Davinci Resolve | First 6 Months after Switching

okay so I have officially switched over to DaVinci Resolve for all my video editing stuff and I don't switch very often I started off on Premiere way back in the day and then went to Final Cut seven eventually came back to Premiere because Premiere was really good at just editing hd64 natively been here for like a decade now I've got a bunch of questions from you guys so I'm going to read them off this Asus 14 inch Zen book so thank you to Asus and Intel for sponsoring this episode but check it out the second display is super cool though like as you open the laptop it lifts up it gives you a little angle so that you can see it better and improves airflow pretty essential Harrison Mitchell says why did you decide to switch over to resolve color grading is definitely the biggest one there's also Cloud collaboration which sounded really cool there's also the price there's no subscription fee so that's my on the wallet Oscar asks what has been your limitations compared to Premiere uh biggest thing I noticed is when you try to sync up Clips with audio you know you got two cameras that sound similar you can sync it in Premiere and Premiere was really good at that in DaVinci Resolve it's not as good it's not consistent it works pretty often but not as often as it used to work with Premiere I also feel like if you move the video clips around on your hard drives Premiere was really good at just identifying that you moved file somewhere and relink it a lot of times without you having to do anything resolve I've had a few difficulties re-linking Clips if you move files around on a hard drive so after I import the video clips into resolve I just try to never move anything David says how easy was the transfer really been procrastinating the switch but have only heard great stuff it was not easy to do the switch to be honest not because it's a hard software to learn at all it's just that I've spent over a decade fine-tuning my workflow for Premiere to work for my needs so switching all that over I mean for the most part fundamentally everything's the same but it's like a thousand tools that are slightly different that you have to relearn John says please do a basic tutorial for it I can go and force teach Carrie some stuff and you guys can come along you ready so when you first open up resolve you go straight here to the project manager and this is where all your projects live and this is already a little bit different from what I'm used to the project was a file on your computer so you would open up that file and then it would load up that project but here it's in resolve in their own little database so let's go ahead and create a new project one of the things that's unique about resolve is that there's seven different workspaces down here that you could switch between like color is actually one of the main reasons why I'm switching over to resolve so like a lot of the big studios edit in like Avid and then you have Premiere and a lot of agencies use that and then there's Final Cut but they all round trip the project through resolve to do some professional level color grading so what's nice is whenever I'm going back and forth between color grading and editing I don't have to do this whole conversion and round trip back I just literally edit right here hop over to color grade a little bit hop back into the editing but for someone that's just starting out it could be a little bit overwhelming so we can literally just do everything right here in the edit page bringing in the footage to cutting it to exporting it up up here we have different windows that we can pop up so right now is the media pool we have effects and different things and what's kind of nice is that it all locks into place where with Premiere like everything's customizable you can put them in different spots but at a point it gets messy and complicated so I actually really like that everything's just pretty much fixed in place I like consistency yeah that's good so first things first we got to get the footage into resolve by inviting them to the media pool party now before you start any project there's two things you really need to know which is resolution and frame rate of your project or your delivery and in a lot of cases you want it to match whatever your footage is so I could always hit this right here those three little dots and this is going to show me the resolution and frame rate of this footage that we just shot on the phone so we're gonna go ahead and hit that Cog on the bottom right that's going to show us our project settings and then this one 3840 2160. yep and timeline frame rate is correct so we're going to go ahead and highlight all those clips right click and hit create new timeline using selected Clips so let's timeline is basically a series of Clips right and then a project can have a bunch of different timelines so sometimes I like to have timeline per scene and then at the end I just bash them together or you could just have one big ass timeline and see how it says use project settings that basically means it's going to match the resolution and frame rate that we already set so yeah that's right hit create now each timeline can be different from the project if you need different resolutions like maybe you're doing like an Instagram vertical video delivery then you would