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Blackmagic Design’s DaVinci Resolve, though clearly professional-level video editing software, is a longtime favorite among ambitious enthusiasts because of its capable free version and the ease of use it offers—after a considerable initial investment of time learning this huge, complex software.

Blackmagic Design claims DaVinci Resolve is the only product to combine video editing, motion graphics, color coding, and audio production in one tool. That may be if you compare it with pro-level-only software like Apple Final Cut Pro and Adobe Premiere Pro, but we’ve seen consumer-targeted software that has all those capabilities. What enthusiast video editor wouldn’t want to put those claims to the test? We did just that, and we found that the massive program delivers on them and adds innovative tools to boot, but—as mentioned—it takes some getting used to, as it doesn’t stick to the usual video interface and workflow conventions.Version 17 of DaVinci Resolve adds support for new wide-gamut HDR formats and brings a powerful audio engine with 3D audio support.The free download is popular among YouTubers and gamers, since it gives them a large subset of the program’s features without the pro-level capabilities they don’t need. In fact, it’s the most powerful free video editing option you can find. The free version is surprisingly robust, offering standard editing and cutting, effects, motion graphics, color correction, and audio editing.Some of the more advanced capabilities like DaVinci Neural Engine, stereoscopic 3D tools, dozens of extra Resolve FX filters, and Fairlight FX audio plugins, plus advanced HDR grading and HDR scopes are missing in the free version, however. In testing, I occasionally got a message saying that I would need to pay to use a tool I was trying to use. That’s perfectly understandable—you still get a lot for free.

If you want all the premium features, you have to pay a one-time fee of $295. You can only get a full license through an authorized reseller, such as B&H Photo Video. That’s probably because Blackmagic sells optional custom keyboards and panels that work with the software—those run from the $295 Speed Editor keyboard to the $29,995 Advanced Panel. The company also makes pro cinema and studio cameras ranging from the $495 Pocket Cinema Camera 4K to the $9,995 URSA Mini Pro 12K.

The $295 price just barely beats that of the $299 Apple Final Cut Pro. The latter app requires you to buy the $49.99 Motion and the $49.99 Compressor ancillary apps to get parity in functionality, however. Premiere Pro is subscription-only and costs $20.99 per month with an annual commitment. If you do the math, that means that after a year and three months, you will have paid more for Premiere Pro than DaVinci Resolve.

DaVinci Resolve runs not only on macOS (10.14.6 Mojave and later) and Windows 10 (1703 and later), but also on Linux, though only on CentOS 7.3 or later (a derivative of Red Hat Enterprise Linux). The program also requires at least 16GB RAM—32GB for Linux, or if you want to use the Fusion motion graphics effect. It’s a 2.4GB download, which is smaller than Premiere Pro’s 3.3GB, without the motion graphics and Media Encoder software. The installation requires a system reboot, which isn’t common for software installation these days. I tested the Windows version on a Core i7 PC with 16GB RAM.After downloading the installer, you need to install the DaVinci Resolve program itself, but you can optionally install its Control Panels, Raw Player, and Fairlight Audio program. For its size, DaVinci Resolve starts up reasonably quickly. Before you get into the editing interface, you see the Project Manager window, which has hover-scrubbable thumbnails for each of the projects you’re working on.

When you start a project, you see a bare-bones window with a single Untitled Project entry. There’s not a lot of the kind of assistance Adobe is adding to Premiere Pro, nor the amount of hand-holding you get in consumer-focused apps such as Movavi Video Editor Plus

Once in Editing mode (on either the Cut or Edit page), you see the familiar three-panel working interface, with the source panel at top left, video preview at top right, and timeline across the whole length of the bottom. There are two timelines on the Cut page: The main one at the bottom shows image frame previews and audio waveforms, while the solid blue one at the top is useful for navigation. You can view source material in thumbnail, metadata, strip, or list views, but you can’t adjust the thumbnail size

The Source panel buttons let you easily control what appears in the Source section: Media Pool, Sync Bin, Transitions, Titles, and Effects. A search box lets you find anything in the source panel—in this page as well as the rest.

DaVinci lets you choose between a locked or free playhead; with the former, you drag the clip across while the playhead remains centered. The latter is more like what you see in other editors: With a free playhead, you move the playhead rather than the media. I had an issue on my Windows 10 test device where I couldn’t zoom the timeline with the prescribed Alt-Mouse wheel action in the Cut page; it did, however, work in the Edit page, and there are even buttons for Full Extent Zoom and Detail Zoom, as well as a custom zoom slider.

You get all the standard keyboard shortcuts: J for reverse, K for stop, L for forward, and Spacebar to stop and start playback. The Keyboard Customization panel lets you go to town with your own shortcuts.

. There is exhaustive help documentation, however.

Like Premiere Pro, DaVinci Resolve offers multiuser collaboration workflows, so that editors, colorists, and sound people can all work on the same timeline—even simultaneously. Use of proxy media makes this more efficient, and the software integrates with Frame.io, an online collaborative video editing platform that can sync projects.

The Media page is where you find and organize media, using color-coding, bins, and metadata. You can also pre-trim source clips here using the I and O keyboard shortcuts. Like Final Cut and Premiere Pro, DaVinci offers take selectors, compound clips, and nested timelines, so timelines can be very flexible (and complex).

When adding clips to the timeline, buttons let you choose among Smart Insert, Append, Ripple Overwrite, Place on Top, and Source Overwrite (requires synced time codes in the clips). As you’d expect in a pro video editor, you can trim the source clips before adding them to the timeline. While you’re doing so, the preview window splits into two, showing your start and end frames, along with the frame number in a mini-timeline. You can set in and out markers on the timeline to tell the program where to insert a clip from the source. The program lets you do three- and four-point editing, in which you mark the in and out points on both the source and on the timeline to control the clip position.

For trimming, DaVinci selects the appropriate edit tool automatically depending on where the cursor is—roll edit, transition duration, slip and slide—but you can manually select the mode you want.

Striking Transitions

Pro video editors usually don’t use canned transitions found in consumer products. They either simply jump-cut or use a custom transition. That said, consumer products have started adding custom transition tools such as Pinnacle Studio’s Seamless transitions, which let you identify areas of the before and after clips to zoom, pan, and swoop to.

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Final Words

Resolve has one of the coolest transition interfaces I’ve seen. Simple monochrome shapes appear in the list, but hover scrub over an entry, and your own clips in the timeline show how the transition looks when applied. Not only that: Some striking transitions are at your disposal in the Fusion section, including Camera Shake, Drop Warp, and Tunnel of Light.But DaVinci Resolve’s unique Fusion Studio editor uses a node-based editing workflow that’s beyond the ken of the average enthusiast-level video editor. It’s basically an input-output system, where you add effects and media along the flowchart. You can reuse effect groups or restrict theme to selected parts of the image.