Transitioning to Resolve

Tips on transitioning from Premiere to Resolve? I’ve been editing with Premiere pretty much since the Final Cut X debacle in 2010. How well does DR read Premiere XML? Can I import FCP 7 keyboard shortcuts? Thanks

The approach I found most helpful was:

1. 'Forget' what you know about editing, and learn Resolve as if you were brand new to the job.

https://www.blackmagicdesign.com/produc ... ning#books


2. Forget trying to combine with other software. Do everything in Resolve.

Jim persists in offering this odd, imponderable advice, even when on one asks for it (as in this case). Avid-style NLEs have so much in common with each other, and Premiere has so much in common with Resolve, that you already know 90% of the Resolve NLE. Forgetting it all, even if that were possible, would be well - never mind.

As for the other answer you didn't ask for, whether it's wise to embrace applications like Fairlight, which are, well, not entirely satisfying at this point, is obviously up to you. Many do not..

As for what you did ask, XML importation from Premiere (and other sources) tends to be hit and miss. Don't expect much, other than the clips and the better part of the timeline. Sometimes select clips just refuse to import via XML. Mileage varies. It can work well, but doesn't always.

At present, I believe there's a keyboard preset for FCP X but not 7.

Welcome to DaVinci Resolve! It's a truly phenomenal piece of software. I switched to Resolve as my main editor a few years ago and I learned a few things that may help.

Yes, Resolve can read and write various XML types though not all things will come through.

There's an extensive keyboard shortcut editor to create your own shortcuts with some presets for Premiere and Final Cut X pre-installed. You can import and export shortcuts between Resolve apps but I don't believe you can import shortcuts from a different app as there are probably a bunch functional differences that don't transfer.

I would definitely recommend going through Blackmagic's free training resources, even if you're a veteran editor, by either watching their YouTube video series or reading their books on the Edit page that they offer for free. There are enough things that are different between Resolve and Premiere / Avid / FCP that you'd probably become very frustrated if you went into it expecting to edit like you do in those other apps. At least I found that I had to shift my editing style a little bit from other apps.

In general, Resolve tends to be a tad more "playhead based" than Premiere which is a tad more "cursor based" in terms of some edit operations. An example is in Premiere you have a Track Select Forward cursor mode that works based on where you click, whereas Resolve has a Track Select Forward function that works based on where your playhead is.

Trim mode is kind of like a combination of Roll, Slip, and Slide cursor modes in Premiere and works a bit differently.

Mono audio sources are not automatically converted to stereo when on stereo tracks like they are in Premiere. Instead it will only come out of your left speaker. So you have to have specific mono tracks for any mono audio sources or manually change the mono audio clip to stereo in the clip attributes.

There are many more settings to tweak and be aware of on a system, project, and timeline level than exist in Premiere. This means you have much more control, especially in the area of color management, but it can be a bit of a steep learning curve so expect to have to learn a bunch if you're not already familiar.

There are a bunch more little things like this that you'll discover, but the last thing I'll say, and this has been the topic of many debates on the forum, is that Resolve's UI is much more rigid than Premiere. It's probably not changing, no matter how many people post feature requests, so my best advice is to just learn to love it and lose any hopes of being able to customize it like you can in Premiere.

If you have any other specific questions, I'm happy to help if I can.

I’m an FCP7 lover and have tweaked my keyboard bindings to more closely approximate it. I’m attaching these bindings in case you want them.

http://cloud.tapatalk.com/s/6557edf3e6959/joes-fcp7-for-resolve-keybindings.txt

My advice is to invest a few days to download the sample files and go through the videos on the Resolve Training Page. You'll come out of it feeling competent, empowered, and (no small thing) understanding the lingo that Resolve uses which means you'll be able to intelligently search the manual and/or ask questions on the forum.

When I first got Premiere Pro I muddled through for a few months, then rolled up my sleeves and worked my way through Adobe's "Classroom in a Book". It made a night and day difference in using Premiere.

When I switched to Resolve I knew that as soon as I had poked around enough to know that it was worth the effort the next step was to go through the training. Well worth it given the benefits of reduced frustration, accelerated workflow and an appreciation of the multitude of creative possibilities.

Thanks for the thoughtful answers. I’m sure I’ll have follow up questions soon… But firstly, in addition to Blackmagic’s own training has anyone used the Lynda.com Resolve tutorial?

I didn’t use Lynda‘s, but I can recommend Rippletraining.