change that so there's three tools that you're constantly going to be using in editing spacebar which is going to play the footage so by default A is for Arrow B is for blade so I'm going to go ahead and make a cut right there and I can use the arrow key to select it delete it and then we come to the end here and this time I just want to be able to pull this in that works the same way pretty much another thing that you always always do in Premiere is command S command S no matter what you're just constantly saving because when it crashes you don't want to lose your work but here we go into our preferences we go to user and project save and load live save should be checked off by default meaning it saves as you go kind of like Google Docs yeah people say Premiere crashes all the time and resolve never crashes in my experience they both crash but it's not catastrophic when resolve crashes because I'm never losing any work so the lives is literally a lifesaver so Carrie went ahead and just trimmed out all these clips now to close everything down go to edit and delete gaps and it will go ahead and bunch everything together so now you have a sequence oh my gosh this is the first time I ever edited anything yeah now there's a bunch of different ways to edit so if I come over to here I can see my timeline here but this is my source footage so I can go ahead and set some in and out points for the clip and then I can go ahead and do a pen to end right here which will just basically throw the clip at the very end of the timeline right there but you could also do place on top oh so this would probably be good for when you're trying to do b-roll all the things you could do is see this transform right here if I click that I'm going to actually take it and make it smaller and see how underneath it you can see this layer or if you want to just like go if you want to do like a punch in like that imagine I'm Peter's butthole one of the things that I like to use a lot in my workflows is to color code certain Clips like teal is usually like the shots that I really really like so I actually have different colors assigned to different numbers so I could do this quick but just to show you go select clip with clip color Keel so I copy it make a new timeline called selects only paste it here and then I'm gonna go ahead and close my gaps so delete gaps is something that I definitely put into my keyboard shortcuts but depending on which tools you use the most you put it into Keys like one of the big shortcuts from Premiere is q and W so like Q would delete everything before this and close that Gap and then there's W that will do the opposite where it'll cut everything afterwards and close that Gap so being able to customize out your keyboard is definitely something that helps lessen the blow of switching to a new software now usually you have to do at least some adjustments to audio levels like how loud is it so you can go ahead and hold down shift and if you scroll you can make the video track bigger or smaller and same with the audio and here we can go ahead and raise some audio levels of this track so you just hit this bar and you raise it and what's really cool about resolve which I didn't have before is that you can live see the waveforms change right before I couldn't see how big the waveforms are bigger the louder sounds like that saves you some time yeah definitely like this is one of those small features that I'm like I love this they're trying to raise my voice because I don't talk as loud as you exactly usually you're talking you're like this and then I come and I'm like really loud so you can hold down alt and I can hit some keyframes right here so this is basically how you adjust levels over time right so you start loud here and I can dip down here but just be able to visually see that helps a ton now you're done with your Masterpiece you want to deliver it now there's gonna go to file and quick export and there's some presets right here let's say we're uploading to YouTube just hit export this is the part you're always excited about yeah rendering is the best part this actually isn't as hard as I initially thought it would be I'm just gonna be in here like yeah I'm gonna have a few more screens I know right and then when you come in and be like get out all right I've got a tiny bit of light left so I'm gonna read a few comments Thomas says did it ever crash and if so how many times uh I kind of lost track of how many times it crashed but like I said it just kind of continues off where you left off because of that live save so it's never been a big deal cinematographer says who painted the Mona Lisa pretty sure that was uh Leonardo DiCaprio right the guy from Titanic Maddie asks if it was worth it to switch over to resolve and it was definitely an investment of time to switch everything over but my hope is that over time it will make up for it and then eventually I'll look back and be like Oh I'm so glad I made that switch I hope I'll let you know in like a year or so watch right after I post this video premiere is going to just like Implement a huge update do you see a change in the professional World from Premiere to Da Vinci I say we do a little field trip to IMM creative a post facility for people that are more legit than I am so let's go so this is the picture side of Iron Man creative we actually have