[Declan Smith]

How fast each technique is, comes down to personnel preference, although each method can be quicker in it’s own way. I haven’t looked at the ‘Cut Page’ yet, but that purports to speed up the editing process. For what I tend to do, I generally drag from the source viewer into the timeline or from a marker directly. With dragging from the source viewer then whilst you’re dragging, you can see how many audio channels are coming with the footage and if you have 10 channels, you can abort dropping the clip in and correct the number of channels on the source clip. Also, I can just drag the clip to the right point and decide whether I just want video, audio, or both.

My workflow tends to be to review all the footage in the media page in the first place and set duration markers, with appropriate keywords, on all the parts of clips I want to use. At that point, I also change the audio channels if need be (some footage can have up to 10 channels on some of the stuff I’ve worked with). Then in the edit page, I can just drag the markers to the timeline to get video/audio, hold the Alt key whilst dragging to bring just video, or press the shift key whilst dragging to bring just the audio.

Using the Function keys does on the surface seem quicker, but when an insert overwrites audio you have to back track. Even using the F12 key to append edit means you will have to do some tidy up at some point.

Probably best to try with the various options and find which one works best for you overall.

Speed of editing is not just about the timeline. Reviewing, preparing and categorizing footage with keywords and in/out duration markers is such a timesaver and helps you find exactly what you need.

Declan Smith
https://www.madpanic.tv
Davinci Resolve 16.1.1 / Affinity Photo / Reason 10.4 / BlackMagic URSA Broadcast / Zoom F8 / Canon XLH1 / Canon 7D / Cubase 10

\”it\’s either binary or it\’s not\”

[Declan Smith]

Have you tried something like:

Exif editor (https://exifeditor.com)

Declan Smith
https://www.madpanic.tv
Davinci Resolve 16.1.1 / Affinity Photo / Reason 10.4 / BlackMagic URSA Broadcast / Zoom F8 / Canon XLH1 / Canon 7D / Cubase 10

\”it\’s either binary or it\’s not\”

[Declan Smith]

For me, when Adobe went subscription I mass dumped all their products. The product set I use for images is Affinity Photo, Affinity Designer, and Affinity Publisher. Like all these things, you will need to invest time to re-learn some elements, but I find Affinity very intuitive.

Affinity is UK £48.99 to buy but you can always download a free trial and give it a whirl. It can open and save photoshop files too.

Declan Smith
https://www.madpanic.tv
Davinci Resolve 15.2 / Reason 10 / BlackMagic URSA Broadcast / Zoom F8 / FCPX / Adobe CS6 / FCS3 / Roland R26 / Canon XLH1 / Canon 7D / Cubase

\”it\’s either binary or it\’s not\”

[Declan Smith]

It does work for me. I have Studio Dongle version on my main machine and non-studio version on my laptop. The only difference I have observed is that any Studio features will end up watermarked in the non-studio version, but you can still work on the project and exchange it between both studio & non-studio and when back in the studio version, the watermarks will not be there.

Declan Smith
https://www.madpanic.tv
Davinci Resolve 15.2 / Reason 10 / BlackMagic URSA Broadcast / Zoom F8 / FCPX / Adobe CS6 / FCS3 / Roland R26 / Canon XLH1 / Canon 7D / Cubase

\”it\’s either binary or it\’s not\”

[Declan Smith]

On the Mac, a Track pad allows you to pan / tilt around the clip, but like others say, you will be better off getting a 3 button mouse. I had to buy one last year because of the dysfunctional apple mouse, and went for the Patuoxun 2.4G USB wireless mouse. This has a clickable scroll wheel and does the job perfectly and only costs £8.29. It’s a no-brainer!

Declan Smith
https://www.madpanic.tv
Davinci Resolve 15.2 / Reason 10 / BlackMagic URSA Broadcast / Zoom F8 / FCPX / Adobe CS6 / FCS3 / Roland R26 / Canon XLH1 / Canon 7D / Cubase

\”it\’s either binary or it\’s not\”

[Declan Smith]

I’ve not found a way that Resolve can do this. I tend to use multichannel files from the external recorder, but if you are presented with separate files, you will need to create multichannel files first.

If you are familiar with the command line, you could try getting and using the command line utility “sox” that will take your separate WAV files and create a multichannel file which you can then sync in Resolve.

e.g.: I have the following:

Scene_12D-T002_Tr1.WAV
Scene_12D-T002_Tr1_D.WAV
Scene_12D-T002_Tr3.WAV
Scene_12D-T002_TrL_R.WAV

sox -M Scene_12D_T002_*.wav Scene_12D_T002.wav

This will create the required multichannel file, but note that you will lose your metadata.

