Blackmagic Design DaVinci Resolve Studio v12.3.2 Win / Mac / Linux

Program Name: Blackmagic Design DaVinci Resolve Studio 12
9 ?0 @. c- r! l. RProgram Type: Color correction
Version:v12.0.0b1-v12.3.2
Release Date: 18 Mar 2016
) {; q& n/ M8 g5 e- rHomepage: www.blackmagic-design.com/products/davinciresolve/software/
Interface Language: English
& ~* p0 s, u' @3 u* a2 v' r  mPlatform: Win / Mac / Linux
6 H! z1 V$ f& |+ BFile Size: 2 GB
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DaVinci Resolve 12 combines professional non-linear video editing with the world’s most advanced color corrector so now you can edit, color correct, finish and deliver all from one system! DaVinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline! From creative editing and multi camera television production to high end finishing and color correction, only DaVinci Resolve features the creative tools, compatibility, speed and legendary image quality you need to manage your entire workflow, which is why it is the number one solution used on Hollywood feature films.

The world’s most advanced color grading tools.
DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci Resolve features unlimited grading with the creative tools colorists need and incredible multi GPU real time performance. That’s why DaVinci is the name behind more feature films, commercials, television productions, documentaries and music videos than any other grading system!

: ~, t/ d" D) `& WProfessional editing from rough cut to finished edit!
, }& o3 g$ B; d7 ~( K2 ~DaVinci Resolve 12 includes sophisticated professional editing tools designed to handle a wide range of projects from scripted prime time dramas to fast paced stylized commercials and even multi camera productions. Editing tools are context sensitive, which means that DaVinci Resolve automatically knows how you want to trim based on the position of the mouse so you don’t have to waste time switching tools! You also get customizable keyboard shortcuts so you can edit quickly and move between applications with ease. DaVinci Resolve 12 has the most advanced collaborative tools that let multiple people work together on the same timeline at the same time so you can finish faster and focus on your edit!
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+ V2 g) u# L' c5 D; jScalable power and real time performance.
8 a/ ]  m+ f7 v9 k2 x7 i( ?DaVinci Resolve is scalable and supports multiple GPUs all working together as found in the new MacPro, as well as the latest Windows and Linux computers. You get support for up to 8 GPUs so that you can build dedicated systems that are super fast and deliver blazing real time performance. You can even offload output and rendering tasks to other Resolve systems on your network using the remote rendering tools. That’s important when you are working on high pressure projects that you need to deliver fast! Whether you are working in your own post production suite or grading the next Hollywood blockbuster, workstations running DaVinci Resolve can be super charged to keep up with you and your clients!

Work faster with absolute control!
When you have a client looking over your shoulder you need to work fast. The DaVinci Resolve control surface lets you adjust multiple parameters simultaneously, making grading faster. The control surface features dedicated buttons, knobs and perfectly weighted trackballs that give you the subtle control you need for creating the most amazing looks! You get 32 soft knobs with automatic LCD labels so you’ll never have to page through multiple menus to find common adjustments. Save and recall grades to memory, load gallery stills and more at the push of a button while you keep grading at full speed!
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Ensure complex jobs are well organized.
Saving and managing media is a critical part of every project! DaVinci Resolve features powerful media management tools specifically designed for editorial and color workflows. You can easily move, copy, consolidate, relink, and archive media, timelines or entire projects. DaVinci Resolve’s clone tool will back up your valuable camera files on location so you can copy camera files to multiple destinations with checksum validation for safekeeping while you’re still on set! DaVinci Resolve can also edit metadata, sync sound and prep footage for editing, color grading or visual effects. DaVinci Resolve helps you on local drives or over your network and, because it works with virtually every camera and video format, you don’t need to convert files to begin editing or grading!
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4 b5 E- A& T8 e* S0 d6 [Finish and deliver to virtually any format!
Whether you’re creating a master for TV release, a digital cinema package for theatrical distribution or finishing for delivery over the internet, DaVinci Resolve includes powerful delivery options for versioning, finishing and delivery at any resolution. You can export your media in a variety of formats with optional burn-ins, output EXR or DPX files for visual effects work and uncompressed 10 bit or ProRes files for editing in applications like Final Cut Pro X. Exporting can take advantage of remote rendering, using another Resolve on the network to render the job. DaVinci Resolve works from your camera originals so you always get the highest quality output. That means your finished master is a first generation graded copy of the original camera RAW files!
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Unique YRGB 32 bit float processing.
DaVinci’s high quality image processing is so revolutionary it won an Emmy™ award for contributions to the television industry! All image processing is at the deepest 32 bit floating point and DaVinci Resolve uses a unique YRGB color space for grading. This allows you to adjust the luminance gain of your video without rebalancing the color of your whites, mids, or blacks. That means you won’t have to chase the correction you’re aiming for! 32 bit processing combined with YRGB color science gives you a dramatically wider color correction range, so you can generate looks that other systems simply cannot match!

End to End Color Management
DaVinci Resolve 12 simplifies the color management of multiple clips with different color spaces, allowing you to define individual source, timeline and output color spaces with incredible speed and accuracy. Now you have a complete end to end color managed pipeline that can use DaVinci Resolve’s color managed timelines and ACES 1.0 (Academy Color Encoding Specification) color for high end digital cinema workflows.
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; L4 f: n9 M' I" n" M& d- ^1 fThe world’s most compatible post production solution!
9 d/ [+ s% \1 `4 l; m- N2 U. U) xExchange projects with your favorite NLE software, send clips to VFX and motion graphics, and export projects directly to ProTools for professional mixing and sound design! DaVinci Resolve can share sequences and round trip projects with Final Cut Pro X, Media Composer, Premiere Pro and more! That means you can edit your project on any system, then using XML, AAF or EDL’s, you can link back to your full quality camera RAW files and finish in greater bit depth with DaVinci Resolve. You can also use AAF export to send a project to ProTools with discreet audio clips and a single layer video mix down for audio finishing. DaVinci Resolve lets you work with and integrates with dozens of other software tools so you can focus on getting your job done.
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DaVinci Resolve’s powerful professional non-linear editing and world class color correction tools, along with advanced media management and live on set tools, make it perfect to use as the hub of your entire creative workflow! Each page in DaVinci Resolve is logically organized into work areas for each stage in the post production workflow.

1 K% P* d9 L+ x) a. [6 R6 HGrading Live On Set
Now post production can begin during production! Cinematographers and colorists on set can use Resolve Live to grade real time video direct from the camera. You get the full creative power of primaries, secondaries, power windows and more! Resolve Live can help you confirm lighting and camera angles on set and lets you save looks that can be applied to you camera RAW files during grading. That means you save time in production and in post because you can see exactly how your shots are going to look when finished!