three facilities so we have the sound side Foley stage in Sun Valley and this is our picture and editorials so whenever Eric's not fiddling with cameras this is his uh this is why I am when I'm not fiddling with cameras don't push that button Gene this is just power well this one 800 amps billion gigawatts in here we might be able to go back to the future yeah 1980s called and they want their phone system yeah they do that's basically where I live nice yeah you gotta so my Netflix login uh don't look at the waveform signal Vector scope everything here I highly recommend this panel for the money you get not just the balls which are important super important [Music] so it has a lot of functional buttons which I think are really good hotkeys like previous clip previous frame previous node play stop you guys cut and resolved here um well okay so we have our first feature that we're doing right now that's been fully cut and delivered and resolved this show was cut in resolve um so rendered and unreal and then finished and delivered out or resolve to Netflix but a lot of times it'll be cut in Avid and then brought in to resolve for finishing some of the cool functions I like with resolve so like if I'm grading you know we use uh Stills a lot so I grab it still so like this is my color grade right here right a screenshot in resolve is actually hiding all of your color grade notes I can apply all of the color to another scene or even all the keyframes right there yeah this button and this button are my two most used buttons primary or maybe this one yeah so primaries gets me back and I tend to go like this so but it gets me back to my left gamma game primary so the first thing we want to do before we mess with the scene is Ctrl y so that creates a new version of a grade so like if I want to just like mess with this right now and make it all terrible I can just pop back over here to the version we started with boom but normally what I would do is my first node would be color temperature so I would find the color temp of the scene and then my second node would be what would be contrast the reason is is that if I do contrast first that's going to affect the yeah and it's harder to shift yeah so it's harder to shift my background is like almost 30 years in VFX I was a compositor way back I was a flame artist so I started on flame it Rhythm and use I really learned the appreciation for like the math of color these are some massive companies I mean we're in the news we had like 6 000 employees worldwide we're like big big big fat we do like a pie babe pig in the city Chronicles of Narnia and then when I went to Logan which is a really well-known design commercial house I built our color Pipeline and there I really started focusing just on color more more and more on like heavy VFX color and then um I got the opportunity to come work with Mark so come on in this is stage a whoo hello I am a stage a oh my God it's like instantly the sound just dies in here I feel like I just entered a vacuum call it death we just call it immortality as we move sound into The Ether of enjoyment so this is Mark minder Marky Mark hey how's it going hey nice to meet you so I just want to go and just start like moving stuff around the first Atmos stage should be built from the ground up he can actually take sound and position it right here or right there or up here these are every speaker in the house power of this uh Menagerie is you know look we just finished a film called The Gray Man just to give you an equivalent of how many tracks we had rolling on that a little under 4 000. wow so so when you're watching in here this is full theater like this is what it's going to be so sometimes I'll set up my color panel right here and we'll grade in here this is the first time in one of your videos that bill is actually full on nerded out yeah I know right I'm in my happy place you can see that aren't these just pianos look at this there's like a spaceship to me this is like that's Star Trek right here you've sunk my battleship all right so in this scene I'm gonna be telling you a little bit about our sponsor Intel and Asus and the super fancy laptop right here but then we're gonna go ahead and edit this together so we can see what a slightly more multi-cam setup looks like to edit on resolve and I'm also wearing two different microphones one's a backup you know with Lofts sometimes you just get some microphone sound in one so you got to be able to switch to the other now look at this can we just appreciate this monitor right here pops up as you open I mean it's pretty useful because resolve really likes to be in full screen as you're cutting and you still have access to list listening to your music library down here and my notes also all of it is touchscreen which is nice and convenient so even when you're editing at an awesome coffee shop like this one the street oh coffee that's opening soon really soon we'll keep you posted I'm excited to show you the place when we're ready and this OLED display right here covers a hundred percent of the P3 DCI color gamut color gamut 100 DC ip3 Color Kit you guys know what I mean this display can show you a bunch of colors this thing even has a little sensor in here that makes sure that your white balance on your screen or your color temp is accurate based on your environment also compatible with the