Declan Smith
https://www.madpanic.tv
Davinci Resolve 15.2 / Reason 10 / BlackMagic URSA Broadcast / Zoom F8 / FCPX / Adobe CS6 / FCS3 / Roland R26 / Canon XLH1 / Canon 7D / Cubase

\”it\’s either binary or it\’s not\”

[Declan Smith]

In my setup, most of my problems were due to connecting my audio interface via firewire as I don’t think resolve recognises it. When I switched it to USB, all the channels worked. Are you able to setup the speakers in the video preferences and see all the channels available to your sound card?

Declan Smith
https://www.madpanic.tv
Davinci Resolve 15.2 / Reason 10 / BlackMagic URSA Broadcast / Zoom F8 / FCPX / Adobe CS6 / FCS3 / Roland R26 / Canon XLH1 / Canon 7D / Cubase

\”it\’s either binary or it\’s not\”

[Declan Smith]

I had similar problems being able to monitor 5.1 but I now have a working 5.1 monitoring setup. This is how I’ve configured my system.

In Resolve preferences, System->Video and Audio I/O check you have a Speaker setup that configures your channels, I have a Behringer-FCA610 interface, and here is the setup.

For the Main Output, I have the following:

In fairlight, the meters section will have selectable sets to choose from that match what you have configured above. You can send output to specific speaker sets.

In my setup, in fairlight I have created a number of submixes:

Sub 1 – Dialogue
Sub 2 – Atmos
Sub 3 – SFX
Sub 4 – Music

I have also created two MAINS.

MST – Main Stereo Mix
M5.1 – 5.1 Surround Mix

I route each audio track to required submix bus and all the Submixes are sent to both MAIN mixes as below:

For monitoring purposes I assign the Main 2 to either the CR Main or CR 5.1 depending on what / how I want to monitor.

Stereo

5.1

My external mixer has the sound interface outputs feeding the required speaker (L,R,C,LFE,RL,RR). All surround panning is done on an individual track basis. The reason I have two Mains is that I can easily output a 5.1 mix and a stereo mix from the deliver page.

Hope this helps.

Declan Smith
https://www.madpanic.tv
Davinci Resolve 15.2 / Reason 10 / BlackMagic URSA Broadcast / Zoom F8 / FCPX / Adobe CS6 / FCS3 / Roland R26 / Canon XLH1 / Canon 7D / Cubase

\”it\’s either binary or it\’s not\”

[Declan Smith]

DaVinci Resolve has Duration Markers. I used these on an interview piece I did recently. On the media page, double click your interview clip (or multicam clip if you have multiple angles) and this will load it into the viewer. Now play your clip and mark in/out on the segment you want. Next go to the menu item Mark->Convert in/out to duration Marker. Whilst the marker is highlighted, select Shift-M (or menu Mark->Modify Marker), and a dialog will pop up allowing you to rename the marker and add notes etc.

Now in the media pool, your clip will have a disclosure triangle and a new marked region called whatever you typed in the name field. I tend to write the first line of the dialog making it quick to build the story. Your media pool will look something like this:

When you want to add a region into your timeline, you can simply just drag the region onto your timeline. The nice thing about this is you can fine edit in the timeline as these regions are just markers, and for multicam clips, you can switch cameras as needed in the timeline.

You have an added advantage with Resolve. If you build your interview piece by audio queues (i.e. to get the story), Resolve has an amazing video transition built in called “smooth cut”. On many clips this will do such a smooth transition that you wouldn’t see jump cuts as long as you keep the transition between 2 & 6 frames long and there isn’t a massive amount of movement. It’s great for taking out umms & arhhs and making your interviewee a fluid speaker.

Declan Smith
https://www.madpanic.tv
Davinci Resolve 15.2 / Reason 10 / BlackMagic URSA Broadcast / Zoom F8 / FCPX / Adobe CS6 / FCS3 / Roland R26 / Canon XLH1 / Canon 7D / Cubase

\”it\’s either binary or it\’s not\”

[Declan Smith]

You can sync using markers. In the media page, click on ClipA and scroll through to where you want the sync point, then press m. This will drop a marker. Next click on ClipB and scroll through to where you want the sync point in that clip, and press m to drop a marker. Now select both clips, click create multicam clip and then in the sync drop down, select marker. Select you camera angle or camera or clip name for the metadata and then create. This should do what you’re looking for.

Declan Smith
https://www.madpanic.tv
Davinci Resolve / FCPX / Adobe CS6 / FCS3 / Zoom F8 / Roland R26 / Canon XLH1 / Canon 7D / Reason 10 / Cubase

\”it\’s either binary or it\’s not\”