With most other NLEs you would need to manually change your tool before starting to work in your timeline again. For instance, the tools are “context-sensitive,” which means that as you mouse over different parts of your clip in the timeline, your trim tool will automatically adjust. While the tools themselves are similar to what you’ll find in other professional NLEs (ripple, slide, etc.), it’s the way that they function that is unique to Resolve. Resolve 12’s trim tools are some of my favorite new features.

Many of Resolve 12’s new powerful editing features came in handy here. Many shots needed to be reframed, titles needed to be added, and some cuts still needed finessing. That said, I still did have some coverage to work in (cutaways, reaction shots, etc.) as well as some other fine-tuning adjustments. Resolve 12 is particularly strong in this area, as the process is limited to two very simple steps: I simply labelled all of the video clips with their scene and take number, and then did the same for the audio clips since they were recorded externally to a different device.įrom there, I utilized the audio syncing function in Resolve to automatically sync up the audio and video clips. We didn’t have a ton of footage on this project since our coverage was kept to a minimum, so the process went very quickly.

Importing and Media ManagementĪs with any editorial project, my first step was to import all of the RAW media shot on the Blackmagic URSA, and organize and log everything accordingly. Here is a breakdown of the steps that I took throughout the process. While a more standard workflow calls for a completed picture lock before color correction, I benefitted immensely by having the ability to jump between the edit and color tabs, allowing me to experiment with creative ideas on the fly. Working in a truly integrated system that allowed for an end-to-end completion of my project gave me the possibility of floating between my edit and color correction effortlessly.

How to add text in davinci resolve 12