Asus pen 2.0 which has 4096 pressure points so if I was an artist I'd make some beautiful work of art here but my handwriting looks like a a second grade or that was a doctor in second grade that doesn't make any how do you think I am at these sponsorships I don't know you're usually the ones doing them I don't hear the oops in your voice when you're talking you gotta be like a little bit more massive Zenbook Duo how's that something along those lines first try it's not bad now when it comes to video editing it's one of those things that really utilizes every bit of performance that a computer can give you in terms of speed and speed and speed so this can be specked out with a Intel I9 h-series processor 32 gigabytes of ddr5 RAM I always try to edit off the internal SSD of a laptop if I can so you can upgrade this up to two terabytes and resolve does utilize the GPU quite a bit so it's awesome that we can configure this with GeForce RTX 3050 TI back here we have a micro SD card reader full size HDMI for your external displays and a power adapter right here to charge up your 76 watt hour battery but then we have Thunderbolt 4S back here now Thunderbolt 4S are nice because they basically are guaranteeing you a certain amount of speed so 32 gigabit per second minimum because video we are always moving a ton of huge massive files around so we need transfer speed Thunderbolt 3's minimum requirement was 16 gigabits per second I believe so I mean they both say 40 so it kind of sounds the same but really before the minimum was 16 gigabit now it's 32 so you're probably faster also these can hook up to two 4K display or one 8K display so that's all part of what comes with Thunderbolt 4 and you can use it to charge thank you so much to Asus for sponsoring this episode supporting this Channel and all that function links to this laptop down there in the description clickity click click now let's go ahead and download all this media onto this computer and cut the scene so here we are again back in the project manager and Cloud collaboration is probably one of the things I'm most impressed about when it comes to resolve I'm not going to open it up because we're working on a bunch of projects that are under NDA top secret stuff I'm like a secret agent kinda but I'm basically the same thing I'm working on top secret projects all the time I'm James Bond we can all access the same project kind of at the same time and do you pretty much live updates so again it's like Google Docs where you can work on something at the same time DaVinci Resolve is basically Google Docs by the way resolve is freeze if you want resolve Studio which gives you access to slightly more features and capability that does require a purchase but there's a lot of things that give you a license along with a product for example any other cameras if you buy this keyboard or this super awesome right because that's how you Justified that purchase right yeah but the cloud collaboration I'm paying five bucks a month for to allow us to store the project on the server again the project is not any of the footage so I put all my media on Dropbox but the projects right here well that's a small price to pay for convenience we have four pieces of media our acam angle our B cam angle whoa that's the crack no it's the close-up of the laptop you just caught it at a bad time our music track and then screen capture which I just basically did the website and we're going to use this as b-roll all right so what are the two things that you need to know know before you get a project started resolution and frame rate down here we're also going to set proxies now so you can adjust how high quality you want your proxies or codecs to be I like something really small in file sizes so that I can get it up to Dropbox so everyone can access it as fast as possible but you may want to adjust this depending on what you want the proxies for some people do it because they're dealing with these massive raw codecs and they just want to compress it down to something that's easier on their system so after you set those the only other thing you got to do is set your proxy generation location so where on the drive do you want it to go and I always put that to Dropbox so it auto starts uploading and then it links up with everybody else and the other thing we're going to do is color management so we're going to go ahead and switch this to yrgb color managed since we set it to color manage it's going to make it very easy to work with log formats like this see how the colors are really flat and lame so we're going to take both of these and since we set it to color manage this option should pop up which is input color space and we shot this in a format called s gamma 3 cine and S log3 what is the purpose of this color space thing that we're doing right now okay so if I undo that this is how the camera shoots it but log is designed to maintain information it's not designed to look good I mean there's a lot to talk about just in color so we'll have to make that a separate video with Eric at some point let me know in the comments if that's something you guys want to see but now everything looks proper it's been converted to rec 709 basically it just looks colorful and vibrant and nice now and at this point I might as well start rendering proxy so this footage will start getting uploaded to