Another thing not mentioned yet. Perhaps because BlackMagic makes their living selling hardware and Resolve is sort of a loss leader, I dunno.

Resolve has fewer editing keyboard shorts than Premiere, Johnny Elwyn and others have written about it. But, they do have several bits of editing hardware. A keyboard, the cut tool or whatever it's called ... so some things are set to be a bit more hardware based.

So *after* getting some experience in, and learning whether say you ever use the Cut page or not, you nay decide to look through their hardware some. Primarily as a tool for increased speed.

Sent from my SM-S908U using Tapatalk

Jim persists in offering this odd, imponderable advice, even when on one asks for it (as in this case). Avid-style NLEs have so much in common with each other, and Premiere has so much in common with Resolve, that you already know 90% of the Resolve NLE. Forgetting it all, even if that were possible, would be well - never mind.

As for the other answer you didn't ask for, whether it's wise to embrace applications like Fairlight, which are, well, not entirely satisfying at this point, is obviously up to you. Many do not..

As for what you did ask, XML importation from Premiere (and other sources) tends to be hit and miss. Don't expect much, other than the clips and the better part of the timeline. Sometimes select clips just refuse to import via XML. Mileage varies. It can work well, but doesn't always.

At present, I believe there's a keyboard preset for FCP X but not 7.

XML is what I'm worried about. In the past going from PP to other NLE's graphics, titles, plugins and color correction haven't translated well...

Jim persists in offering this odd, imponderable advice, even when on one asks for it (as in this case). Avid-style NLEs have so much in common with each other, and Premiere has so much in common with Resolve, that you already know 90% of the Resolve NLE. Forgetting it all, even if that were possible, would be well - never mind.

I think Jim is right: you're better off not comparing one platform to another, and just immerse yourself into the new one if you're going to make the change.

I think I found more than 50 videos on the subject of switching from Premiere to Resolve on YouTube:

https://www.youtube.com/results?search_ ... to+resolve

Sizing is an issue with Premiere, but it can be handled.
I’ll later link an article of mine.

You're better off not comparing one platform to another, and just immerse yourself into the new one if you're going to make the change.

Editors move from one platform to the other all the time. And are expected to do so. Forgot one, and you're done for. The Avid model is all but universal for a reason -- so nobody has to start over. And of course in the case of Resolve, FCP 7 is an obvious influence. I only wish they had taken more of it. The job still isn't finished.

I think I found more than 50 videos on the subject of switching from Premiere to Resolve on YouTube:

And no doubt we could find 50 more. That doesn't mean they're necessary. Any reasonably experienced editor can establish a workflow on any of these platforms in an afternoon. The machine works in fundamentally the same way. Insisting everyone needs to do this or that, including "training", is just plain silly.

Agreed. Gratuitous differences and “not invented here” syndrome are the bane of learning and using Resolve Edit.

Over 10 years of experience.

I would not worry about anything. You will be fine.

Some stuff in the software is different indeed and it will drive you crazy but overtime you will learn that it makes sense to have it the way it was intended. My only recommendation is, invest in a programmable mouse and perhaps a keyboard. You can add the most used feature and have it on a finger distance.

Are you a full time editor? Do you edit long form? There are issues in Resolve Edit that are very real and slow down editing.

I don’t know any feature editors who’ve tried Resolve Edit and don’t agree with this. I’ve edited almost exclusively with Resolve over the past two years including cutting a narrative feature on it and, while it’s still my platform of choice, there are plenty of issues - mostly with the trim tools - that slow me down to this day.

And yes I’ve done the training.

Regarding Premiere to DR:
https://www.dropbox.com/s/yrbht5llzc9nv ... s.pdf?dl=0
(Use DeepL for Translation.)

Editors move from one platform to the other all the time. And are expected to do so. Forgot one, and you're done for. The Avid model is all but universal for a reason -- so nobody has to start over. And of course in the case of Resolve, FCP 7 is an obvious influence. I only wish they had taken more of it. The job still isn't finished.

You think colorists don't have to bounce back and forth between different systems? I had to learn at least 13 systems over the past 40 years; my joke is, sometimes the hard art for me is forgetting a similar system I used 10-15 years ago. Some years ago, I had days where I had to go between Baselight and Lustre and daVinci 2K in the same day (or at least in a 48-hour period), and that is rough. I think color is harder than editing, because there's 10 times more knobs, but it's in the eye of the beholder.

