USER REVI EW | RESOLVE 1 6
“ONCE YOUR MASTERPIECE IS TRIMMED, THE CUT PAGE CAN STILL BE USED TO ADD TRANSITIONS, EFFECT, TEXT AND GRAPHICS”
RIGHT The new Cut page in Resolve 16
points. The Smart Insert inserts your source clip at the nearest edit point to the playhead. There are, of course, the usual three-point edit functions – overwrite, insert and so on – but you can also add a clip to the next available empty track (for checker- boarding or superimposing/ compositing) or add a clip slightly zoomed in, creating a close-up for those single-camera YouTube videos that don’t shoot any coverage. As an aside, I have started to wonder, watching YouTube videos, how long it will be before the paradigm of jump cuts in interviews or pieces-to- camera will become acceptable in broadcast TV… Trimming is very fast indeed. As you would expect, selecting an edit (in Track 1) ripple trims in the usual way. There is a nice display in the Viewer of the number of frames you are trimming – you can interact with this display as if it’s a ‘trim mode’ as well. Once you have selected the edit you can use the keyboard to trim by individual frames. Simply grab a clip anywhere to roll it in the timeline; there’s a little icon in the centre of each clip as you hover your cursor over it. Grab the icon to slip the clip. Trims in tracks other than Track 1 are overwrite trims, as Track 1 controls the position of all the other clips (yes, yes – it’s just like FCP
the Cut page. The Viewer also has a Fast Review button, which plays through the source tape in fast forward so that you can review your rushes quickly. It’s an intelligent fast forward though – shorter clips are played more slowly, so that you don’t miss them. There are a few interesting editing features, although some are obviously influenced by other NLEs. The Timeline shows audio and video for a track grouped together – there aren’t usually separate audio and video tracks – however, you can add an audio-only track simply by dragging some audio onto the timeline. In another nod to competing systems, Track 1 acts as a Master track; lifts from this track will always ripple the timeline to close the gap, and all the other tracks will ripple to maintain their timing relationship to Track 1. Interestingly, however, if you lift a section of a clip in the Edit page, the Cut page maintains the gap by adding filler. INSERT OPTIONS There are a couple of unusual but useful extra insert options. When you are doing a quick first assembly, you use the Append edit, which always adds the source clip to the end of the Timeline, irrespective of playhead position or In and Out
X’s magnetic timeline. There, I’ve said it). Once your masterpiece is trimmed, the Cut page can still be used to add transitions, effects, text and graphics, and adjust clip audio levels. However, any key-framing, detailed audio mixing, adjustment of effects, complex colour correction and so on will need you to delve into the other pages in Resolve. QUICK EXPORT It is possible, however, to export from the Cut page. Quick Export gives you options for H.264, H.265, YouTube, Vimeo and ProRes. You can add presets to the Quick Export feature by setting them up in the Deliver page.
66 DEF I N I T ION | NOVEMBER 20 1 9
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