- January 29, 2021 at 2:13 pm
I’m thinking of going back to the old “off-line/on-line” editing model. I’ve found the on-line NLE (Resolve); I’m looking for the off-line.
Although I appreciate the power and depth of daVinci Resolve, I find it frustrating to use for basic editing. Every time I make a trim and check it, the footage is jerky, unless I wait for a render. (I’ve tried all the tricks to speed things up.)
I’d like to find a very basic but fast NLE which would enable me to edit quickly, without rendering, and produces a terrific EDL for import to Resolve for “on-line” editing. I know this product must be technologically possible, because it existed a million years ago with D/Vision Pro.
But does this speedy, facile off-line quality NLE exist today? I’m willing to transcode footage for the off-line phase, as long as the EDL matches back accurately (in Resolve) to the original files.
Yes, I could buy a new computer. But I’d like to wait until the whole M1 thing shakes out.
Thanks for any advice.
- January 29, 2021 at 2:30 pm
A few thoughts. Nearly all NLE’s have decent proxy modes for editing these days. This involves transcoding full res media in to lighter eight proxies. Resolve does this.
A quick and fast NLE that works well with DaVinci Resolve is FCPX. You don’t use an EDL, but rather an FCPXML. It can be as basic as you want it to be.
You can also send EDLs or XMLs from Premiere, and AAFs from Avid to Resolve. Resolve works with a lot of different interchange formats, and Premiere and Avid both have Proxy editing.
- January 29, 2021 at 3:34 pm
Jeremy is of course, correct. I don’t care if you are using Resolve, Media Composer or Premiere. Proxy workflow is a standard workflow these days, and has been especially reinforced due to remote editing in 2020 – current. You don’t need a new computer, you need to change your workflow (and you probably need faster storage). Getting a “new M1 Mac” will not make your drives work faster. Cutting in full res 4K or higher (6K, 8K) is nothing like cutting in HD. So use Proxy footage, like everyone else is doing, and your problems will be gone.
- January 29, 2021 at 3:38 pm
I second the FCP (formerly X) suggestion. I use both Premiere Pro and FCP going into Resolve (via FCPXML and XML respectively). Both work well, but FCP will require a bit of relearning from the traditional NLE paradigm. Once you get used to it, however, the speed and performance are hard to beat. If you do go with an M1 (like an M1 Mac Mini), then FCP is the perfect solution. The determining factor is whether or not you need to exchange project files with other editors. However, even there, you can export Premiere-compatible XML files from Resolve.
- January 29, 2021 at 7:34 pm
Just for clarification, even without going with a proxy workflow, FCP handles most native media formats better than just about any other NLE.
Regarding Resolve, two pointers. The Edit page seems to offer worse playback than the Color page, which makes no sense. Second – edit first, then grade. Do not try to add a lot of grading nodes and then do the editing. Resolve simply gets bogged down in the Edit page, once all of the clips have several nodes applied to them.
- January 30, 2021 at 5:30 am
If you use Resolve to make proxies, and use the same proxies inside Resolve, you’ve found your off-line NLE. I’ve edited with DNxHD36 or ProResLT (converted from Red Raw by Resolve), inside Resolve and its been smooth. I haven’t observed this render-after-trim behaviour.
Are you perhaps working with camera raw files and Render cache in Resolve? That would explain the need to render after trim.
I second the suggestion to use XMLs instead of EDLs. They carry more information than EDLs. FCP X XMLs work very reliably in Resolve.
- January 30, 2021 at 5:38 pm
Bob Cole – I guess we neglected to ask whether you are on Mac or PC. Obviously if PC, then FCP would not be applicable. FWIW – there’s also Lightworks, which still has fans. And naturally Media Composer or Premiere Pro, too.
Would Resolve work for you as a creative (“offline”) editor, if you didn’t have those playback issues?
- February 1, 2021 at 3:51 pm
One other data point. If you are on a Mac and use a Mac display (iMac, XDR, MBP) then FCP is the only NLE that properly manages color to the viewer. So if you are not using an external i/o device and display and want a predictable image, then what you see in the FCP viewer window will closely match a QT export. It will also generally match your video output image. This is not true of Media Composer, Premiere Pro, or Resolve.
- February 1, 2021 at 5:13 pm
Oliver and all,
I tried some simple editing with Resolve on my Mac (45-90 minute timeline, transcoded clips, straight cuts) and every process bogged down in slowness, especially in the folders(?) and naming. Helpful people said I should have got a better GPU, a faster internal drive, faster external drives, everything better, faster, more expensive. Sell my new iMac and start over. So I resolved to go back to Premiere. Is this the general experience with Resolve?
I realize y’all are driving souped-up and highly-tuned machines.
- February 1, 2021 at 5:53 pm
Robert – That hasn’t been my experience with Resolve, but in fairness, I use it for grading, not editing. So I’ve had long timeline – like a full-length feature film – but I didn’t do a lot of editing there. I have done some trimming within those and it seemed OK.
Another example for me is that I use Resolve to generate color-corrected master files of B-roll footage. In those cases, my timelines are hours long. I do some editing there, but mainly trimming. Again, no issue.
A lot depends on the media and your timeline settings. For example, if you have 4K media, but plan on finishing in 1080, then set the timeline resolution to 1080. Also, do not do any grading until after you are done editing. As far as folders, I haven’t heard that before.
What are your iMac specs, the type/format/codec of media, and do you have any external i/o devices connected?
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