7 k: R$ `- U7 S7 H: }4 iFeature Film and Post Production
When you have the world’s most demanding clients you need to be able to work quickly and handle any challenge they present you with! Only DaVinci Resolve has the image quality, scalable power, performance and incredible award winning control panel that can keep up with you when clients are in the room working with you. DaVinci Resolve handles more native camera files and video formats than any other real time system, that means you can edit and grade virtually any type of footage in real time! That’s why DaVinci Resolve has been used on more high end feature films, television commercials, music videos and episodic productions than any other system!

Collaborative Editing and Grading
" m/ J& n% ^. o: S( T7 nNow you can have an editor and multiple colorists working on the same timeline simultaneously! DaVinci Resolve 12 lets an editor and multiple colorists on different workstations share the same timeline and work in tandem as they complete shots. A colorist could be pulling a key or tracking windows while another colorist fine tunes grades that are immediately updated as the editor edits. The DaVinci Resolve collaborative workflow lets your creative team break down a large job into parts they can each work on separately!

Editing and Grading for Photographers
If you’re a photographer turned cinematographer shooting video with your DSLR or a Blackmagic Cinema Camera, DaVinci Resolve has new RAW image and color grading controls that are familiar to photographers. Now you can adjust images quickly and precisely or even use a color chart to automatically balance your footage! You get the highest possible quality editing and grading because you're working from your camera original files without conversion! DaVinci Resolve solves the single frame limitations of photo enhancement systems and gives photographers advanced real time editing and color correction features that are quick to learn and easy to use.
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4 S5 s: c- _7 h3 V; j2 a) eRemote Grading
The unique remote grading features of DaVinci Resolve mean that clients can choose their favorite colorist for the job, no matter where they are in the world! Using a regular internet connection, a colorist on one side of the world can remotely control and grade on another system containing the same media. With remote grading, a colorist in London or LA can collaborate and show his work to a Director in New York, Tokyo or anywhere else at full quality, all in real time
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Multi Camera Productions
Multi camera productions like situation comedies, reality TV and soap operas have a unique and fast pace workflow that require multiple source cameras to playback simultaneously so the editor can cut on the fly. DaVinci Resolve’s new multi-cam tool makes it easy to sync multiple cameras manually using marked points or automatically using timecode or audio waveforms. You can then switch cameras just as if it is being cut live with the added benefit of being able to go back and refine the cut with b-roll, alternate takes from a dress rehearsal or intercut with other multi-cam timelines!

Episodic Television
Episodic television schedules are some of the fastest and most gruelling in the industry. Imagine having to grade over 900 shots for a show every day! DaVinci Resolve’s compatibility with editing systems lets colorists start grading before the final edit is complete. Every time changes are made in editorial they can be sent to DaVinci Resolve and the timeline will update automatically. Colorists don’t have to rebuild the project every time the edit changes. That means you can work right up to the on air deadline and deliver the final master as soon as you have completed your grade!

Supporting Freelance Editors
4 l4 o; w3 ]& G* v: i7 DDaVinci Resolve 12 makes creating files and round tripping projects with editorial faster and easier than ever! Manage media, sync audio and convert high resolution RAW footage into ProRes or DNxHD proxy files for use in Final Cut Pro X, Media Composer or Premiere Pro CC. The advanced media management tools in DaVinci Resolve can track the relationship between proxies and your original footage for finishing. After editing DaVinci Resolve will automatically reconnect the edited sequence to the original camera RAW files. Now you can finish your project at the highest possible quality using the extended dynamic range and advanced controls in DaVinci Resolve.

Invented in partnership with Hollywood studios, DaVinci has been the standard in post production for over 30 years. DaVinci Resolve is the real time grading system that’s been used worldwide on more feature films, episodic television productions, commercials, independent films and music videos than any other. DaVinci color correction is the difference that makes high end work so breathtaking!

Unlimited Grades
DaVinci Resolve uses node based processing where each node can have color correction, power windows and effects. Nodes are similar to layers, but more powerful because you can join unlimited nodes sequentially or in parallel. That means you can combine grades, effects, mixers, keys and even plug-ins in any order to create limitless color effects and unique looks. If things get too crowded you can collapse multiple nodes into a single compound node then save it to your Gallery as a “look” to be used on other scenes!
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9 d' _# _" D2 Y5 L1 X; UGrading from RAW Files
, j& y! u' {4 f; s  |Cinematographers will love the camera RAW palette in DaVinci Resolve 12. You get high quality de-bayer with highlight recovery, white balance, color space and gamma controls, along with adjustments for fine tuning exposure, color temperature, tint, sharpness and more so that you have virtually unlimited creative control over RAW images. Now you can take advantage of the full wide dynamic range of RAW images and pull the maximum detail out of the highlights, shadows, and mid tones in real time!

/ g' V! K7 r9 d( ^+ A( ~: YPowerful Primaries
Great color correction starts with a well balanced image. Get perfect looking images with the world’s most powerful primary color corrector for setting lift, gamma and gain with the control and precision of DaVinci’s unique YRGB color space and ACES 1.0. Primary controls include shadows, mid tones and highlight log controls with offset.

Precision Secondaries
Target specific colors or areas of the image with DaVinci’s precision secondary color correctors. Precise HSL, RGB color and LUM qualification lets you target specific areas of the image. With the new advanced 3D keyer in DaVinci Resolve 12, you simply drag over an area to instantly pull a clean key and isolate areas in a shot. For the most complex grades and multi layer effects, the enhanced Matte Finesse controls ensure everything blends seamlessly.
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: t& L/ R6 L; q; lAutomatic Color Match
Whether your footage was shot on film, video or is RAW, DaVinci Resolve’s Color Match can automatically give you a primary base grade by analyzing shots containing standard color charts! Color Match lets you set the source gamma, target gamma and target color space for the chart used in your shot. Simply use the chip grid to identify the color chip chart and Resolve will automatically balance the shots, even if they were shot on different cameras, under different lighting conditions and with different color temperatures!
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: q- Z( P5 Z# S1 C% H6 IAutomatic Shot Matching
DaVinci Resolve 12 features powerful new shot matching tools to help you get started with creative grading faster than ever before. Simply select similar clips, like shots from different angles of the same scene, and DaVinci Resolve will analyze the image and color data to give you balanced images that match across each of the shots. From there, you can begin to customize each individual clip and start the creative grading process.
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Power Windows™
7 v5 H+ ^  p2 X1 `6 t6 Z* tInvented by DaVinci, Power Windows revolutionized grading by letting you isolate specific areas in the image. You can create an unlimited number of Power Windows using circular, linear, gradient and PowerCurve shapes and then combine them using matte and mask controls. Windows can automatically follow objects in the image using Resolve’s built in multi point tracker!

Image Stabilization and 3D Tracking
DaVinci Resolve includes the world’s most powerful 3D tracker for locking Power Windows™ to on screen objects with highly accurate perspective matching. Tracking is automatic so you don’t have to waste time generating keyframes. You can also use the tracker to stabilize images and clean up shots that would otherwise be unusable!

