OT Resolve 14

[Scott Witthaus]

[Andrew Kimery] “But you can still color a little bit and mix a little bit in Resolve just like you can in any other NLE.”

But if I can do that in an NLE I like better than Resolve, why switch? I will download this latest version of Resolve just to have a working knowledge of it (not that I see any freelance Resolve gigs in the near future) but it will be tied for second as far as NLE’s go (for now).

All a matter of comfort level, preference and workflow.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter

[Ricardo Marty]

Im no color grader but the things that cab be done with davinci color outclases anything that any nle color tool can do. Its a quetion of added value. This is all about impressing the client

Ricardo Marty

[Shawn Miller]

[Simon Ubsdell] “I suspect though that atypical workflow combinations like mine will become the norm in the near future and that’s where BMD are poised to take advantage.”

I would love to hear about your atypical workflow combinations!

I can see more VFX centric artists gravitating towards Fusion and Resolve, but again, I think it might depend on what percentage of VFX vs mograph work they do. Fusion is great and I really like it… but I think AE’s animation tools are just easier to use – I also wonder how many motion graphics folks would trade their favorite AE only plugins for the flexibility and power of Fusion! ☺

Shawn

[Shawn Miller]

[Ricardo Marty] “Im no color grader but the things that cab be done with davinci color outclases anything that any nle color tool can do. Its a quetion of added value. This is all about impressing the client

Ricardo Marty”

Sure… how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though? I’m not sure most clients can even spot the difference between Premiere and Resolve to be honest. ☺

Shawn

[Scott Witthaus]

[Shawn Miller] “how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though?”

Exatly. Or X and a plug-in for that matter.

[Shawn Miller] “I’m not sure most clients can even spot the difference between Premiere and Resolve to be honest”

You’re right, and quite honestly my clients don’t give a hoot what I cut on, as long as they get their story, on time, budget and to their clients satisfaction.

Scott Witthaus
Owner, 1708 Inc./Editorial
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter

[Ricardo Marty]

At this moment maybe not many. But its only a question time and nesecesity

Ricardo Marty

[Andrew Kimery]

[Scott Witthaus] “But if I can do that in an NLE I like better than Resolve, why switch?”

I dunno, I’m not advocating switching. I’m just trying to get the nucleus of your comment about going with Resolve necessitating buying high quality audio and color grading monitors. A few years ago I worked on a web series and it was graded in Resolve using an Apple monitor plugged into the nMP. Given that the free version of Resolve is so good I’d venture a guess that the majority of Resolve users are using the free version and *not* using a proper grading monitor.

[Shawn Miller] “Sure… how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though?”

I think it depends on the complexity of the grade and if the editor already knows how to use Resolve. For simple color correction on short videos with tight turn around times I really like the Lumetri color panel. If I’m doing something more complex/creative I can get more done faster in Resolve (especially if it’s a long form project). But a while back I took almost a two year break from editing and focused on color grading so it’s fairly easy for me to put that hat on again.

I used to color grade inside of FCP Legend, and I could get very good results with FCP, but it took more work and more time to get the results I wanted. Once I started using Color (and later Resolve) my time on task when down and the quality of the end results when up. But, again, horses for courses. I think there are times when something like Lumetri is the best solution and some times when something like Resolve is the best solution.

[Shawn Miller]

[Andrew Kimery] “[Shawn Miller] “Sure… how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though?”

I think it depends on the complexity of the grade and if the editor already knows how to use Resolve. For simple color correction on short videos with tight turn around times I really like the Lumetri color panel. If I’m doing something more complex/creative I can get more done faster in Resolve (especially if it’s a long form project). But a while back I took almost a two year break from editing and focused on color grading so it’s fairly easy for me to put that hat on again.

I used to color grade inside of FCP Legend, and I could get very good results with FCP, but it took more work and more time to get the results I wanted. Once I started using Color (and later Resolve) my time on task when down and the quality of the end results when up. But, again, horses for courses. I think there are times when something like Lumetri is the best solution and some times when something like Resolve is the best solution.”

Totally agree – I’m not much of an ‘either or’ person myself, so it makes sense to me that some tools fit some projects better than others. I was mostly responding to the notion that editors will necessarily reach for Resolve because it’s more powerful than the Lumetri color panel or similar tools. I have a sneaking suspicion that folks who mostly edit for a living won’t be looking to go as far down the grading path as you have.. but that’s just my opinion. ☺

Shawn

[Andrew Kimery]

[Shawn Miller] “I have a sneaking suspicion that folks who mostly edit for a living won’t be looking to go as far down the grading path as you have.. but that’s just my opinion. ☺ “

I agree. Which is why I think the “Resolve is poised to take over” talk is premature until Resolve proves that it can be top notch NLE because, to your point, people who edit for a living are looking for an NLE first and everything else second.

[Michael Gissing]

[Scott Whitthaus]”I still wonder why BMD is doing this.”

Perhaps because they have been listening to editors for years who want a tool that is for many applications a true one stop shop. Many have claimed this over the years but I suspect Blackmagic are doing it because they feel that time and interchange pain are worth addressing. They have clearly been improving the NLE side for a few years now and Fairlight is a drop in. Also they are doing it because they can.

For me the integration is absolutely what I want in a finishing tool. If editors are happy with the NLE parts and start originating a project in Resolve that I then finish, I get rid of the great speed bump and anxiety of moving projects from editorial to finishing. I’m sure Blackmagic see their place as a finishing tool first and foremost which is evidenced by their acquisitions – da Vince, Fusion and Fairlight. As to bloat they may well suffer that. With cheap modern SSD drives, powerful CPU/GPU, I am less fearful of bloat slowing me down than the agony of interchange.

One of the reasons I originally chose FCP4.5 was that was what most of my client editors were cutting on and I could take over the project and handle grade and finishing using the same software. Audio went out to Fairlight. So now I have a tool that for the first time bundles all the tools to cut and finish into one.