- December 1, 2020 at 11:29 pm
Out of curiosity how many of you are considering or have migrated to Resolve from another editor? What has stopped you from making a complete migration? Would love to hear your thoughts and see what opportunities are there in addition to any challenges that have come your way.
As much as I would love to completely use Resolve the fact remains that there is no ProRes RAW support at the moment. Outside of that please share your thoughts. Happy editing!
- December 2, 2020 at 7:13 pm
I’m old school where Resolve is just for grading and file/project management.
Hasn’t failed me yet in that respect.
Honestly at the price, why not add to (any) the other three if possible.
One day if I’m not busy, Ill cut a client’s project on it.
You can’t go wrong with moving to it now, so many free training options available.
We didn’t have that back when I started with media100/Avid.
- December 3, 2020 at 1:22 pm
I think the NLE that fits a person is more than just the fact that the layout is similar or it’s cheap or it’s an all one-in-one package. Some NLEs’ workflow and UI layout simply click better with one person versus another. So while Resolve is closest to Premiere Pro or Media Composer (or maybe FCP if you look at just the Cut page), that still doesn’t mean it will feel sufficiently “natural” to get them to shift over. Veering into Harry Potterisms – it’s the NLE that picks the editor, not the editor that picks the NLE ?
- December 4, 2020 at 8:31 am
It is an interesting question that pops up almost every year for me as well. Its pace of development, the good performance, the one-click-away to dedicated color/audio tools… And yet every year the jump just isn’t happening. Reasons differ, but for me it’s been coming down to this:
A/ As a tool purely for editing it still isn’t as ‘good’ as what I am used to (in my case Premiere Pro). I don’t like its approach to trimming (having to toggle on/off ‘modes’) and there are several key commands I can not bind to my keyboard that speed me up. Some of this is probably muscle memory I can re-train (or I train for new techniques). But it does not change the fact that it would slow me down. Speed of operation is about much more than the export-speeds and the real-time playback every youtube video always goes on about.
B/ It would be almost impossible to enlist the help of others or finding extra talent. This is by far the biggest hurdle I experience. I lead a team of 5 editors doing broadcast content. And while I am generally open to trying new things and putting in time to learn, not everyone can or will follow equally. The same is true if I need to attract freelancers to work with us: telling them Resolve is the tool of choice would just harvest plenty of frowning. It’s market position, where I am from, is just non-existant. The true quality of a tool alas does not always equal its place in the ‘traditional market’. This is often true for Apple’s more than excellent FCP X too by the way.
C/ I would just exchange old problems for new ones. Every software has its hiccups, and for the tools I use now, I at least know what they are. Switching to Resolve will pose new issues I need to iron out, hoping I won’t encounter a ‘show-stopping’ one. Again: it will take time to adapt and many projects just don’t have enough luxury for it.
So for the time being, I am content keeping to Resolve as a solution for workflow and for advanced color grading and finishing. If a project were to pop-up that I can do completely in isolation (like a short-term commercial for example), I might consider moving into it to test it out. In the meantime I keep recommending it though to everyone looking for a great NLE or to students I meet (as no one can argue with the free-price point).
- December 5, 2020 at 12:09 am
All very true. Collaboration with other editors and freelancers is a key for everyone that isn’t working within their own sphere. Depending on the market and/or market segment, that’s still either Premiere Pro or Media Composer.
Much the same applies to audio. If you are a mixer with experience and have an investment in Pro Tools, then Fairlight won’t convince you to shift – generally for the same reasons.
Resolve is a great companion workflow tool in addition to being a good color corrector. For some, it’s becoming the primary tool. But I highly doubt that number of users (as editors) is close to that of FCP.
- December 6, 2020 at 1:55 pm
David Mathis: “how many of you are considering or have migrated to Resolve from another editor? What has stopped you from making a complete migration? Would love to hear your thoughts and see what opportunities are there in addition to any challenges that have come your way. As much as I would love to completely use Resolve the fact remains that there is no ProRes RAW support at the moment.”
My team uses both FCP and Resolve, with most editing done in FCP. If you are a solo editor or work on a very small team with limited need for re-editing past projects, it is easier to contemplate a total switch.
OTOH if you need to re-train many editors with varying experience levels, that is a significant impact. Resolve is both capable and complex. The manual is over 3,000 pages. All editors don’t need to know all that, but it would be a major transition.