Optical Quality Reframing
$ X0 Q8 f( B" c7 X5 h5 J- j3 n! n+ oWhen you need to reframe a shot, it’s vital that you don’t lose image quality. DaVinci Resolve includes optical quality sub pixel processing so when you reframe, zoom or even rotate a shot, quality is retained. This lets you fix shots in full quality.
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4 p3 {# Z0 Y' D; \) a0 lRGB Mixing
4 @5 Z: b+ m5 x# w" yFor extreme looks and innovative creative styles, DaVinci Resolve supports RGB mixer grading to control individual red, green and blue gain for each color channel, blend and mix channels. You can even swap inputs for extreme effects or make sections of your image monochrome.
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3 c; k: G7 H7 s5 G" J0 N1 p, vACES 1.0 Motion Picture Color Standard
$ n0 A. w* Q0 k  k9 OResolve 12 improves upon DaVinci’s legendary advanced color science by adding support for DaVinci’s own color managed timelines as well as the ACES 1.0 linear color space standard. That means you get the easiest way to produce predictable and consistent color results, especially when working in larger facilities with managed pipelines.

4 L( H% n% B3 w6 O; [Custom Curves™ and Soft Clip
When you’re after subtle control, Custom Curves™ let you define a specific curve using Bezier handles for your corrections. Then add DaVinci’s unique high and low soft clip processing with high and low softness for that magical ‘look’. These can be ganged for all channels or set per channel. Custom Curves™ also support YSFX luminance and saturation effects.

HSL Curve Grading
& q8 a$ R7 s5 C5 uCurve grading is a very popular grading method and lets you adjust hue, saturation or luminance on a curve graph with a workflow that’s similar to grading with popular editing software. You can pick colors from the image and even use bezier handles for precise curve control.

8 X- ]  g# [  a2 |Open FX Plug-ins
Resolve 12 supports OpenFX plug-ins on both the editing timeline and within color nodes so you get almost limitless creative options! Work with third party plug-ins from developers like Red Giant™, GenArts and more. DaVinci Resolve uses full 32 bit float GPU based image processing so you’ll always get the best looking results as fast as possible, even when using third party OpenFX plug-ins!

: N4 b" ^# Q; ^0 \- b% bGallery Stills and Grades
When you’re grading it’s important to keep stills from earlier in the job or even other projects so you can compare shots to keep your grades consistent. DaVinci Resolve’s Gallery lets you quickly save and share stills and also copy color gradesfrom your work. Primary and secondary grades, as well as complex compound nodes, can be copied to individual clips, to all clips from the same reel, or to any selected group of clips.
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Hardware Control Surface
. |$ U5 f6 B5 z5 A- p! Q0 r, ^/ CTo get the full DaVinci Resolve experience and to accelerate your workflow, use the award winning DaVinci control surface. You can make multiple adjustments simultaneously and use dozens of soft keys and knobs so that you’ll never have to mouse through multiple menus looking for common adjustments again! The DaVinci control surface lets you work fast, which is especially important when you’re on a deadline and collaborating with a client in your suite!

Real Time 3D Stereoscopic Grading and Editing
When you are working on a 3D stereoscopic project it’s important to be able to match the grade on both eyes and bring everything into perfect alignment! DaVinci Resolve will edit, grade and display 3D stereoscopic timelines in real time. You can perform side by side, line by line, checkerboard and anaglyph comparison between eyes and use automatic 3D alignment tools to remove slight color or image alignment errors between cameras on 3D rigs. Adjust convergence pan, tilt and zoom and immediately see the results. You can even begin with a 2D timeline and copy all the grades to the other eye ready for trimming.

% O+ f2 r5 ^( L5 r4 w: ^Move Grades Between Systems
$ i/ q4 Q* N/ O) z4 e& W( qDaVinci Resolve can grade and finish projects that were started in Final Cut Pro X, Avid Media Composer, Premiere Pro CC and more! DaVinci Resolve also supports ASC color decision lists including full slope, offset, power and saturation metadata. As all CDL events are synchronized with EDL events you can import basic grading decisions made on other systems for final grading and delivery from within Resolve. DaVinci Resolve is more compatible with popular editing and grading systems than any other solution.
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DaVinci Resolve has a familiar, editor friendly interface with all the tools that editors need to craft the perfect story! You can trim and finish projects started in professional editing software like Final Cut Pro X, or you can start editing a project from scratch in the Resolve timeline. Whether you like to use the mouse for drag and drop editing or prefer the precision of editing on your keyboard, DaVinci Resolve is easy to learn and features all of the timeline tools professional editors need to work creatively and fast!
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! K$ j; _0 X7 ?Comprehensive Editing Tools
DaVinci Resolve editing features full multi track support with fast and familiar editing tools. There are keyboard shortcuts and toolbar buttons to mark edit points, insert tracks, delete clips and more. You can also simply drop your clips directly into the timeline or drag clips over the edit pop up window to quickly perform insert, overwrite, replace, fit to fill, superimpose, 3 point, add and swap edits.

Context Sensitive Trimming
2 k# K* \' f* H1 w0 @% f9 N2 gQuickly fine tune your edit using Resolve’s innovative context sensitive tools! Depending on where you place the cursor, you can ripple, roll, slip, slide, extend or shorten edits without changing tools. That means you can spend more time fine tuning edits instead of switching tools! You can even trim, slip or slide multiple shots on the same track simultaneously either in the same direction or asymmetrically.

Multi-cam Editing
Multi-cam editing in DaVinci Resolve 12 lets editors quickly cut programs while playing back multiple sources in real time. You can synchronize camera angles based on timecode, in/out points or even automatically based on audio waveforms! The source monitor displays a grid containing the camera angles and plays them all back in sync while you make your cuts to the audio and/or video. Once you are done with your first cut you can go back and switch to a different camera angle, change audio tracks or trim clips using any of Resolve’s powerful trimming tools.

Creative Transitions
$ D6 U8 y4 K+ [1 VYou get multiple built in real time transitions including cross and additive dissolves, wipes, dip to color, and more. Transitions can be aligned on the center of the edit, or at the start or end of the edit. You can even adjust transition duration dynamically and set ease in and out as you need. Transitions from FCP X and other editing software come in via imported XML and AAF’s and you can even use your favorite OpenFX plug-in for those extra special transitions between clips or tracks.
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; `8 x. r1 b8 yOptical Quality Re-Framing
Colorists know that DaVinci Resolve has the highest quality reframing and resize tools in the industry. Now editors can reframe shots directly in the edit page and take advantage of the amazing optical quality sub pixel image processing in real time! 4K images look incredible when resized to HD and you can even reformat older standard definition footage for your HD and 4K projects!

Optical Flow Retiming
Changing speeds can cause undesirable artifacts like stepping shots on slow downs due to “missing frames” or that jump frame you see on speed ups. DaVinci Resolve features nearest, frame blend and a superb “Optical Flow” image processing engine that uses advanced algorithms to create in between frames in real time! That means you can always select the smoothest, highest quality retimed clips whether you create slow and fast motion speed changes and it’s all in real time.

