#Upgrade davinci resolve to studio pro
#Upgrade davinci resolve to studio software
#Upgrade davinci resolve to studio mac

With that said, I still find myself forgiving Davinci Resolve more than I ever had Adobe.

Perhaps I’m missing something, but I can safely say that Adobe is more intuitive from a first-time user perspective. It appears to me that, unless I am sharing a project through a network, collaboration can in fact be more difficult in Davinci Resolve.

It seems like an unnecessary step, and counterintuitive to the very reasoning behind the “Project Library” approach-that being easier collaboration. I have found myself having to backup entire Project Libraries just to handoff a single project, despite handing off the working drive to my other editor. Projects cannot be divorced from Project Libraries, making direct project handoff more complicated than necessary. This approach is supposed to allow for more collaboration and cleaner backend file packaging, but-in my experience, anyway-it is at the cost of simplicity. Your cache files, proxies, and projects themselves get embedded within these folders.

#Upgrade davinci resolve to studio mac

Instead, Davinci Resolve requires its users to set up a “Project Library” (formerly known as a “Resolve Disk Database”) on their Mac or PC.įor the uninitiated, these Project Libraries are the home base for all things related to a drive or project. For better or worse, this was not Blackmagic’s approach. Like a document in Microsoft Word, Adobe files just… open. In using Premiere Pro, I can send a project file to another user and, assuming they have the corresponding media and access to the software, they can open it. Unlike its Adobe counterpart(s), Davinci Resolve is picky in structure. It begs the question-especially when we consider the features being added in the 18.5 update-will Blackmagic eventually have to split Davinci Resolve into multiple programs?ĭavinci Resolve does indeed come with a learning curve. With Live Save and Project Backups turned on, there are safety nets in place to prevent this from being a truly catastrophic event, but that does not change the amount of pressure put upon a single Davinci Resolve Project file. Your NLE timeline, your lower thirds that you carefully constructed in Fusion, the sound you delicately mixed in Fairlight-all gone. However, if a Davinci Resolve file gets corrupted (an experience I have thankfully avoided), all those assets are gone. These programs and files live independently of one another, protecting them from any sort of tangential corruption.

#Upgrade davinci resolve to studio pro

If an After Effects animation gets corrupted, your Premiere Pro edit is going to be just fine, and vice versa. On the other hand, with an all-encapsulating program like Davinci Resolve, there is less click-fatigue-but also less security. Hopping between different programs for different features and file types can become tiresome and, if you’re not tedious in your folder structures, it can get messy. To some, this proves to be a major advantage. These different pages offer relatively deep control over each aspect of a post-production workflow without the need to jump between programs to access them. In addition to its Edit and Color pages, Davinci Resolve contains its own version of Adobe After Effects and Audition within its walls (the Fusion and Fairlight tabs, respectively).

#Upgrade davinci resolve to studio software

At that point, Blackmagic’s flagship software had too many robust offerings to ignore. So, when Resolve 16 unveiled an overhauled editing page in 2019, I jumped ship on Adobe. I wanted color flexibility that was not present in Premiere, but an XML workflow seemed daunting at the time and Resolve’s Edit page was still lackluster. If I had anything less than 10-bit footage, I might as well have baked in a compressed look from the start. The toolset felt limited, like a tacked-on effect instead of a dedicated tool for bringing footage to life. 709 conversions, then spending hours on building a look, only to be left disappointed by the results. I was tired of relying on LUT packages for my Rec. Premiere Pro had always left something to be desired over color control. Like most, I was first drawn to Resolve for its color suite. I made the switch from Premiere Pro to Davinci Resolve Studio four years ago, and I (mostly) regret nothing.