My point is when you are learning a new system, stop fighting it and just absorb the new user interface. The more you resist it, the harder it'll be to learn. I agree that Resolve is actually fairly similar to FCP7... but then, compare it to FCPX and see how much fun you have. It's also radically different from Premiere or Lightworks. And Avid -- if anything -- might be more different than all of them. The o.p. is coming from Premiere, and that's quite a bit different from Resolve, even though the basic principles of tracks and timelines and so on are very similar.

I think having to bop back and forth between platforms is a little like having to drive a truck vs. driving a sportscar vs. driving a van vs. piloting a boat: they're all basically the same, but the user interface is a bit difference, and you have to just roll with the punches and figure it out. Practice helps, reading the manual helps, life experience helps.

My point is when you are learning a new system, stop fighting it and just absorb the new user interface. The more you resist it, the harder it'll be to learn. I agree that Resolve is actually fairly similar to FCP7... but then, compare it to FCPX and see how much fun you have. It's also radically different from Premiere or Lightworks.

FCPX and original Lightworks (more recent versions offer the two monitor Avid design as an option) are what they are -- somewhat marginal -- because they departed from the Avid model -- exactly my point. Learning them, coming from Avid, Premiere, FCP 7, Resolve, etc., is not effortless.

How anyone could say that the Resolve NLE is "radically different" from Premiere when they share the same basic design is beyond me. If you know one, you know the other, in most respects. Which I think was the idea. BMD did not care to reinvent the wheel. How much editing have you actually done on these two?

Nobody's promoting a fight with the software, although your advice not to do so doesn't stop anyone either. Have you followed persistent complaints here, for years, about the interface and the database? Is your counsel effective? Does anyone accept it?

Why we're even arguing about this, I don't know. Whatever anyone says (over and over again), he didn't forget everything and start over and neither does anyone else -- least of all when you know most of it to begin with. And so much the better. Actually forgetting and starting from scratch would be an enormous waste of time. These 4 or 5 NLEs look and operate essentially the same way for a reason.

Another thing not mentioned yet. Perhaps because BlackMagic makes their living selling hardware and Resolve is sort of a loss leader, I dunno.

Resolve has fewer editing keyboard shorts than Premiere, Johnny Elwyn and others have written about it. But, they do have several bits of editing hardware. A keyboard, the cut tool or whatever it's called ... so some things are set to be a bit more hardware based.

So *after* getting some experience in, and learning whether say you ever use the Cut page or not, you nay decide to look through their hardware some. Primarily as a tool for increased speed.

If you plan on getting a Studio license then IMHO the Speed Editor keyboard is a bit of a steal since it comes with the Studio license and isn't priced that much more than the bare license alone.

Another thing not mentioned yet. Perhaps because BlackMagic makes their living selling hardware and Resolve is sort of a loss leader, I dunno.

Resolve has fewer editing keyboard shorts than Premiere, Johnny Elwyn and others have written about it. But, they do have several bits of editing hardware. A keyboard, the cut tool or whatever it's called ... so some things are set to be a bit more hardware based.

So *after* getting some experience in, and learning whether say you ever use the Cut page or not, you nay decide to look through their hardware some. Primarily as a tool for increased speed.

If you plan on getting a Studio license then IMHO the Speed Editor keyboard is a bit of a steal since it comes with the Studio license and isn't priced that much more than the bare license alone.

I just purchased a BMCC 6K which comes with a studio license. There are three tiers of Resolve licenses, correct?

I think just free and Studio.

Sent from my SM-S908U using Tapatalk

There are three tiers of Resolve licenses, correct?

There is only one paid version and one free version. I believe the Resolve Studio license also works for the standalone Fusion application, but I only use the Fusion tab inside Resolve and I haven't tried installing the standalone application myself.

Also, as of to date every single upgrade for Resolve Studio has been free. Granted, Blackmagic retains the right to change this in the future, but thus far all of the updates have been free, which is very nice.

Scorsesefan, you probably learn quickly DaVinci Resolve, and you'll probably like it versatility, because if you're editing with, you'll be in the bath, and often get a look on the (BIG) user manual, which will be your best friend for a while. One thing to take care, according me, database (or library), which contains projects and how to manage these properly, not only in terms of backup, but also for share it with others etc. You're workflow's approach will probably change a little bit if you're coming from Premiere.