Dropbox and since we set those parameters earlier all I got to do is highlight it right click and generate proxy media and it's going to basically convert everything to the format we want and put it in the Dropbox folder in Dropbox automatically starts uploading it and then the link can access this project from the cloud and start working on it with proxies now one of the things I did was record with two wireless micro phones that gets recorded into the camera and one microphone goes into the Left Channel the other one goes to the right channel so if I just drag and drop it in my left ear is going to be one mic and the right ear is going to be the other mic which is not necessarily what I want because it could kind of be weird and one's really just a backup usually you want to select one microphone be like play this through both ears so see this right here it says 2.0 or if I go over as a stereo stereo is two a left and right track but I can basically right click change track type to mono and now it's just one track but then I have two tracks right so we're gonna go here to the a cam where the audio was I'm gonna go to clip attributes I'm going to go to audio so see this right here we have a stereo Channel and then we have a channel one and a channel two right but what I want to do is go to mono and I get to decide which one do I want that to be well let's make this one number one and then what we're going to do is add another channel that is mono right so I want mono track add one more and then this is basically going to be a mirror of that which I don't want I want the second one so now I have two separate model tracks each one targeted to each different part of track hit okay and now watch as if I import it this way it's the same clip as before but now I've got two separate channels and these should both be mono now so I can go ahead and delete this and then if we take a closer look check it out these are two different microphones and here I scratch one of my microphones so you could hear it on one channel and not the other and based on that I can do a bunch of different things from just completely deleting the track or I could go ahead and hit this m which is mute track so now basically it's just going to ignore this track and only use this or I can go here and hit solo which means I'm only listening to this that's the same thing it seems like that would also be helpful if there was two people like if we were talking and then I cleared my throat while you were talking it would be nice to kind of cut that part out exactly so if I wanted to mute this from here to here I could do that and this little tab appears this is basically like a cross fade in and out so you're not having hard audio Cuts you never want to suddenly cut audio or else it sounds weird so another way you could do that is also just hitting those keyframes with the alt and then doing that I mean again there's a lot of different ways to do the same thing hey a quick Interruption so one of the things I'm not a huge fan of is if you change clip attributes like we just did with the audio tracks and work with proxies at the same time they tend to clash with each other a bit I think the problem is if you make adjustments in the clip attributes and then generate the proxies afterwards all those changes you did in clip attributes gets baked into the proxy files themselves so the proxy files are different so one of the things I like to do sometimes is if I have 60p footage coming in I like to convert that over to 24 frames per second so that it's nice slow motion but the problem with that is that if I try to re-link the proxies A lot of times resolve will be like no this is 60p footage we're looking for 24 frames per second proxies so it doesn't relink but then if you do things in the clip attributes like frame rate or image Flip or maybe pixel aspect ratio for anamorphic you do that and then generate the proxies afterwards then that will actually translate over to the proxy so those were linked but just to make things a little bit more confusing when you do the clip attribute adjustments to the audio track like we just did that is something that is better to do after you generate the proxies at least that's how it's been for me at least otherwise I get just a blank Channel too that is definitely something I would like to see streamline a little bit in a future update or maybe I'm just doing something wrong I don't know I'm crazy I don't listen to me and like you always say organize is nice yeah so whenever you expand out a track like this you see how the names pop up you can go ahead and label these so let's go ahead and say love one that's not what I was gonna put what were you gonna put I was gonna put jeans belly button and jeans nipple now we have our B cam here and I usually try to give each microphone or separate Source its own track so just to keep it separate and you notice it kind of made a gap right here so this is an empty video track you can always right click and go do delete empty tracks and it'll just clean that right up for you and basically now what we want to do is sync these two cameras up so you can line them up with a clap which I usually do for backup but Auto align Clips based off of waveforms so waveforms like the sound waveforms it's going to listen to both of these cameras and go I think this is generally where