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The DaVinci Resolve Editor Keyboard is designed for professional editors who need to work faster and turn around work quickly. More than just a simple keyboard, the DaVinci Resolve Editor Keyboard has been designed as an alternative way to edit that’s much faster than a mouse because you can simultaneously use both hands at the same time. You also get an integrated search dial built right into the keyboard. Simply plug the keyboard into any USB‑C computer and you are ready to go. While most keys will work as a standard USB keyboard, the DaVinci Resolve Editor Keyboard has been designed for DaVinci Resolve 16 to enable an editing experience that's dramatically faster than previously possible.
The all metal design is more robust because it’s been designed for professional editors who spend hours each day editing and demand a premium keyboard solution. Unlike modern keyboards with flat keys, the keys have a tiered profile so it’s easy to feel your way around. The key switches are the same type used by eSports keyboards and each key is certified for over a million operations. The integrated search dial is machined from solid metal and allows very precise transport and trimming control. There's even a hand rest with a soft feel to help reduce fatigue. Plus the keys caps, hand rest and key switches are all available as spare parts so the keyboard can be refreshed and repaired over time.
The reason the DaVinci Resolve Editor Keyboard is so fast is you can use both hands when editing. Unlike a mouse, you can use your right hand to control the position in a clip, while your left hand is setting in and out points as well as applying edits. This means you can move, mark in and out points, apply an edit, then move again, repeatedly, one after the other, again and again. It’s an extremely fast way to work, using both hands at once. You can even select points and use the search dial to live trim. The search dial is big, so trimming is very accurate. There are also transition selection buttons that let you change between a cut, dissolve and smooth cut, instantly.
The integrated search dial is machined metal with rubber coating so it feels very nice to use and you always feel you have a solid control over DaVinci Resolve’s clip or timeline. There's an integrated electronic clutch that creates end stops when used for shuttle and position, all under software control. With multiple roller bearings, the search dial is very smooth and it can be spun in jog mode to allow a natural timeline scroll. The jog control allows free movement for precise positioning of the playback point. Shuttle uses the clutch and you can rotate forward and reverse wind to move up and down the timeline. Scroll allows scrolling up and down a long edit to navigate quickly.
Traditional NLE software uses thousands of clips to organize media, which requires lots of drag and drop of clips which is too slow for fast turn around work such as TVCs, news, promos and training videos. Traditional tape editing allowed all media to be on a single tape for fast access to your media by shuttling up and down the tape. The innovative source button instantly creates a "source tape" of all the clips in your bin. Now you can simply scroll up and down all your media and there's no need to navigate thousands of clips. The clip being viewed is also highlighted in the bin in real time. Plus switching between the source tape and timeline is instant.
The source tape uses your bin's sort order so you get lots of control over how shots are organized. This gives you the flexibility to find shots by time, camera, duration or even clip name. The moment one of the bin sort buttons is selected, the source tape will be regenerated in that bin’s sort order. Simply scroll up and down the source tape to find the shots needed. Sort by timecode to see all the bin media sorted by time, which is perfect for content shot in time order, such as live events. You can also sort by camera which is great for multi camera shoots where you lay down the wide shot first and then look for cut-aways on other cameras. You can even sort by duration and the clip name.
Entering edit points is one of the most used functions in editing, so we designed the in and out point buttons larger in size, and to include a small space above to allow locating them by feel. That helps when doing transport control with your right hand and punching in and out points using your left hand. When selecting in and out points in the new DaVinci Resolve cut page, you are also trimming clips with these buttons. Then once the in and out points are set, just reach your fingers up to the edit buttons. The in and out points can also be used to contract the source tape to limit the clips included. Then you can change the source tape back to the whole bin by pressing the escape key.
The editing functions are located just above the in and out keys, to allow a simple movement of your fingers to activate the edit you require. Because editing with a keyboard is quite different to editing on a computer’s user interface, the editing functions have been optimized to take advantage of the speed of a keyboard. Most edits can be performed on the source clip without needing to place edit points on the timeline itself. That's much faster as it eliminates time wasted switching between source and timeline. The edit points can automatically locate the nearest timeline edit, or even match timecode. A good example is smart insert, which locates the nearest edit and inserts at that point.