' X% e* \1 ?" o: Z- m1 f" m( N9 GCustom Titles
+ `7 s* L2 H2 `+ gDaVinci Resolve includes rich title tools for creating lower thirds, scrolling text and title cards with drop shadows, backgrounds, borders and more! Set your text position, tracking and line spacing, or adjust the stroke color and opacity to create professional looking titles. There are composite modes, title transforms, cropping tools and you can even import titles from other NLE’s. Now you can add high quality anti aliased titles to your project that look great in every resolution, even 4K!
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OpenFX Plug-Ins
; ?: c7 Z$ u1 s" c5 R% T5 gExpand your creative toolset with a huge variety of 3rd party plug-in effects for even more creative options! Plug-ins can be adjusted directly in the DaVinci Resolve editing timeline making it easy to create truly stunning and unique transitions for your images!
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  G8 x1 M* R9 d, \% mKeyframe Control
+ s1 y7 Z$ {- X4 L  w# d4 |: KDaVinci Resolve’s advanced keyframe editor is integrated into the edit timeline so that you can see your keyframe positions directly under each clip and in context with your program! Now you can animate real time effects with keyframe precision and use the spline curve editor to modify individual parameters or groups of parameters!
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& s4 M$ D, I- K5 M+ X0 k6 HMotion Paths
( t6 L0 j/ @7 @* i& p. M' ]For the easiest way to animate the position, rotation or scale of titles, graphics and video layers, you can use the intuitive motion path controls in the Timeline Viewer. The exact path is displayed in the viewer so you can quickly drag on any keyframe to reposition it on screen. You can now create the precise motion you want with smooth Bezier controlled curves for natural looking animations.
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Audio Editing and Mixing
! ^: Y& [+ G7 i8 t. n! V3 z# s* |No matter if your audio files are Mono, Stereo, 5.1 or more, DaVinci Resolve 12 has a high performance audio engine that lets you quickly mix your audio with full level control and fade handles for each clip directly in the timeline. You get smooth forward and reverse playback with tape-style slow motion scrubbing, a built in mixer that can record level adjustments to automate the mix and support for 3rd party VST or Audio Unit Plugins. You can even collaborate with professional sound designers by exporting projects directly to ProTools via AAF for audio finishing.

  B- G; X( z7 b- q& j3 HCollaborate With Other Editors
You can edit directly in DaVinci Resolve or work with editors from other facilities using popular editing software like Final Cut Pro X, Media Composer, Premiere Pro CC and more! Resolve’s powerful round tripping can import and conform your sequences using everything from basic EDLs to AAF and Final Cut XML’s. That means DaVinci Resolve is the world’s most compatible post production application.

' f  u$ C! \" W  lThe powerful media management tools in DaVinci Resolve 12 are compatible with virtually every workflow and file type imaginable which makes it the perfect media manager on set or in a large post production facility. From legacy videotape to modern file based workflows, DaVinci Resolve has the tools you need to backup, copy, move and transcode and consolidate massive pools of your most valuable media!
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. ~7 `; W8 M& fManaging Media
DaVinci Resolve simplifies media management by centralizing key functions on the media page so you can see everything you need all in one place! You can view and playback files, sync sound and trim longer shots into shorter manageable clips. Media can be organized into bins and there are also tools to update timecode, apply look up tables, change pixel aspect ratio and more!

Clone and Backup Camera Files
: |. ]' q9 @( V# ZWhen working with file based cameras and removable media it’s critical to have reliable backups of your footage. DaVinci Resolve’s new clone tool copies media drives, memory cards and camera packs to multiple simultaneous destinations while you are still on set. All copies are checksum verified, that means you get exact bit for bit digital copies of your source media. Now you can strike the set with confidence knowing that you have cloned backups and verified all your shots are perfect!

- `, s) D( B+ Y6 @% @Metadata Tagging and Logging
DaVinci Resolve is a valuable on set tool for logging and organizing footage. Resolve stores the metadata from cameras and digital slates with the clips you add to your Media Pool. You can even add your own metadata templates and log data in real time so you’re ready for editing the minute the camera stops rolling! All metadata can be exported to an ALE file that is compatible with Media Composer and other systems in your project workflow.
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, l; V: R- r- I) kBins and Smart Bins
- K8 H1 y+ {2 _, E) _3 N) c- gDaVinci Resolve lets you create bins to organize your footage and has advanced search, sort and sift tools that help you quickly find the shots you’re looking for. You can create separate bins for source footage, sound effects and VFX shots Smart bins make it easier than ever to find shots in large projects by using search criteria to collect shots based on whatever metadata you decide. Smart bins automatically update as you add and remove shots from Resolve!

Audio Syncing
If your production is using sound recorded by a separate audio engineer, you will need to sync sound with your picture before screening and editing. DaVinci Resolve can manually or automatically sync your footage while you are still on set! DaVinci Resolve’s audio syncing tools save valuable time when preparing footage for editing and will help you create super fast dailies for the production team to view each day’s shoot.
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& D% f0 y8 i9 ?/ [. R$ D& iWorks With Everything
4 L  N# k8 h+ J; D" k9 V( M5 dNo other system handles more types of file formats in real time so you can edit and grade virtually anything a client brings through the door! DaVinci Resolve allows full unlimited editing and grading of DPX, CIN, EXR, QuickTime, ProRes, DNxHD and MXF files all in real time. If you have commonly used media folders for slates or bumper graphics you can quickly access them with one click using “Favorites” or import TIFF, JPEG, MOV, TGA , BMP and every other supported file just by dragging it in from the your desktop! When it’s time to deliver you can output a wide range of formats including H.264 for web streaming, self contained or single track MXF files and even DCI compliant JPEG 2000 files for theatrical distribution!
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Camera RAW Support
* X, i% w8 c2 k1 B) D" HDaVinci Resolve includes more native camera file support than any other solution! That means you’re editing and grading directly from the wide dynamic range camera originals. DaVinci Resolve is compatible with Blackmagic CinemaDNG RAW, ARRI Alexa™ RAW and Amira™. RED One™, EPIC™, Scarlet™and Dragon™ R3D files including +5K, monochrome and HDRx images. Also supported are Cineform™, Cineform™ 3D, Phantom Raw™, GoPro™, Nikon™, Canon™ C300, C500 and 1D, 5D, 7D and the raw cameras from Sony™ F65/F55/F5 RAW and their XAVC variants and many, many more!
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DaVinci Resolve’s delivery page is used to output your files, whether it’s for other systems in your post production pipeline or delivering the final master for broadcast. You can prepare files for round tripping with other NLEs, create EXR or DPX image sequences for visual effects artists, or even make QuickTime movies with watermark burn-ins for review and approval! DaVinci Resolve lets you master video to tape, create files for playback over the internet, or even author DCP digital cinema package files for theatrical distribution!
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: S' t) A6 T& G3 I. HCreating Files for Editorial
$ r- F6 Z) s, ^& h/ wIf you’re collaborating with other video editors using Final Cut Pro X, Avid Media Composer or Premiere Pro CC you need to create files for them to use. You can use DaVinci Resolve to debayer camera RAW images and export ProRes or DNxHD files to editorial. Once a sequence is created, the editor can send an XML or AAF file back to DaVinci Resolve, every time the cut changes. DaVinci Resolve tracks the relationship between the editorial files and the camera original RAW masters and instantly conforms the cut back to the highest resolution files available. That means you can edit and grade at the same time, round trip files with editorial and never lose any grading work!

visual-effects.jpg
Creating Files for Visual Effects
You can export EXR or DPX image sequences for visual effects work. VFX shots on large projects are usually being worked on right up to the last minute, as the work in progress sequences come back, you can create a folder for each days VFX that can be automatically linked to the DaVinci Resolve timeline. That means you’ll always have an up to date conform with the most recent VFX plates in place.