If you have major work in past FCP libraries you will be re-using in the future, then you’d need to maintain some FCP expertise. If there is a transition period, you can easily end up with projects done partially in each NLE. Without very crisp workflow planning (which means yet more editor training), you can end up trying to patch together two projects because someone got sick and had to hand off their work in a different NLE from collaborators.
On this positive side, Resolve product development has been incredibly rapid. It is cross-platform, which implies better access to faster, cheaper Windows machines. However the new Apple Silicon Macs may change that equation.
– Built-in option for collaboration using a true client/server database.
– “Qualifier” (aka color mask), tracking, node-based grading, etc. is vastly better than FCP.
– Cool features like visual “diff” of two timelines.
– Playback performance has now improved to near-FCP levels with a skimmer-like feature.
– Resolve is actually faster than FCP on the same x86 Mac hardware for certain tasks, such as 10-bit HEVC export and decode performance of certain codecs such as Panasonic’s 400 mbps 4k 10-bit 4:2:2 All-Intra. FCP will likely regain this advantage with Apple Silicon Macs.
– Resolve can export a timeline with trimmed clips plus additional handles. Currently FCP cannot do that and Worx4 X does not handle multicam or compound clips which means it’s not practical in many cases.
Price: the basic version of Resolve is superficially free, but there is a growing feature divergence between free and Studio versions. I think any of these features required the paid version:
– HDR support
– HEVC decoding
– H264 accelerated encoding using nVidia
– High 10 Profile (10 bit) H.264 decoding (probably also encoding)
– Multiple GPU support
– Face Refinement
– Skin soften
– Spatial/temporal video noise reduction
– Timeline resolution higher than UHD (3840 x 2160)
– Timeline frame rates higher than 60 fps
I don’t think Resolve can re-link to proxies *as proxies* (inc’l camera-generated proxies), which FCP can do as of 10.4.9.
The licensing for the paid version can be frustrating. It appears to require authentication based on a paper card sent via postal mail.
Re ProRes RAW, despite all the talk I don’t see that as a major issue. ProRes RAW has some significant considerations (typical of true RAW formats; don’t know how BRAW handles these). E.g, no in-camera lens profile corrections, on Sony Alpha cameras (or likely any camera with sensor-based digital stabilization) no “Active Steadyshot” stabilization, generally noisy on darker scenes which prevents effective use of HSL mask without initial noise reduction. One incentive for ProRes RAW is the 12-bit 4444 data to enable better color masks and grading but in actual practice this may require a prelim Neat Video pass, then a round-trip to ProRes 4444XQ to bake that in, otherwise timeline is too slow. If using Resolve and you really want that ProRes RAW data you can always do “first light” WB correction (if available) export from FCP, Premiere or Avid to ProRes 4444XQ, then import to Resolve.
- December 23, 2020 at 12:12 am
I caught this one late!
I’m finding that Resolve keeps getting more useful and usable as time goes on. I used to use it just for de-bayering raw video files from my Blackmagic cameras – but over time, it’s become my go-to tool for color correction, grading and, a ‘feeder application’ for Fusion. I don’t see Resolve as a replacement for the work I currently do in the Adobe suite, but it wouldn’t surprise me if I ended up spending as much (or more) time in Resolve as I do in Adobe land (in the future). The new tracking and masking tools in Resolve have kept me out of After Effects a few times recently – I can see that happening more often. If I didn’t need to exchange project files with other Adobe users and I didn’t rely so much on AE, a complete switch-over would be more feasible.
- January 9, 2021 at 6:41 pm
Resolve has a nice basic design which makes intuitive sense. It is also quite stable.
Resolve is also very deep, with integrated “pages” for color, audio, motion graphics, and export. It is very handy to be able to address other aspects of editing without having to fire up another program, and export and import media. I like the ability to pop over into a very capable Color page, fix a problem, and then quickly resume with the Edit page, where I can see how the color change in one clip works within the timeline. To be honest, I have not yet become very comfortable with Fairlight and Fusion (I still use other programs for most audio and motion graphics), but I anticipate being able to take advantage of those features, again within the workflow of editing.
My favorite “little thing” is “smooth cut,” to make unwanted jump cuts disappear.
I don’t like stuttery playback, but to be fair, I’m using an older computer which does not meet Resolve’s recommended requirements.
Did I mention the price? And no subscription?
The best NLE is the one that you already know how to use. (Though, if you know FCP7 or PP, you will pick up Resolve rapidly.) And the “critical mass” argument is a very strong one; if you need to be able to hire other editors to jump in on a project, this is probably not your best choice.
But if you’re editing for yourself, you should at least give Resolve a try.
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