they line up so then taking a closer look you can see that it is definitely lined up this is a quiet track now this is just a scratch track so I'm just literally using it just to sync right so now that it's synced I honestly don't even need this track anymore so I might as well just freaking delete it and that was the audio from the B camera exactly now that these are synced I'll go ahead and just highlight it all and just do link Clips just like that so now as long as this linked selection is selected I move it and they all move together if I do the blade tool and cut it right there it's going to give you a nice clean cut across all of them whatever you sink a bunch of layers like that there's always just like little extra judges you know between the time you started recording One camera to the other so I like to just trim the hedges by the way this is just like my workflow it might not be the right workflow it's just like how I like to do it it gives me quite a bit of control and flexibility but you know you could also like select the two cameras you could do create new multi-cam sequence and then you could do the sync in with sound make a multi-cam sequence which I'll sometimes use if I'm using like a really complex project but I have noticed that a lot of times it says sorry I couldn't sync these clips when sometimes they sound very obviously similar so yeah if I've got a bunch of different cameras going then I definitely try to go with time code so from here we have these two cameras and the way I like to do it and again this is just my method of doing it is I like to take the B Cam and I just like to shrink it down and put it in the corner just like that and I like to go back to linking mode and I just kind of cut it and then of course I've got a million different shortcuts that I like to use you go in and out for this segment and do extract you could do cuts you can do things trim tool right here I mean there's all right this video would be like 12 hours long if I went through all these Trolls but basically it's the same thing as you were doing earlier but you know it's just like lightning figuring out how to do it with shortcuts doing it Gene Bond double O potato but if you want to learn this stuff more in depth then definitely go to resolve's website hit training we've got all the videos here free so I could have done this instead of being tortured with me yes so this is how I like to do a lot of my assembly and a lot of times you could tell a lot by just looking at the audio waveform so like obviously from here to here I'm just kind of setting crap up so I can just go ahead and trim that out and I think the official way to do multi-cam is that multicam sequence thing where it shows you both screens you can literally click back and forth between the different angles which is useful but the way I personally like to do it is going like okay this is the active track right here it's on top right and then here I wanted to cut to this wide angle so then I would go ahead and just disable that top layer and then I would kind of just like make my shot selections like this so you don't have to delete you can just disable Yeah because sometimes I might want to bring it back right so I just like to disable and enable I have that in a shortcut D and it looks like that's actually the default shortcut all right so I've gone ahead and did my shot selection right but now whenever the B vcam is here it's still small so I can just go ahead and highlight that right click and remove attributes and in this case I want to basically reset the position and the zoom or if you don't want to go look for the specifics I can just hit alt and just bam now we just end up with a B cam a cam and again these are both mics on me so it's not as important to switch back and forth usually I can probably just select one and I'm good there but if I want to have more control over which mic is on at what points I go through and just start disabling different tracks one more thing I do like to do fairly early on is get music in here so I'll go ahead and drop this down to the bottom right here now it automatically made this into a stereo track that's great because music usually is Stereo I always like to bring in music as early as possible because I think of editing kind of like playing the piano my mom's a piano teacher by the way and she used to always tell me like you can't just play the notes you have to feel the music if you don't feel the music you're not actually playing the music you're just hitting keys so it's very similar type of thing and it helps to hear the music when you're cutting because then you feel the edit do I sound pretentious no you have to feel it you have to you bring it your soul out and all that no but it does make a big difference when you hear music and you're cutting to it it just like makes that pacing just feel right but sometimes it's like another layer you have to think about as you're doing stuff and trimming stuff right like if I want to do my w edit then it's going to mess with that and it kind of gets in the way so what I like to do is just get the audio levels roughly to where I want it and just lock it in place right there and as long as it's locked I can just go ahead and do all these edits and I don't have to worry about it accidentally messing up with this track and I start pinging b-roll