, u; ~( R0 k$ x# CDelivering Master Output Files
& Q( c4 M: z/ E( `: K- RWhen your project is finished you can choose to output the program as it appears on the DaVinci Resolve timeline, or you can output individual graded source clips. That means you can export a high quality graded program or individual clips sequentially by reel name and source timecode. DaVinci Resolve can conform projects using the original RAW footage, that means your final output is a first generation graded copy of the camera original files!
4 h' B6 u7 U; o6 [
Digital Cinema Package Files
" S0 [6 ^# Z: sDaVinci Resolve gives you the only way to go from native camera RAW files all the way to the silver screen in a single generation! Creating a Digital Cinema Package requires a license of EasyDCP that when entered into DaVinci Resolve opens an extended set of DCP authoring features to generate a formal DCP for theatrical distribution. It’s like going straight from your digital negative to a digital print on the big screen! Only DaVinci Resolve lets you finish your project with first generation quality on everything, regardless of your final delivery format!

Delivering Files for the Web
If you need to create files for the web, you can export a huge range of compressed Quicktime formats including H.264 directly from the delivery page. You can even author multiple files simultaneously from the same timeline at different sizes and resolutions for custom delivery formats. Files exported from DaVinci Resolve can be used as the final delivery master or recompressed by internet streaming software for web delivery.

Render Queue
- B* b+ t- s! JClients often ask for multiple versions of a finished project. From full quality masters to low res preview copies, DaVinci Resolve can handle it all! You can easily create queues for outputting jobs at a variety of sizes and in dozens of different formats. As each job is completed in the render queue the next is automatically started, so you don’t have to wait hours to kick off each render individually! You can even use remote rendering to have another Resolve system export the files in the Queue while you continue working!

Master to Tape
7 p. K9 B$ L8 a8 uDaVinci Resolve can be used to control professional broadcast decks, like HDCAM-SR, so you can record your finished video master to tape. Using a Blackmagic DeckLink card or UltraStudio Thunderbolt capture and playback solution, you can connect to professional decks using standard RS-422 remote connections for complete deck control and SDI for audio and video. DaVinci Resolve’s deck control makes frame accurate play out to tape quick and easy!

# B( e6 e* a! r8 \5 v0 k  I+ ]
Lift, Gamma,Gain and Offset
Trackballs provide RGB balance adjustments and gain for lift, gamma and gain, each with a master level control. You also have a RGB offset and master gain to adjust the brightness of the entire image.

4 e' d) k4 x6 E0 v! s/ F- G7 TShadows, Tones and Highlights
With a single key you can switch your trackballs to grading shadows, mid tones and highlights using log controls with high and low range, contrast and master pivot.
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# l" s. B9 A% k, U8 E9 d" h4 E! `Individual Camera RAW Controls
You get direct GPU de-bayer controls on the panel for exposure, contrast, lift, gain, color temperature, tint, highlight and lowlight recovery, saturation, color boost and mid tone detail. Adjusting camera RAW files has never been easier or faster.
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% S- ]& d& K4 x7 i$ i, {Reference Keys and Fader T-bar
Colorists constantly grab and play stills to compare grades using the gallery. The DaVinci Resolve control panel has dedicated memory keys to quickly save and recall stills. You can use the fader T-bar to wipe between saved stills and your live grading timeline.
) M+ f7 t; D0 u
Slide out Keyboard
Use the slide out keyboard when you need to enter clip metadata, name files, nodes or put notes on markers. When your finished the keyboard retracts into the control surface.
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8 N8 V9 y' G/ m5 f# FTransport Controls
3 X  W* b1 K- Z0 f; [3 l3 GThe jog/shuttle knob and transport control keys give you full control of your project timeline or deck.
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2 B% ]8 ~1 `8 F7 a5 @: {Hollywood post houses have built some of the fastest networks and super computer systems on the planet because they’re working on major motion pictures for the big studios. They’re dealing with incredibly high resolution images, massive amounts of data and super tight deadlines. They are also working with some of the most demanding clients in the world! When it comes to final color and image enhancement, Hollywood turns to DaVinci Resolve because they can build massive, multi GPU systems, connect them to high speed storage area networks and work in real time, all while the client is watching!
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! W, s- a! w7 o! k5 gUnlimited Power
/ ]- R4 e& l3 Z- t, `Computer based solutions are always limited to the single computer you’re running on. DaVinci Resolve on Linux smashes this limitation, because it’s based on a cluster of Linux computers with high performance GPU cards, so all processing is always real time. This means DaVinci Resolve has all the power of a super computer for the real time performance you need when you’re in a room full of clients. Add dozens of primaries, secondaries, power windows, multi point tracking, blurs and more, then just hit play. It always works.
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8 C# _8 H  z, i! sStorage Area Network Collaboration
& l" S4 o1 }% ^! e& cThe multi GPU processing power of DaVinci Resolve systems means you can process at incredible speed. When working with multiple people collaborating on large jobs, a storage area network “SAN” is ideal for allowing everyone to access the same media. Storage area networks allow a high speed direct connection to shared storage and are commonly used by leading Hollywood facilities with the power they need to work in real time and always have access to the material they need! DaVinci Resolve has all the shared project database and collaborative features to handle large SAN based workflows so you can keep growing into the largest television facility in the world!