Smart insert is similar to the traditional insert edit function, however it’s smarter as it eliminates the need to switch to the timeline and place an in point. All you need to do is select smart insert and it will locate the nearest edit in the timeline and insert the clip in that location.
Append to end is fantastic for building edits fast. Simply select an in and out point and then append to end will add the clip to the end of the edit and increase the timeline duration. Append to end is fantastic when adding shots to an edit from content that’s been shot in time order.
Ripple overwrite is a popular edit function and it lets you replace shots extremely quickly. When applied, it will replace the clip in the timeline with the selected clip and if the clip is a different length, it will adjust the space to accommodate the new clip and ripple the timeline duration.
Close up is best for creating two camera angles from the one camera. Simply shoot your subject with a wide or mid shot, and then when close up is applied, it will create a slightly zoomed in version of the same camera shot and place it on top of the timeline. Plus you can also apply it to a clip in the timeline.
Place on top is similar to traditional edit functions and this edit mode will place the clip on top of the background layer that’s already in the timeline. If the timeline doesn't have a layer above the background layer, it will add a new timeline track and then place the clip on top.
Source overwrite is a faster alternative to multi-cam. It automatically matches source timecode to the source timecode of the clip in the timeline and places the clip on top. If you shoot with multiple cameras and sync timecode, you can lay other camera angles on a base wide shot layer.
With a high quality search dial built in, you get an extremely accurate and fast way to do trimming of edit points. The roll buttons allow the keyboard to take control of the search dial and very precisely adjust edit trimming. You can select the trim mode with your left hand while adjusting the trim with your right. Using roll trimming is easy and is operated by pressing and holding one of the roll buttons, depending on the type of trim you need to do, while then rotating the search dial. There’s also a trim editor button on the numeric keypad that allows a direct switch to trim mode, so you can scroll up and down the edit points in a timeline to allow locating and adjusting multiple edits fast.
Roll in is very similar to adjusting trim in on the software however it’s a modifier key on the keyboard. Using roll in on a transition adjusts the in point of the destination clip, while adjusting roll in on a clip adjusts its in point. All adjustments will ripple the timeline duration.
Roll out is very similar to adjusting trim out on the software however it’s a modifier key on the keyboard. Using roll out on a transition adjusts the out point of the source clip, while adjusting roll out on a clip adjusts its out point. All adjustments will ripple the timeline duration.
The roll transition is similar to the roll edit. It works by rolling the transition between 2 clips and has the same affect as simultaneously adjusting the in point on the destination clip while adjusting the out point on the source clip. Roll edit does not affect timeline duration.
Roll source is the same as slipping the source clip and it will move the shot up and down within the current clip’s in and out points. Roll source allows slipping the clip within the same duration so it won't affect the overall timeline duration.
Roll destination is the same as slipping the destination clip and it will move the shot up and down within the current clip’s in and out points. Roll destination allows slipping the clip within the same duration so it won't affect the overall timeline duration.
Roll duration is designed to allow you to change the transition length of any effect that has been applied to an edit point. When selected, adjusting the search dial will interactively adjust the duration of the transition. Because you can select the transition type, you can use roll duration to get the transition perfect.
Editing software is slow at adding transitions because it requires using drag and drop to place a transition, or a keyboard shortcut for only one transition type. With DaVinci Resolve Editor Keyboard you can press a key and add or remove a transition with a single button press. The cut key will remove any transition on an edit point and leave it as a simple edit between the 2 clips. Pressing dissolve will add a 1 second dissolve between the two clips, and using roll duration will set the desired transition length. Plus if there is already a dissolve on the edit, then the key will be ignored. There's also a smooth cut button to allow jump cuts to be removed at the press of a button.
The new DaVinci Resolve Editor Keyboard also includes a revised qwerty key layout that’s been updated using feedback from professional editors. However you still get all the traditional editing features for both the cut and edit pages in DaVinci Resolve, so the core qwerty part of the keyboard still operates in a familiar way. All the standard edit modes are included on the main keyboard. Plus you get JKL trimming when you want to do playback and trimming via the keyboard and not the search dial. But you still get new features in the revised layout, such as a viewer button to allow instant change to full screen view, and it’s even possible to edit from the keyboard in full screen view.
