Issue link: https://digital.copcomm.com/i/933783
C A S Q U A R T E R L Y W I N T E R 2 0 1 8 43 Here, President Dan May of Blackmagic tells us about the leading advantage of the new all-in-one DaVinci Resolve 14: If you have multiple editors, colorists, and audio engineers working on one application at the same time, it saves time in the production process. When you're no longer saying, "Well, I need to wait for X person to get done with this job, to hand it off to Y person, to then do their handoff to Z person," you can have, basically, this real-time timeline where everyone is working together and completing projects at the same time. It's a big step that's never really been seen before in the production world, and we're really excited about what it brings to the table. Is the core demographic of this software whole facilities? No, it has several levels of demographic. We're saying, "Look, if you're using Fairlight audio, maybe you should be thinking about editing and color grading in the same package." And we're also going into the larger post facilities and saying the same thing. We're pointing out the workflow advantages you can have [by] staying in one piece of software. For the individual just working on my individual film projects or a corporate gig, there is still one application that has all of these tools directly built into it. So, there is no reason to round trip, or move from application to application. You're not having to have a subscription to the Cloud or a support contract. You're paying your $300 and downloading your software, and you have all the tools at your fingertips. They're the same tools the professionals across Hollywood, independent broadcasters, those large post facilities and production facilities have. That's an incredibly powerful story we're able to tell, kind of up and down the street. But are you then looking to combine operators of audio and picture? No, not at all. We are simply trying to expand the available toolset and keep the entire team on the same project. In audio, for example, the big clients traditionally use Fairlight panels that are being driven by software. We still support the original Fairlight software that they are accustomed to using, but what we're doing now is using the audio page in Resolve. As far as the audio engineer is concerned, they're still basically running this big Fairlight panel. Do they really care if it's Resolve in the background? All they want is that big panel that's driving all of it for them. It becomes a big potential shakeup, providing these tools to all these artists. In post houses, colorists or editors