Complex Facility Management
DaVinci Resolve systems are perfect when you’re a mid range facility that regularly handles multiple jobs at the same time and then can suddenly need to handle very large feature film jobs. The perfect solution is to use a central equipment room with multiple DaVinci Resolve systems installed and then combine facility design into large client based areas, or a theatrette and then multiple smaller spaces where colorists and editors can quietly work without clients. Then when you have a client arrive, simply patch monitoring into the large rooms so you can transfer jobs between spaces instantly. This is a fantastic solution to optimizing the space in a post production facility and allows you to grow large without limits.
  @$ V8 a8 K" N( v& l! k' b
What's new in DaVinci Resolve 12.0
New Faster User Interface
New modern, flexible and scalable user interface
9 [% T8 A; E3 f1 UUI designed to scale from 15” Macbook Pro to 5K Retina iMac
, L( {$ u& c2 Y# q: n& I9 ~; |Support for high DPI monitors on Windows
3 ?& c( h, U: q1 @: S7 QMultiple user support is now optional
PostgreSQL server is now not installed by default on Mac OS X

New Features for Editors
8 c+ g4 c+ L. u4 y# S& j9 D6 ?Multi-cam editing
. l$ P! i+ N& c6 b& [" RTimeline created automatically with first edited clip
Guaranteed real-time audio playback for all playback speeds
. n6 Y( m( l7 P2 k. Z0 oAutomatic audio pitch correction for slow or fast playback speeds on Mac OS X
; A0 N4 O# j% v5 f! t! H# W# ASupport for speed changing audio clips with pitch correction
Audio playback using JKL dynamic trim
VST and AU Audio Plugin Support
Copy and paste audio plugins through paste attributes
Clip and Track automation control for audio
0 w1 p0 I! E) A' L9 m' N. ~. lOffline reference video wipe playback on the SDI output in edit and color page
2 L2 A/ @6 T" |Curve editor for transitions
: W) s, l! P% Q. [) c' YSmooth Cut for morphing transitions
5 `3 C! Y2 C. _, S+ u! |& DLow latency JKL playback control and slow-mo playback
Slow-mo playback using JKL keys
Retime offers drop-down option to smoothen/linearize clip retime-keyframes
Expanded multi-selection trimming
, U  t6 |& P, C) v# SBetter trim behavior when sliding multiple selected clips in the same track
+ ~: `& ~. S% w, [" S! u! wTimeline clip match frame to the media pool source clip
: t/ A- A" W  j# f( nSplit Clip Roll edit
! }/ u9 @% C; X8 G% E$ ^9 Q& oSplit edit trim maintains linked and preceding audio sync
Nest timelines into any other timeline
4 R7 b3 P; h& y* z0 i+ Q5 V8 AMotion path editing with bezier handles
, Q" L3 t5 p0 j* H9 D9 M- m, uSimplified track selection for copy/paste operations
0 l$ D4 ?5 a( d- G3 F" Y# a) W, AZoom to fit timeline is now a toggle operation
Select multiple clips along the timeline with Shift click
/ V0 K3 K5 s- t& Q" c6 JMedia clips and timelines consolidated in the media pool
3 c" b( y4 i) f  dFlip/Flop and pitch/yaw in edit sizing
User selectable fast nudge frame count in Project Settings
Automatic slip and move operations for clips out of sync
: s5 v% C% j, y0 [8 v$ iSupport for FCPX XML 1.5 DTD roundtrip
Support for multicam and audio layout for FCPX XML roundtrip
New Features for Colorists
, h# W( U4 }: k. ?2 h% t+ lDaVinci Resolve Color Management (RCM)
ACES v1.0 support
/ V8 t8 a' J# I, h/ UNew custom curves with bezier handles
* I( _3 t6 ]9 @7 p# F( q, eNew perspective tracker
& C7 c" j* V+ E+ F3 H% R0 p; ANew 3D Keyer
: A( I3 X/ U( L9 u/ eDe-spill option to automatically reduce chroma key spill

0 B% F: C/ g  a( A8 i4 y5 @New matte finesse controls
Compound nodes to create complex looks using nested node graphs
+ R# X( d4 Y+ k. Q9 C  SNode graph clean-up tool
Auto shot match between two or more clips
! T) b: U$ w9 b; tKey processing is available by routing key to RGB and RGB to key in the node graph
Window conversion to power curve window
5 r6 }+ _- x! {3 @5 {2 M9 HFlatten pre and post group grades into clip grade
' D" s/ A- h7 t8 j8 Z: nAdd correction with keyframes in timeline thumbnail context menu
Ability to ripple grade from any node to selected clips or current group
Ability to append current node to selected clips in timeline
( E6 k$ i( ?# A5 x& o* `Delete 'Unused Versions' option
Ability to view and change ISO for Blackmagic Camera RAW clips
Black sun highlight correction for Blackmagic Camera clips
. j, p! ^( D# K! l" nTimeline Smart Filters
, [1 t$ `5 x% t  b9 Q  ^6 LPitch/Yaw in edit, input, node and output sizing
1 p! e! z* f- t) R5 ~; m) |) @Lightbox on second screen
& ]! F) y  z- ^; h1 I, GDocked scopes and Clip/System Info
- G2 @5 z9 b6 l$ uColor page menu option to change node label
" j. `! b# V7 j9 b3 |Option click track number to disable track auto-select in thumbnail timeline
Remote grading support for Bypass all grades function
! ?, f3 W: W, M* x) @4 a" ]Selection in View menu to show Codec name or version information below timeline thumbnails
( Y% U4 j7 `0 V; W; iNew Features for Media Management
Greater layout flexibility
1 I8 ?( j! ?$ _7 E, U9 h8 B" U
New simple clip relink
+ V0 `! _" Y5 b  z3 \9 L9 ^0 qDrag and drop clips from Finder or Windows Explorer to media pool or timeline
Media storage favorites allow folder bookmarks
Media storage sub-clip generation
/ W# Y  x% b$ h) h- E; ]Media management controls to Copy, Move and Transcode
Project archive and restore
Media pool smart bins
8 T1 R- N3 _9 e) }* t* KCustomizable metadata based display name for clips
7 W: H& G; V& v, w5 d" k4 i" k7 m5 ^Optimized media support
' J! c+ c. O4 c- l/ V" `- K( PTimeline proxy mode for improved performance
Automatic Dual sound system sync based on waveform
Optimized media thumbnail scrubbing
Media storage option to list individual frames as separate items
' F5 i$ D, f& z( Z4 u4 H2 t* LNew format and type media pool column
Show all mounted volumes on Windows
$ Y+ W; ~. {+ w0 RCopy/Paste of media pool items and edit events across projects

