using the new version of Final Cut Pro X will be able to seamlessly send projects to DaVinci Resolve for color correction and finishing and also generate XML’s to export projects back to Final Cut Pro X. In addition, DaVinci Resolve 12.5.3 includes PostgreSQL 9.5.2 for compatibility with macOS Sierra.
 
DaVinci Resolve 12.5.3 also adds support for ACES version 1.0.2, including the ACEScct color space. ACEScct is a quasi-logarithmic encoding of ACES data to make it suitable for color grading with DaVinci Resolve 12.5.3.
 
This new update also improves interoperability with Media Composer. AAF projects containing dip to color dissolves and certain transformation effects such as flip and flop are greatly improved, making it easier to successfully move projects from Media Composer to DaVinci Resolve for finishing. DaVinci Resolve 12.5.3 also improves Dolby Vision XML exporting for mastering and finishing high dynamic range content.
 
“In addition to being an incredible editing and color correction solution, one of the things that customers love the most about DaVinci Resolve is that it just works with everything,” said Grant Petty, CEO, Blackmagic Design. “This new update makes it easier and more reliable than ever to move projects from Final Cut Pro X and Media Composer into DaVinci Resolve. Once there, customers can use improved ACES and DolbyVision support to edit, color correct and finish their projects in high dynamic range and at the highest possible quality!”
 
What’s new in DaVinci Resolve 12.5.3

  • Added support for Final Cut Pro X XML Version 1.6
  • Added support for PostgreSQL 9.5.2 on macOS Sierra
  • Added support for ACEScct color science
  • Updated ACES support from ACES 1.0.0 to ACES 1.0.2
  • Improved performance when encoding to MXF XAVC
  • Improved importing of Flip and Flop from AAFs from Media Composer
  • Improved importing of Dip to Color dissolves from AAFs from Media Composer
  • Improved Dolby Vision XML export

Availability and Price
DaVinci Resolve 12.5.3 update and DaVinci Resolve 12.5.3 Studio update are now available for download from the Blackmagic Design website free of charge for all current DaVinci Resolve customers.