Frame.io for DaVinci Resolve.
What broke, what works now.

The V4 migration guide, the document that walks Free, Pro, and Team accounts through the platform change, puts it plainly: “DaVinci Resolve will not be supported in Frame.io V4. Users can still upload their assets to Resolve and import Frame.io comments in EDL format.” Those two sentences are the entire Resolve chapter of the migration.

Their article covering the old workflow tells the rest. It now carries the title “DaVinci Resolve Studio 17 Integration (Legacy),” it lists Resolve 16 Studio and 17 Studio as the supported versions, and it warns that “there have been no recent updates from Blackmagic for this integration, which means bugs and unexpected behavior are expected.” Feature requests and bugs, the same page adds, “will likely not be addressed in the future.”

Two more data points close the case. As of September 2026, DaVinci Resolve appears nowhere in Frame.io’s system requirements matrix, which does list supported browsers, operating systems, and Adobe app versions. And on their developer forum, staff have announced that the legacy API, the layer that era of integrations was built against, will no longer be supported after December 1, 2026. The platform has told Resolve users where they stand; the rest of this page is what to do about it. For the two platforms compared feature by feature, see uncompressed.io vs Frame.io.

First, timecode drift: the web player counts from zero while your timeline starts at 01:00:00:00, so every note is off by a constant you re-derive in your head all afternoon. Second, transcription loss: “warm this up a touch but keep the skin natural” becomes a marker that says “warmer.” Third, state amnesia: by round three, nobody is certain which of the forty accumulated notes are done, which are open, and which the client quietly withdrew.

A working round-trip has four requirements. Notes land at the exact frame, offsets handled. The marker carries the full text and the author. Status reads off the ruler itself. And a refresh adds new notes without duplicating old ones; one-shot imports, EDL included, have no notion of an update, so every round either stacks duplicates or wipes the state you were tracking.

The script, its signed Premiere panel sibling, and the Final Cut one-drag bundle are free downloads on the NLE sync page; the room itself is covered on client review. Both work on every plan, including the free 1 GB tier, so trying the loop costs nothing. Nothing about the test requires migrating either: point one project at it and compare the round-trip against whatever you run today.

Frame.io streams a transcoded proxy. Their own conversion document describes an H.264/H.265 ladder topping out at 4K with an average max of 14 Mbps, plus AAC audio at 128 kbps; in our August 2026 measurement, 4K H.264 playback ran at about 50 Mbps. For editorial notes a proxy is usually fine. For a colorist asking a client to sign off on noise reduction, texture, or a two-point grade change, it is a real limitation: the file being approved is not the file you made.

Here the player streams the exact bytes you uploaded. An H.265 10-bit review master exported at 40 to 80 Mbps plays at 40 to 80 Mbps, and a 200 Mbps master plays at 200. Keep web masters inside the 100 to 150 Mbps band that browser hardware decoders sustain without dropping frames, and the client judges your grade rather than a summary of it.

One structural difference outweighs any single number: seats. Frame.io counts members, so a producer, an assistant, and a client contact added to a $15 plan turn it into a per-head bill, and five members on the Pro plan is $75 a month before tax. Here, viewers are never seats. Clients open the link, watch at full quality, and leave notes with no account at all.