Issue link: https://digital.copcomm.com/i/1542296
and sounded good for whenever Tom presented it to the stakeholders for feedback," he said. "Throughout much of the offline edit, I worked with proxy footage displayed in Log. For these reviews, I tabbed over to Resolve's color page for some light color correction to make the film look more polished. "Additionally, I handled all music editing and placement, using Resolve's Fairlight page for basic track processing, such as EQ and compression. It's better to make clip level adjustments in the edit page, popping over to the Fairlight page to refine each track; for example, a common EQ and compression setting for all dialogue tracks. Same for music. The point is to mitigate anything that might take a viewer out of the film, while reviewing for notes," he continued. Once the cut was locked, Colorist Matt Hartle of Baked Studios graded the full resolution media in DaVinci Resolve Studio. Assistant Editor Rob Dewbre rendered out the final film as several textless DCI 4K sections, again in Resolve. "These were sent back to me, along with the final mixed audio tracks. I tracked and blurred a few faces in Resolve's color page as a last touch. From these elements I then assembled the final versions of the documentary, including adding all final lower thirds and end credits using Resolve's standard text tools," noted Peters. "Since we all worked end to end in DaVinci Resolve Studio, the edit and color information exchange was easier than nearly any other offline/online workflow. No XMLs, EDLs, etc. were required, and creative choices, like Ken Burns style moves on photos, translated correctly," Peters concluded. "Admittedly, at the start, while I was confident in Resolve's basic abilities, I questioned if it would be up to the task of cutting a full length feature film with tons of media files from a wide range of sources. It turned out to be a very pleasant and successful editing experience. "At first glance, the breadth of Resolve might seem daunting to new editors, but it's easy to use. For any editor at any level, Resolve provides an end to end workflow that's hard to beat." For more information about Shepherds of Wildlife Society, visit: https://www.shepherdsofwildlife.org/ " Since we all worked end to end in DaVinci Resolve Studio, the edit and color information exchange was easier than nearly any other offline/online workflow. Blackmagic Design 333 N. Glenoaks Boulevard, Suite 250, Burbank, CA 91502 Phone +1 408 954 0500 Fax +1 408 954 0508 Contact Us Email info-usa@blackmagicdesign.com