Joe Shapiro wrote:Oh sigh. I know you’re a super experienced colorist but have you edited full-time? Full-time with Resolve?
No, but I have worked in post in Hollywood for 43 years, if that counts for anything. I've worked as a finishing editor on about a hundred indie features in the last 10 years, but that's more of a "hammer and crowbar" situation than a creative one, per se.
I think this boils down to one of those
you can get used to anything deals, where if you used Resolve 10 hours a day for a few weeks and really zeroed-in on all the shortcuts and so on -- maybe even used the Speed Editor or the Editing Keyboard -- you'd find there are faster ways to work than what you're aware of. I try to be as "Zen-like" as I can with new software, and basically say: "OK, I've got to forget what I used before, and try to embrace the new way of doing things... because I've got work to get done." In other words, I spend less time fighting the interface and more time kind of absorbing it through osmosis.
I've had to learn 5 different versions of daVinci color in the last 30 years, going back to daVinci Classic, then the Renaissance, then the 888, then the daVinci 2K, then DaVinci Resolve. (And I also used at least 6 different control surfaces over that time, each of which had different functions and buttons in different places.) And in between some of them, I had to learn Pandora Pogle, Filmlight Baselight, and a few other systems. I just accept that change is kind of the nature of post: we have to roll with the punches and just deal with it.
If I can make a suggestion: consider using a macro keypad like the Elgato Streamdeck or the X-Keys. Both of them can speed up editing by just firing off multiple steps with one button, and it's a fast, elegant way to work. Also, using the 2-display option would let you put the bins on one monitor and the timeline on the other, plus a third display for the hero output. I won't say this is the same experience as Avid Media Composer, but I think it could work for a lot of feature applications.