so I always like to go into dual viewer mode for this because this is the timeline here on the right and then this is the source viewer so if I go here this is the screen capture b-roll so this part right here I don't want this shot so I'm going to come you don't want the shot yeah so I'm going to put an eye for in and I'm going to kind of scroll down a little bit and let's say out here so Ino shortcut keys for that all right so now let me just go ahead and just kind of skim through to figure out what part I want the b-roll to start so let's say I want to start right here on this sliding so I put an endpoint there let me go ahead and drag this over and let's just say place on top right so basically it's going to place that on the very top of that in and out segment it's going to fill it but notice that it also brought in an audio track as well because there is audio tied to this Bureau clip but it's basically just scratch audio so we're going to try it again and this time we're going to select this with just video only or if you needed audio only you can just drag that over but we're going to do video only and again place on top but there's all these other options if you prefer but place on top just so it sits right there on top and that b-roll clip is in now notice that you can still see a little bit of the footage behind it and that's because the aspect ratio of the screen capture is a little bit off all right so you could go in here and zoom it in to fill it in or you can make it smaller put a black background in or whatever but one of the things that's kind of nice is that if you go into your timeline and you go into your settings you have a few you options on how new footage gets scaled if the aspect ratio doesn't perfectly fit right so I'm going to uncheck that so I can have more custom control and this says scale entire image to fit it basically took the edges of the left and right and filled the screen but that left us a gap right there right but the other option is scale full frame with crop so let's say I change it to that look it scaled it but it cropped out the left and right but it filled the frame and you know this is going to be useful if you have a bunch of different aspect ratios you unchecked project settings be careful with that because once you've unchecked that that timeline now becomes its own little mini project with its own settings including output monitoring so for most of us the way that we change that is actually on a global level so if you go down to your little gear change that here in the image scaling tab so that's doing the same thing but doing it globally to all your timelines the other place you can do it as well is like you can select a bunch of Clips come over here to read time in scaling and you have the same option here so project scaling we can follow the project settings which you've set up or we could crop it fit it stretch it fill it anyway I thought that might help there's a lot of small customizable things that you can do with the footage that I didn't know you could do this is just the edit tab all right now I'm all the way on to the colors Terry has pretty much left the building at full speed I didn't even know she could run that fast the overall thoughts on resolve I'm a big fan of the software I plan on continuing to use it for now and I don't plan on using Premiere as of right now but if there is one thing that is giving me a little bit of concern it's that I've been having some glitches in the exports so this video for example I initially rendered out this scene with a circular mask but in the renders it comes across as glitchy I'm not sure why with Premiere over the hundreds of videos I've exported I've never had issues except for a few times where I found out that it was because of driver issues where in resolve the last video even the fx30 video I had some issues with the audio in one of the exports where a chunk of audio was just missing for whatever reason went back to the project to make sure nothing was wrong everything seemed fine so I just re-exported it again and uh it was fine so that does make me feel like I have to check every render after I export to make sure everything's good and in a long ass video like this really sucks when I go watch the whole thing and at the very end I realize there's a glitch Eric says he rarely sees glitches and he pushes whole features through there so it's most likely because I'm on a very very new version of resolve 18 and updates seem to be coming out very rapidly and he also told me that at his post house he runs a older version of resolve he never runs the latest version so that's probably the smart thing to do but overall I'm gonna continue trying it and I'm really hoping that maybe within the next few versions of the release I stopped seeing issues with the renders and if I continue to see these I might be tempted to switch back we'll see where it goes ultimately I'm just gonna go with whatever software gives me the least amount of headaches that's it thanks for watching click on stuff subscribe and all that good stuff and I'll talk to ya later

Channel: Potato Jet

Views: 375,899

Keywords: potato jet, potatojet, filmmaker, film maker, camera, cinematography, cinematographer, videography, videographer, gene nagata

Id: Ho3wbzPB1sg

Length: 33min 19sec (1999 seconds)

Published: Wed Oct 12 2022