As for what you did ask, XML importation from Premiere (and other sources) tends to be hit and miss. Don't expect much, other than the clips and the better part of the timeline. Sometimes select clips just refuse to import via XML. Mileage varies. It can work well, but doesn't always.

I often see it said all over the internet that conforming XMLs is hit-and-miss and it really confuses me!

I conform XMLs from Premiere and AAFs from Avid every single day and I never have problems unless there has been egregious media mismanagement. I get a perfect timeline with resizes, repos, re-speeds -- everything you would expect. Any 3rd party plug-ins or effects that are not translatable are automatically logged as timeline markers by Resolve for a handy to-do list.

Sometimes resizes look wrong at first depending on whether the Premiere editor has used Set to Frame Size or Scale to Frame Size, but that's fixed in a heartbeat by changing Resolve's scaling setting to match.

I always forensically DX my conforms to make sure that they are frame-perfect and it is extremely rare that they do not match perfectly.

The only regular instances I have of clips not relinking is when I'm conforming an AAF from Avid that links to clips with no real TC and Avid has assigned the clip an absolute TC starting at 01-hour code and Resolve assigns an absolute TC starting at 00-hour code. But again, it's a complete non-issue to fix by simply modifying the starting hour code of the clips in Resolve prior to importing the AAF.

It really wasn't that long ago that it took me 10+ hours to conform a one hour episode from Digibeta source tapes, calling through to the machine room every few minutes asking them to please put in the next tape -- these days I'm often ready to start grading in under 60 seconds. There's definitely room for improvement, for sure, but saying it's hit-or-miss is not remotely accurate from my personal experience.

Jim persists in offering this odd, imponderable advice, even when on one asks for it (as in this case). Avid-style NLEs have so much in common with each other, and Premiere has so much in common with Resolve, that you already know 90% of the Resolve NLE. Forgetting it all, even if that were possible, would be well - never mind.

This seems like a very obtuse interpretation of what he said? I think the intention behind what Jim is saying is actually extremely good advice!

I'm sure he'll tell me if I'm wrong, but I don't think he's suggesting that anyone must wipe their fundamental understanding of NLEs from their minds and literally rebuild their entire knowledge of editing from scratch! But rather, time and time again there are editors transitioning from one system to another who twist the NLE they're learning into an unusable pretzel by desperately trying to make it work more like the NLE they're coming from. This inevitably leads to frustration (and often to giving up completely) because, despite any and all similarities, the new NLE is not the old NLE and it never will be.

Every time I learned a new system over the years I did it by throwing myself in the deep end and going full immersion. If you really want to get to know Resolve -- or any system -- don't import keyboard presets or try to make it look, feel, and operate more like the NLE you're coming from. Accept that you're learning a new system from scratch and try to get to the very bottom of how that system actually works. You'll always gain a deeper working knowledge of any new system that way.

As for what you did ask, XML importation from Premiere (and other sources) tends to be hit and miss. Don't expect much, other than the clips and the better part of the timeline. Sometimes select clips just refuse to import via XML. Mileage varies. It can work well, but doesn't always.

I often see it said all over the internet that conforming XMLs is hit-and-miss and it really confuses me!

I conform XMLs from Premiere and AAFs from Avid every single day and I never have problems unless there has been egregious media mismanagement. I get a perfect timeline with resizes, repos, re-speeds -- everything you would expect. Any 3rd party plug-ins or effects that are not translatable are automatically logged as timeline markers by Resolve for a handy to-do list.

Sometimes resizes look wrong at first depending on whether the Premiere editor has used Set to Frame Size or Scale to Frame Size, but that's fixed in a heartbeat by changing Resolve's scaling setting to match.

I always forensically DX my conforms to make sure that they are frame-perfect and it is extremely rare that they do not match perfectly.

The only regular instances I have of clips not relinking is when I'm conforming an AAF from Avid that links to clips with no real TC and Avid has assigned the clip an absolute TC starting at 01-hour code and Resolve assigns an absolute TC starting at 00-hour code. But again, it's a complete non-issue to fix by simply modifying the starting hour code of the clips in Resolve prior to importing the AAF.

It really wasn't that long ago that it took me 10+ hours to conform a one hour episode from Digibeta source tapes, calling through to the machine room every few minutes asking them to please put in the next tape -- these days I'm often ready to start grading in under 60 seconds. There's definitely room for improvement, for sure, but saying it's hit-or-miss is not remotely accurate from my personal experience.

