Thoughts for FCP7 and Premiere users

- [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.