When entering edit points and durations numerically, there's a keypad specifically designed for timecode entry. The F/TC button allows switching between timecode or frames. Just press the F/TC button and entry changes to frames. When typing longer timecode values, there's also a double zero button so you don't have to press the standard zero key as often. The plus and minus keys allow time values as offsets to current values vs absolute entry. A dedicated duration entry button allows you to numerically define the duration of a clip. Numeric duration entry is one of the most used functions. For example, if you need to set a 100 frame duration on a clip, just press DUR, F/TC and 100.
Although the DaVinci Resolve Editor Keyboard has been designed with a modern aesthetic, there's also function to the form. The subtle edge created by the mating of the top keyboard surface and the lower chassis has a pinstripe feel to the design that allows the DaVinci Resolve Editor Keyboard to look good on a desktop. The keyboard is a fantastic match to an iMac Pro and has a subtle energy when placed on your desk. There's even fold out rear feet to increase the keyboard tilt. However the flange has a functional benefit as you can install the keyboard in a cutout of a desk or console. The keyboard will then sit almost perfectly flat on the desk surface. This creates an amazing console look.
Here's an overview of our vendors exhibiting at ISE 2020. Please call us on +44 (0)1457 851000 if you would like to book a stand tour with one of our manufacturers. BLACKMAGIC DESIGN HALL 3, STAND C140 The Video Assist 12G 5” and 7” monitor recorders are now shipping. The original HD versions were incredibly popular with AV technicians who wanted to verify SDI and HDMI feeds and check waveform levels. For production teams, their 4K HDR capture makes them a superb on-camera SD card recorder. The ATEM Mini is a very small, cost-effective 4 channel HDMI video switcher with streaming output. Great as a portable mixer or a signal switcher, it’s being adopted by everyone from conference producers to AV technicians looking for simple HDMI switching.
Not just some new products and technical updates from Blackmagic Design. No, these are major new products and massive technical updates.
This new version has major new updates for editing in the Fairlight audio timeline. The new edit selection mode unlocks functionality previously only available via the audio editor on the full Fairlight console, so editing is much faster than before. In addition, the edit selection mode makes adding fades, cuts and even moving clips only a mouse click away.
New scalable waveforms let users zoom in without adjusting the volume. Bouncing lets customers render a clip with custom sound effects directly from the Fairlight timeline. Adding multiple clips is easier as they can now be added vertically to the timeline, not just horizontally, making it easier to add multiple tracks of audio at once.
Multichannel tracks can now be converted into linked groups directly in the timeline so users no longer have to change clips manually and reimport. There's added support for frame boundary editing which improves file export compatibility for film and broadcast deliveries. Frame boundary editing now adds precision so users can easily trim to frame boundaries without having to zoom all the way in the timeline. Modifier keys are now supported so clips can be duplicated directly in the timeline using the keyboard and mouse. Users can also copy clips across multiple timelines with ease.
DaVinci Resolve 16.2 also includes support for the Blackmagic Fairlight Sound Library with metadata based searches. Search results also display both the filename and description so finding the perfect sound effect is faster and easier than before.
AAF support has been refined so AAF sequences can be imported directly to the timeline in use. Additionally, if the project features a different time scale the AAF data can also be imported with an offset value to match. AAF files that contain multi channels will also be recognized as linked groups automatically. AAF export now supports industry standard broadcast wave files. Audio cross fades and fade handles are now added to the AAF files exported from Fairlight and will be recognized in other applications.
Editing is also improved. Loading and switching timelines on the edit page is now faster, with improved performance when working with a large number of audio tracks. Compound clips can now be made from in and out points so editors can be more selective with what media they want directly in the edit page. There is also support for previewing timeline audio when performing live overwrites of video only edits. Now when trimming, the duration will reflect the clip duration as customers actively trim so customers can set a specific clip length. Using the change duration shortcut, editors can now quickly enter precise transition durations directly on the timeline.
The media pool now includes metadata support for audio files with up to 24 embedded channels. Users can also duplicate clips and timelines into the same bin using copy and paste commands. Smart filters now let users sort media based on metadata fields, including keywords and people tag so users can find the clips they need faster.
This version also includes the latest 1.7 version of Blackmagic RAW, which adds support for Blackmagic RAW recording from Panasonic EVA1 and Canon C300 MK II cameras on the new Blackmagic Video Assist 12G models.
Features marked with * are in progress.
Features marked with ^ have additional descriptions below
Features marked with * are in progress.
Features marked with ^ have additional descriptions below
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