, A% B5 ?) z  _# P& I* K, VNew Features for Delivering Projects
Export to ProTools
Bitrate slider for JPEG 2000 encoding
% p! o4 ~3 }( y; @( WProgressive disclosure of advanced render settings
Other New Features
Intel GPU support on Mac and Windows
& u- i' D5 z' a+ E+ F5 EModern 64-bit QuickTime support on Mac OS X
QuickTime support for DNxHR codec
4 w3 o( \" y% W8 g. pMissing clips on storage show up as offline media
Pop-up message for missing LUTs during project load
2 P; L6 |" G. r; n! N8 M) iLong LUT names now display in extended window width
Additional keyboard shortcuts
1 p, R, b! m$ SWorkspace menu selection includes page switching
7 ~  r9 ^1 r: ^" S0 L! V) B! `3 C3 q2 _M4A, MP3 and CAF audio decoding support on Mac OS X
CinemaDNG monochrome support
Native Arri SDK debayer option
0 h+ H( Z, b3 F! f* b! u8 P5 c+ YARRI Alexa 65 support
) Y$ }9 z0 k& \* yALEXA Open Gate and Canon RMF clip resolution improvements
' M5 U: X6 i4 W7 f5 q7 cSpanned Canon C300 clip support
2 h" M" J4 c0 `, X: m; F5 e( l/ mCanon still camera RAW format CR2
Native M4V file support
) c0 ?6 G* w& j& xSony XAVC Intra encoding (DaVinci Resolve 12 Studio only)
+ \' b7 V; E* ~Panasonic V35 IDT included for ACES workflows
3 ~% X" m8 d; S, ^5 D0 wDNxHR HQX 12b files supported from Avid Media Composer 8.4
$ u& j5 n) K9 KQuad 3G SDI support on DeckLink 4K Extreme 12G
Level A SDI support with Blackmagic Desktop Video hardware
0 m$ Y7 d0 G+ X: N2K DCI 25P/25sF support for video monitoring
) M1 u0 S! y/ Z. m" s; ^+ J5 JOpenEXR v2.2.0 read/write with DWAA/DWAB compression
1 E7 s2 N1 l7 p+ L9 }Support for 32, 44.1, 48, 88.2, 96, 192 kHz audio
/ U4 y: n" ?& p) s- d6 f7 tOpenFX extensions for native OpenCL/CUDA multi GPU compute
1 l1 q' f( b1 K1 w0 q/ }; T3 s9 [) `Setting in Preferences to configure pre-allocated system memory
4 v' w+ G: A# A0 o% O' }4 j: SGeneral performance and stability improvements

4 }7 t) |9 j+ bWhat's new in DaVinci Resolve 12.3.2
1 L6 h' O- F7 B( c- YSupport for Blackmagic 4.6K Film color science
5 J& ]% ^8 T0 r7 J% MBlackmagic camera RAW clips now default to BMD Film for color space and gamma
" E/ k3 m0 y3 L$ d. g  t- g7 S2 E5 {Additional BMD Video gamma option in the camera raw controls for 4.6K DNG clips
' D+ x0 o, K3 f6 t7 S8 NNew Blackmagic 4.6K Film to video and Rec.709 LUTs
" A# q+ z/ `% t6 f4 m* z, WAbility to optionally add source clip frame count to individual clip renders
4 Y+ j/ n) a: p+ n6 lGeneral performance and stability improvements
' q/ I$ r7 z6 E
7 Y3 Z( ^7 T& B8 J$ ?+ U4 pWhat's new in DaVinci Resolve 12.3.1
2 h7 G$ l+ [* U' dDecode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on Windows
7 z) d1 B* p- ^4 g3 \$ D- H# OAdded Media Storage context menu option to directly add storage locations without opening Preferences on Mac and Windows
4 n( T4 A9 ~% rAbility to add Media Storage locations without restarting Resolve on Mac and Windows
4 E7 a' V! j- g% j; EAdded support for reading Reel Names in OpenEXR media
Added decode support for Sony MPEG2 video files
Added support for ARRI RAW sharpness when using the ARRI Full Res Debayer
) \: p9 B# W+ u  @' Q6 w, D9 LAdded support for smaller font sizes on burn-ins
: q( C; b5 a4 _2 j5 rAdded support for keyboard shortcut for loop on the Edit Page
/ R8 |5 f0 n9 l4 ^) D$ G0 U: _( CImproved HEVC/H.265 decode performance on Mac in DaVinci Resolve Studio
7 j! A- v9 \7 R5 xImproved H.264 decode performance on Windows
% D, T! ]% I7 k/ E- ~- I6 IImproved Varicam, MPEG4, AVC and AVC-Intra MXF decode performance on Mac and Windows
Improved compressed OpenEXR decode performance
Added support for RED SDK v6.1
7 X, t; G; C1 l- d. UGeneral performance and stability improvements

# @3 C! U6 U; k  U0 a/ C9 R) mWhat's new in DaVinci Resolve 12.2
# B. p4 M; }" t! s. ?Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on OS X
Support for HDR Hybrid Log Gamma using Resolve Color Management
Inclusion of Hybrid Log Gamma conversion LUTs
2 w! v1 ?7 Q5 P* C, b5 ?Updated ST 2084 HDR color science
5 I) A& i* @8 u2 b! c9 T  GACES IDTs for Canon C300 MkII clips
) Q4 Y  S6 \; Z7 Z2 Q' ^1 p; kImport support for NewBlue Titler Pro titles using Media Composer AAF sequences • Reveal in Media Storage now supports mattes
ProRes 4444 with alpha channel now defaults to straight mode
( P. Y. F# V& IPower Window opacity and invert settings are now retained when converting to Power Curve Windows
Improved QuickTime render performance on Linux
9 ]/ ?: d0 l3 O0 IGeneral performance and stability improvements
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( g% w2 @4 p2 Y  h' ]- d' fWhat's new in DaVinci Resolve 12.1
* l$ z5 Q- J/ m- H  U/ IRemote Rendering on Resolve Studio
0 N6 v' P8 K7 `Support for native display color profiles on OS X
Support for GenArts Sapphire Builder
+ ]* M3 M" \& J, j6 K% kPreferences option to enable 10-bit precision on viewers on OS X 10.11 El Capitan
Ability to select clips when in Blade mode
Support for faders on Generators and Titles
: ]. T: L) U& m- `" h! a0 oAbility to extend freeze frames from the start of the edit
Ability to media manage selected clips on a timeline
Ability to perform negative timecode offset in clip attributes
8 a) A0 H/ z8 k; x( VImproved support for sub-clips from FCP7 XML
4 p1 C' x8 B- j+ N6 T, b9 zImproved rendering of audio transitions (cross-fades) and audio faders
: Q! v1 }* `) h, w3 ~# v) dAuto scroll during timeline item resize
" ]; l. |2 j& a8 S8 OImproved sorting in Media Storage and Media Pool
0 `/ W) b% P6 a' w1 hSupport for Smart Bin filtering based on clip type
Ability to move clips and timelines from a Smart Bin view
# d! K8 b" c. f; B3 wSupport for moving files to Trash instead of deleting permanently in Media Management on Mac and Windows
Ability to delete multiple projects and folders in Project Manager
, @' `# B. d, A; [3 P$ XAbility to decompose a compound node
Ability to grade nested timelines
Ability to filter clips based on whether they have keyframes
; }/ K6 k1 M) j  X" a: jAbility to manually keyframe power windows in frame mode even without tracking
Ability to freeze the current frame on an external matte
User option to copy flags and markers when performing ColorTrace
) l& ]4 G$ b3 n2 {* aImproved ACEScc support
3 S! t1 E0 P! I2 M- n$ KSupport for Stereo Decision List v0.25
+ _* t' K# U/ E( lSupport for RED SDK v6.0.4
Support for embedding timecode in audio output
General performance and stability improvements