Jim persists in offering this odd, imponderable advice, even when on one asks for it (as in this case). Avid-style NLEs have so much in common with each other, and Premiere has so much in common with Resolve, that you already know 90% of the Resolve NLE. Forgetting it all, even if that were possible, would be well - never mind.

This seems like a very obtuse interpretation of what he said? I think the intention behind what Jim is saying is actually extremely good advice!

I'm sure he'll tell me if I'm wrong, but I don't think he's suggesting that anyone must wipe their fundamental understanding of NLEs from their minds and literally rebuild their entire knowledge of editing from scratch! But rather, time and time again there are editors transitioning from one system to another who twist the NLE they're learning into an unusable pretzel by desperately trying to make it work more like the NLE they're coming from. This inevitably leads to frustration (and often to giving up completely) because, despite any and all similarities, the new NLE is not the old NLE and it never will be.

Every time I learned a new system over the years I did it by throwing myself in the deep end and going full immersion. If you really want to get to know Resolve -- or any system -- don't import keyboard presets or try to make it look, feel, and operate more like the NLE you're coming from. Accept that you're learning a new system from scratch and try to get to the very bottom of how that system actually works. You'll always gain a deeper working knowledge of any new system that way.

I agree. This reflects my experience with transitioning between edit systems during 40 years of editing.
It's really a matter of being open minded and finding alternate approaches when the tools work differently from your other editing apps. Also Resolve is more a collection of software rather than one editing app. Treat the different pages in Resolve like separate apps and learn how they integrate together. The integration is still ongoing as Fusion & Fairlight were acquired by BMD and added into Resolve. There will be occasional bugs with new releases as the underlying code of these added apps is being rewritten gradually to improve the overall Resolve experience.

@tyesamson, @Peter Cave

Oh, lordy. Why this urgency to explain to the world how best to learn a new system? We're all such accomplished pedagogues that even when such advice is not asked for, we simply must offer it?

I love to lecture with the best of them, but this is one I can resist, with no difficulty. Folks learn as they please. Nobody is going to listen to you anyway, any more than folks here take Jim's endlessly repeated unsolicited advice.

@tyesamson

As for XMLs, if you have nothing but joy from them, great. Whatever anyone may say on the "internet", that's not my experience, and my media management is not generally egregious. Beyond that, I cannot dispel your confusion.

Oh, lordy. Why this urgency to explain to the world how they should learn a new system? We're all such accomplished pedagogues that even when such advice is not asked for, we simply must offer it?

The original post is literally asking for tips on transitioning to a new system?

Nobody is going to listen to you anyway, any more than folks here take Jim's endlessly repeated unsolicited advice.

This statement only reinforces the snarky, oddly personal tone in your original reply which I think has led to you getting so many responses. I have no idea what you have against Jim (I'm hardly ever on here. Maybe you've butted heads before, or something?) but in the silo of this thread: someone asked for tips, Jim replied with (very good and relevant!) tips and for some strange reason that really seemed to get your back up! Maybe it's time for a nap?

Hi Tye
Great to hear that you successfully conform from XML with no troubles.
I see from the net that you're primarily a colorist. Resolve is indeed quite good at successfully importing XMLs when all that's needed is the info to do a color correct. This has been part of Resolve's core competency for as long as Resolve has existed.

For Resolve Edit things are a bit different. Most notably for sound. Resolve is not so adept at both importing and exporting XMLs where sound is concerned. Resolve also doesn't import the bin and clip structure from the XML file if such is present. Actually I don't know which - if any - NLEs even output the bin and clip structure to the XML or which XML formats support it.

Here's a slightly snarky but overall quite good article about moving a PROJECT - as opposed to a timeline - from one NLE to another:
https://www.provideocoalition.com/how-t ... ice-versa/

As to whatever snark is going on in this thread between, say, Jim and John, there's a long history here that you've dropped into. There's a very vocal group here that basically says "Resolve is fine the way it is - don't touch it." Added to this is often "ignore that strange behavior. here's a different workflow to get around it."

There's another group that's growing as Resolve's userbase grows that says "Resolve has a lot of legacy UI that no longer makes sense now that it's more than just a grading tool. Please improve it and remove gratuitous UI differences so the learning curve is not so steep and usability for editing is enhanced." Added to that is "please fix all these quirks/bugs so that there aren't so many surprising behaviors and any reasonable workflow will succeed as opposed to just this one particular workflow."

