This isn’t something that I needed to tap into on this project since our cuts were relatively simple, but asymmetric trimming is also possible, and allows you to adjust multiple clips in different directions simultaneously. This small feature in Resolve allows you to stay in the timeline, not losing your creative momentum. 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.
Davinci resolve color grading multiple clips professional#
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. I don't like that approach as I rather move keyframes that to jump within cuts and fix dissolves.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.
Try to brake it into smaller problems and think it like a multi shot video, that rather to have cuts have dynamics.Ĭhoose if you want a massive node tree with a layer mixer like a did or to brake the cut in editing using cross dissolve.
The key is to keep it as simple as you can, things can become messy quite quick. I have done a general correction after everything also.Īfter all this I have worked with masks and stuff. Then I have worked on the "look" and placed it within the single streams, to use the dynamics I have done before I have used the layer mixer and create stream for each change I needed The DP i have worked with had done a great job "shutter pulling" and that helps a great deal.įirst thing I have studied how the light was changing and I found a "master shot", then I have found all the places where I could hide the dynamics and balance the whole thing with very simple correction, mostly offset and contrast working with the light changing and not going against it. Last year I have done a 15 min long short movie, shot on a single long take at sunset hour where the 4 subjects kept going in and out a house, so lots of exteriors and interiors with a massive light change.
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