What's new in DaVinci Resolve 12.0.1
General performance and stability improvements
! Y, G% }1 y/ f
- D5 z$ |( }$ O+ J- I& kWhat's new in DaVinci Resolve 12.0
! p$ ]  }- T$ qNew Faster User Interface
New modern, flexible and scalable user interface
UI designed to scale from 15” Macbook Pro to 5K Retina iMac
% [2 ~, ^1 }# d4 \: m1 l8 d6 TSupport for high DPI monitors on Windows
# F% N5 H3 A  K$ AMultiple user support is now optional
* d0 H9 B" y2 [1 S! d& hPostgres server is now not installed by default on Mac OS X*
- M! n9 q" x" K' ^* y
Minimum system requirements for Mac
Mac OS X 10.10.3 Yosemite
/ c( @  \* V1 z9 G) J16 GB of system memory is recommended and 8 GB is the minimum supported
4 W& P& @' }3 v5 P6 D9 w2 h# TBlackmagic Design Desktop Video version 10.4.1 or later
( M# x" |- _/ ]( F! MCUDA Driver version 7.0.36
/ g0 J3 `: a6 j" M' e! rNVIDIA Driver version – As required by your GPU
RED Rocket-X Driver 2.1.19.0 and Firmware 1.3.19.7 or later
RED Rocket Driver 1.4.36.0 and Firmware 1.1.17.3 or later

2 N3 O7 ?% y+ M& W$ r9 v3 p% RMinimum system requirements for Windows
4 u- C* E* p9 Y7 Q9 iWindows 8.1 Pro 64 bit with SP1
! b1 w8 k  |- i% \: C9 o16 GB of system memory is recommended and 8 GB is the minimum supported
+ P; m$ z; L9 H7 }Blackmagic Design Desktop Video version 10.4.1 or later
# k* n) A+ W, d5 }NVIDIA/AMD Driver version – As required by your GPU
RED Rocket-X Driver 2.1.19.0 and Firmware 1.3.19.7 or later
RED Rocket Driver 1.4.36.0 and Firmware 1.1.17.3 or later
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( e" s5 f6 w) _6 b8 ~
0 H1 s- ]6 p. Z0 O$ lDownload:
DaVinci_Resolve_12.0b1_Mac.zip
DaVinci_Resolve_12.0b1_Windows.zip
2 [) E& X1 R" e" d' V1 ~DaVinci_Resolve_12.0b2_Mac.zip
DaVinci_Resolve_12.0b2_Windows.zip
DaVinci_Resolve_12.0b3_Mac.zip
% U2 r+ Y, B/ O( b- |DaVinci_Resolve_12.0b3_Windows.zip
DaVinci_Resolve_12.0b4_Mac.zip
DaVinci_Resolve_12.0b4_Windows.zip
8 K; }+ J6 X: Y  q' i7 GDaVinci_Resolve_12.0_Mac.zip
DaVinci_Resolve_12.0_Windows.zip
. H7 e; M9 A& l1 u9 {: dDaVinci_Resolve_12.0.1_Mac.zip
DaVinci_Resolve_12.0.1_Windows.zip
6 o7 C% [' _6 X; f4 {4 G5 p% r* c, n1 U; aDaVinci_Resolve_12.1_Mac.zip
( c4 y! C+ V* `& W% T1 YDaVinci_Resolve_12.1_Windows.zip
. O% N. \% b( F' K1 G/ e/ FDaVinci_Resolve_12.2_Mac.zip
DaVinci_Resolve_12.2_Windows.zip
3 p7 b$ Q% V- Y6 t/ h2 q6 u: B: tDaVinci_Resolve_12.3.1_Mac.zip
, ~7 m' ^+ \# X- m; ?$ \DaVinci_Resolve_12.3.1_Windows.zip
9 k9 J" J  V4 J1 X* f1 t# O: dDaVinci_Resolve_12.3.2_Mac.zip
) l. I2 u+ {8 i- b* V7 \1 P5 KDaVinci_Resolve_12.3.2_Windows.zip
DaVinci_Resolve_Studio_12.0b1_Linux.zip
DaVinci_Resolve_Studio_12.0b1_Mac.zip
8 ?$ A) r/ N# QDaVinci_Resolve_Studio_12.0b1_Windows.zip
DaVinci_Resolve_Studio_12.0b2_Linux.zip
DaVinci_Resolve_Studio_12.0b2_Mac.zip
DaVinci_Resolve_Studio_12.0b2_Windows.zip
4 Z" d. A9 H  r1 k" y) k% iDaVinci_Resolve_Studio_12.0b3_Linux.zip
DaVinci_Resolve_Studio_12.0b3_Mac.zip
! V% G2 t  I* R5 K/ p  FDaVinci_Resolve_Studio_12.0b3_Windows.zip
DaVinci_Resolve_Studio_12.0b4_Linux.zip
DaVinci_Resolve_Studio_12.0b4_Mac.zip
: z9 n2 f" ]; x$ |DaVinci_Resolve_Studio_12.0b4_Windows.zip
9 M9 y4 J/ s* K4 |8 dDaVinci_Resolve_Studio_12.0_Linux.zip
7 m* k. ^& z6 O- O/ kDaVinci_Resolve_Studio_12.0_Mac.zip
DaVinci_Resolve_Studio_12.0_Windows.zip
' m6 S) L" ?" S, A* aDaVinci_Resolve_Studio_12.0.1_Linux.zip
DaVinci_Resolve_Studio_12.0.1_Mac.zip
, z8 k/ W4 _# D  b8 XDaVinci_Resolve_Studio_12.0.1_Windows.zip
DaVinci_Resolve_Studio_12.1_Linux.zip
DaVinci_Resolve_Studio_12.1_Mac.zip
% D2 B8 a! x) V6 z2 tDaVinci_Resolve_Studio_12.1_Windows.zip
DaVinci_Resolve_Studio_12.2_Linux.zip
DaVinci_Resolve_Studio_12.2_Mac.zip
! E( N* b" u- d8 Y5 Z/ H7 |  tDaVinci_Resolve_Studio_12.2_Windows.zip
DaVinci_Resolve_Studio_12.3.1_Linux.zip
8 m3 q5 u/ `! E8 m) sDaVinci_Resolve_Studio_12.3.1_Mac.zip
DaVinci_Resolve_Studio_12.3.1_Windows.zip
7 n+ f  z9 O8 O4 f$ ]' n) IDaVinci_Resolve_Studio_12.3.2_Linux.zip
DaVinci_Resolve_Studio_12.3.2_Mac.zip
DaVinci_Resolve_Studio_12.3.2_Windows.zip

DaVinci Resolve Studio 12.3.1 + EASYDCP.dmg
7 l/ Y& Z& F7 q- X) R% EDaVinci Resolve Studio 12.3.2 + EASYDCP.dmg
OR
) F  _6 q$ F+ {' CDaVinci Resolve Studio 12.3.1 + EASYDCP.dmg
% |% T) N8 d1 g. y& f& \2 zDaVinci Resolve Studio 12.3.2 + EASYDCP.dmg
& S, P! W$ z- a% s" x, ]
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