Are you a FCP7 or Premiere Pro user? This video covers the key areas of how Resolve is a different tool. Areas include how projects are different, the project as a database, how bins are different, using right click, the Media and Fairlight pages, and what color and exports do.
- [Narrator] Some general Final Cut 7 and Premiere thoughts. First, the project itself is called the media pool. This area over here on the left, this is the media pool itself. You think of it as a project but they call it the media pool in Resolve, and you should just be aware that its organization works traditionally like a project, pretty much, except there are no project files. Everything's a database, and just so you can see that idea, I'm going to jump out to my project manager and expose here on the top left my databases, and I have two here, one for this class and my personal database.
I'm going to close that back up and get back into my project. The bin hierarchy is quite a bit different, and what I mean by that is your master holds all your bins. It's very much a tree-based sort of look at a project, where I can click and go into them or I can switch to a thumbnail view and double-click through those like icons, with just this one caveat. It's kind of a little bit hard to see those nesting deep and if you need it, you can right-click on any bin, and you can choose Open As a New Window for a floating window of what's inside that bin.
In fact, on that right click note, right-click everywhere. You're going to find while the menus are great, right-clicking on a sequence is different than right-clicking on the background which is different than right-clicking on your timeline. The right click really has a lot of information that you might want to know. I call it; in fact, it's properly called a contextual click. It shows you the context based on where you're clicking. Editorial is track-based.
There is nothing strange for you here. The only thing I'll point out is if you're a keyboard-based editor, this orange outline, that's your patching; that's how you can choose where a source clip edits to. And I'm just going to put my playhead here and point them to V3 and A2, and when I do an overwrite, you can see it jumps to those specific tracks. There are no pancake or multiple timelines open at the same time, and if you're a pancake timeline editor, what you're going to want to do is load it in source and use a switch.
Loading in the source, I've got a sequence here called B-roll, and I'm going to load it here in the source, and under my Timeline menu is the Swap the Timeline Source and Viewer. This switch here allows me to see the source timeline, my string-out, and switch back to my main timeline. And that's how you can mark in- and out-points around specific source clips.
The Media page feels like Premiere Pro's Media Browser. So when I come over here and I look at the Media page, this is outside, this is my file system, and this is the items I've already imported, this is my project, and you can drag and drop or right-click to import. The Fairlight page is a full Digital Audio Workstation, and you may find yourself intimidated by it. It's very powerful.
It has full sets of mixers and meters. You can create a pretty decent edit and pretty decent audio work, using just the audio that you'd be more familiar with in the Editorial page. If you're used to a full DAW though, you'll find it over on the Fairlight page. Color is what gives Resolve its strength, and anytime you want on any clip, you can jump onto the Color page and begin color-correcting your shots.
There is no need for traditional picture lock along those lines. Last, exports are done via the Deliver page. It's this last page over here, and you choose your settings and then you send them over to a render queue.
Author
Released
11/22/2017- Resolve setup
- Auto Save and Live Save
- Starting a project
- Importing media
- Smart Bins
- Editing clips
- Deleting, moving, and swapping clips
- Trimming clips
- Adjusting audio
- Adding transitions and effects
- Correcting color
- Output
- Editing multicam footage
- Managing projects and media
Skill Level Beginner
Duration
Views
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DaVinci Resolve Guru: Hardware for Color Correction
with Robbie Carman3h 12m Intermediate
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Introduction
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Welcome1m 21s
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Note on screen size2m 34s
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Using the exercise files1m 43s
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1. Editorial Viewpoints
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Thoughts for Avid users4m 13s
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Thoughts for FCPX users4m 6s
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2. Setup
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Quick tour7m 17s
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Autosave and Live Save1m 21s
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3. Starting Projects
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Starting a project3m 12s
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Smart bins3m 1s
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Clip Attributes1m 8s
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Dual sync sound1m 53s
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Notes for all editors1m 15s
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4. Starting to Edit
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Playing and marking clips5m 30s
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First edits1m 34s
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Basic Timeline navigation2m 58s
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Backtime edits and more6m 30s
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FCPX editor thoughts1m 25s
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5. Editing on the Timeline
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Match Frame and Find bin2m 13s
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Deleting clips3m 4s
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Razor edit mode2m 3s
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Copy and paste1m 7s
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Edit Index2m 4s
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FCPX editing thoughts1m 14s
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6. Trimming
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Tops and Tails4m 18s
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Roll and extend edits1m 53s
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Slip and slide2m 5s
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Dynamic Trim1m 50s
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Thoughts on trimming2m 54s
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7. Audio
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Adjusting clip volume3m 35s
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Audio dissolves2m 21s
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A word about Fairlight3m 27s
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Multitrack masters8m 50s
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8. Transitions and Effects
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Adding transitions8m 34s
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Adding effects3m 36s
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Opacity and built-in effects2m 39s
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Dynamic zoom1m 45s
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Keyframing3m 41s
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On-screen controls1m 7s
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Reusing effects1m 23s
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Changing clip speed5m 43s
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High frame rate clips2m 54s
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Adding titles and generators2m 40s
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Smart caching and rendering3m 18s
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Thoughts on effects1m 38s
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9. Color Tools for the Editor
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Moving to the color page4m 55s
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Where are my scopes?1m 30s
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Where are the color wheels?2m 21s
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Where are curves?1m 25s
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Nodes2m 37s
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Quick word on qualifiers3m 18s
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Quick word on copying grades1m 19s
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Quick word on LUTs1m 33s
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10. Output
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Watermarking1m 59s
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Output for YouTube2m 5s
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Output in a master format3m 46s
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11. Multicam
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Creating multicam clips2m 50s
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Adjusting multicam sync1m 59s
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Editing multicam3m 30s
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12. Project and Media Management
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Where is my project?1m 52s
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Improving performance3m 1s
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Media management2m 25s
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Conclusion
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Closing22s
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Video: Thoughts for FCP7 and Premiere users