So I’ve come up a with a plan for a series instead of trying to cram everything into one super long Insight. This new series marks the second time I’m revisiting multi-channel audio output and I mentioned that I was struggling with the how to attack the issue(s) of multi-channel output and workflow in Resolve 14. That’s not to say that user frustration/confusion is not warranted, but Resolve is morphing into a postproduction super tool and with that, some growing pains should surely be expected. I think BMD must be aware of this and working on changes to audio workflows for future versions of Resolve. The integration of Fairlight and the rejiggering of audio in the general sense in Resolve 14 has left a lot of longtime users frustrated (rightly so) and has interrupted many people’s button-downed workflows. I’ve been procrastinating for the longest time about revisiting the subject of multi-channel audio output in Resolve 14! This was in part because I needed to learn (and play) with the new Fairlight integration, partly because the audio engine in Resolve 14 has been/is still very much a work and progress, and partly because I was struggling to figure out how to approach what seems like a straightforward topic but has become much more complicated than previous versions of Resolve, and probably more complicated than it should be! Yet Another Look At Multi-Channel Audio Output In DaVinci Resolve Re-Revisiting Multi-Channel Audio Output. ![]() ![]() Tutorials / Re-Revisiting Multi-Channel Audio Output / Re-Revisiting Multi-Channel Output In DaVinci Resolve Part 1 Series
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