When Jim says forget everything you know it's code (to the people who've been here a long time) for "I'm with the old group and you should be too." That wrankles many peoples' feathers and some chime in about it.

Cheers and happy to have you here on the forum!
Joe

Hi Tye

Hi!

Great to hear that you successfully conform from XML with no troubles.
I see from the net that you're primarily a colorist. Resolve is indeed quite good at successfully importing XMLs when all that's needed is the info to do a color correct. This has been part of Resolve's core competency for as long as Resolve has existed.

My career has been in both colour and online editing so "picture finishing" in a broad sense that includes but is not limited to colour. I use Resolve to colour, online, and master so maintaining as much metadata as possible over the course of a timeline's chain of custody is always paramount whether I think I need that metadata or not!

For Resolve Edit things are a bit different. Most notably for sound. Resolve is not so adept at both importing and exporting XMLs where sound is concerned.

Oh, that is an interesting insight, thank you! You're right -- that's one area I know very little of. The first thing I do after a conform is delete all the audio tracks and replace them with a guide mix wav until I'm delivered the final mix from sound post!

Why on earth would that be, though? You only need a reel name or a file name and source timecode to make the match? Or is it less about relinking to the correct clips and more about stuff like automation coming across? If the latter, I don't know a single re-recording mixer who doesn't start from scratch -- AAFs from Avid send the editors' temp rubber-banding etc over to Pro Tools and the first thing the mixers do is delete it all!

If you're not talking about handing over a locked cut to sound post for finishing in Fairlight but, rather, starting an edit in one app and finishing in another -- who in their right mind is doing that!? That sort of interoperability would certainly be lovely but expecting it from any system is surely utopic and near-impossible to achieve?

Resolve also doesn't import the bin and clip structure from the XML file if such is present. Actually I don't know which - if any - NLEs even output the bin and clip structure to the XML or which XML formats support it.

EDLs, XMLs, and AAFs are all timeline metadata exchange files -- they're not project metadata exchange files. This seems like complaining that a bucket isn't a well?

As to whatever snark is going on in this thread between, say, Jim and John, there's a long history here that you've dropped into. There's a very vocal group here that basically says "Resolve is fine the way it is - don't touch it."

There's another group that's growing as Resolve's userbase grows that says "Resolve has a lot of legacy UI that no longer makes sense now that it's more than just a grading tool. Please improve it and remove gratuitous UI differences so the learning curve is not so steep and usability for editing is enhanced."

When Jim says forget everything you know it's code (to the people who've been here a long time) for "I'm with the old group and you should be too." That wrankles many peoples' feathers and some chime in about it.

Not going near any of that I'm now going to disappear until the next time I need to make a feature request

Good for you. I've forgotten to forget everything there is to forget and I'm blissfully unaware of the forgotten. It's better that way

Any thoughts on Filmconvert nitrate? They have a black Fri sale now. Mostly interested in film grain. Similar tools in DR?

Resolve has configurable grain fx, but they're considerably more GPU processor-intensive than the ones in FilmConvert.

FilmConvert is good if you want something cheap, fast and easy. And the plugin can serve as a simple one-stop grading tool, for non-colorists, in Resolve. But there are more expensive and higher-end products, if you're going whole-hog on film emulation.

FilmConvert has pretty good grain, which can be set selectively for different luminance ranges.
And then, it works based on log, if you have such sources.
But careful with grain, test your whole chain. It can look ugly after final compression.

Reiterating what others have already said, I use FC for it's grain exclusively. I'm not a fan of its film emulation. The tone curves are alright but the colour not so much, in my opinion. It just feels... muddy.

John's right about performance, too. It barely makes a dent on FPS cost.

One thing to keep in mind that it hard clips, so make sure all your values are between 0 and 1 on the node feeding into it!

Their other product, Cinematch, is definitely worth a look as well

Would be interesting to compare their new halation to DR‘s.

I use calvinsilly's halation. Nothing else I've seen even comes close and he gives it away for free!

But that is for Nuke, isn't it?

But that is for Nuke, isn't it?

He recreated it in Resolve and posted the Powergrade on Twitter a while back. Google "calvinsilly halation Twitter" and you should find it. DM me if you can't find it and I'll email you the drx. I contacted him soon after he posted it to offer him some beer money and he declined so I'm pretty sure it's ok to share!