#Davinci resolve studio 12 pro
#Davinci resolve studio 12 Offline

The assembly cut was created by editing together only master takes for each scene, without the use of any cutaways or B-roll. This film was shot with minimal coverage, so the creative editorial process was quite straightforward.

#Davinci resolve studio 12 Offline

With the files now synced and optimized, I was ready to move on to the offline edit.

For this project, I used ProRes 422 HQ at half resolution, which worked perfectly for my needs. ItвЂ™s also worth noting that you can change the quality and codec of your default Optimized Media format in the вЂњGeneral OptionsвЂќ section of ResolveвЂ™s Settings panel. You can choose between the two by toggling the вЂњUse Optimized Media If AvailableвЂќ item on or off on the Playback menu. Right-click on the clips in your media browser that you want converted to a proxy format and select вЂњGenerate Optimized Media.вЂќ Resolve will automatically convert the files for you, and once the process is complete, you will have the ability to edit using either your optimized or original media. Much like audio syncing, optimizing media is extremely straightforward. Step 2: Right-click on the media and select вЂњAuto-Sync Audio Based On Waveform.вЂќ Step 1: Import all of your media (audio and video) into a folder. 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.ДЇrom there, I utilized the audio syncing function in Resolve to automatically sync up the audio and video clips. We didnвЂ™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 ManagementДЄs 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.

Had I chosen to work in FCP X for instance, I would have still needed to convert my RAW media via Resolve first (to ProRes) before editing in FCP X, and then eventually roundtrip back to Resolve for color and finishing. вЂњStrayвЂќ was shot on the Blackmagic URSA in CinemaDNG RAW, so I knew that the workflow and overall post-pipeline would be streamlined simply by the fact that I could edit and grade the RAW files natively in the application.

#Davinci resolve studio 12 pro

DaVinci Resolve 12 fits that bill and then some, which is why it was the natural choice as an end-to-end editorial and finishing system for my latest short film, вЂњStray.вЂќ Why Resolve?ДЄs an editor that is extremely comfortable in both Final Cut Pro X and Adobe Premiere Pro, amongst other editing programs, I had no shortage of options when it came to choosing an NLE for this film. 3 Comments For years now I have been using DaVinci Resolve Studio as my primary color grading platform, and most recently it has become my go-to non-linear editing (NLE) software, too.ДЄs a director, editor and colorist I wear many hats on a daily basis, and itвЂ™s critical to my success as a filmmaker that I am using tools that can enhance the speed and quality of my work, without getting in the way of the creative process.