Blackmagic Forum

Hi,

I mainly use Avid for editing and what I like most ist the ability to throw all my footage into a sequence
and then cut the best stuff into a selects reel and then I start my first roughcut from that reel.

This is a fast workflow and what I like in Avid ist that I can:

1. Load one timeline into the viewer/player/left side, while the timeline I cut into always stays in the recorder/right side.

2. Switch the timeline view with a shortcut, so I see what's going on in the source timeline.
But I don't have to load the sequence into the recorder. I just switch the timeline view to see the player side.
(Not the picture, the timeline and the arrangement of the clips)

3. After each overwrite, the source sequence stays activated and I can continue watching the source.
So after overwrite, I just hit play again and the player side stays activated.

In Da Vinci Resolve, this is what I found out:

I can load a timeline to the viewer, but when cutting I get a nested sequence, which I can then decompose. When I drag the selected clips (in and out point in viewer) into the timeline while holding the command key, the
sequence is not nested. Which is what I want. But I don't want to drag or decompose, this is not a fast workflow.
I just want to cut a sequence from left to right using overwrite, without getting a nested sequence.

Then I found a shortcut to switch the view between the 2 sequences, which is already quite helpful.

I really would like to edit more in Resolve, but this simple workflow is the main reason I stick to Avid.
Also the stacked timeline thing in Premiere was not really my style of editing.
Maybe I make a feature request regarding this style of selecting footage.

But: Is anybody having some ideas regarding this workflow, is there another way of cutting like this in Resolve?

Thank you,

Felix

Hello Felix
I agree with you.
Having a fully implemented sequence to sequence edit workflow would more than useful. Avid editors really appreciate this function, particularly when working on longer form projects. I have never understood why Adobe and others continued the FCP 7 nested editing logic. It causes all sorts of export issues in the end.
The dual source / record viewer is implemented but we need access to see the source and record timelines to make this editing method really efficient. Also, the edits need to be as the source edits, not nested in the record timeline.
I look forward to seeing this much belated feature.
Thanks

It seems like you are literally describing all the pros of using the Cut Page to edit. Forget nested sequences or decomposing (ah, you can always check the "decompose on edit" to make things easier, but...) and give rough cuts and assemblies in the Cut Page a try. The manual has a really good section on it. You can add clips to your working "selects" timeline while staying in the source monitor; there's also something called "source tape." Another cool thing about the Cut Page is that you can also do a form of multicam cutting using a "sync bin" without having to use a nested "multicam" sequence. Many people haven't tried the cut Page because the thought process behind it was a little different, but it honestly has grown on me over the last year and a half and that's the only thing I use for cutting selects. I start every project on the Cut Page, and if something needs a little more advanced tweaking in the moment, I switch over to the Edit or Fairlight pages for a brief moment then back to the Cut Page.

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Hello Bryan
You are right. I have never tried the Cut Panel and I will try as you suggest.
From my point of view, this thread is a way to keep my avid habits in resolve. I have noticed that in the Edit tab you can activate multiple timelines that show up as tabs in the Timeline View Options menu. The problem is that I cannot find a way to gang the timeline in the tab section to the source monitor.
Resolve has not fully developed a 3 point edit sequence to sequence method which is so powerful when working on bigger, complex projects. It is fair to say that Resolve's objective is not heavy duty offlining, but it would be really nice to have.

It's a 4 year old post, but...

Felix Drawe wrote:I can load a timeline to the viewer, but when cutting I get a nested sequence... But I don't want to drag or decompose... I just want to cut ... without getting a nested sequence.

chlowden wrote:I have never understood why Adobe and others continued the FCP 7 nested editing logic. It causes all sorts of export issues in the end.

Enable the 'Edit menu > Decompose Compound Clips on Edit' option.

Felix Drawe wrote: (what I like in Avid is...) After each overwrite, the source sequence stays activated and I can continue watching the source.
So after overwrite, I just hit play again and the player side stays activated.

Disable the 'Edit menu > Switch to Timeline after Edit' option (Option Shift Q).

chlowden wrote:The dual source / record viewer is implemented but we need access to see the source and record timelines.

Timeline menu > Swap Timeline and Source Viewer (Command-Page Up).

Thank you for these revelations. In particular my dear sequence to sequence edit option

Enable the 'Edit menu > Decompose Compound Clips on Edit' option.

I believe you will find that swap timeline and source does not do what you want in that if you swap them so you’re seeing the source and you do an insert, overwrite, etc it will write INTO THE SOURCE since the source has now been swapped to be the destination timeline.

Old thread, but timeless topic.

I think idea in resolve of a kind of source timeline and choosing selects is done with source tape and bin organization. A timeline before the actual timeline. A source timeline if you like.

Source Tape

Using this option, every single clip in the currently open bin, and any subfolders in that bin, of the Media Pool is shown in the Viewer as a “stringout” in the scroll area at the bottom of the Viewer. In the scroll area, each clip appears one after the other in a long strip, with the order determined by the Sort order. This makes it easy to scrub through a whole collection of clips while you’re figuring out what you want to use. As you play through, whichever clip the playhead intersects is selected in the Media Pool, so you know which clip you’re looking at.

While all the features of the Cut page can be used individually, certain features are designed to be used in conjunction with each other to make your editing experience more streamlined. For example, combining the File Inspector, Source Tape, Metadata View, and the Navigable Folder Structure can create a well structured and organized project out of a single folder of unorganized clips.

The strength of the Metadata view is the automatic clustering of your clips in the Source Tape, based on the sort order you choose in the Media Pool Sort By menu at the very upper-right corner of the Media Pool. It is also possible to use these sort options in the Thumbnail, List, and Filmstrip views as well. Each different sort mode changes the main description field on the card and re-arranges the Source Tape to reflect the selected organization method.



.....................

Another way woudl be to use duration markers, which can be made by making in and out points and converting them to duration markers or selects which than can be searched or filtered via smart bins, similar to subclips in the timeline and used for putting together a montage of clips. Unlike subclips their thumnails update and they are still full clips, and unlike in and out points duration markers can be added multiple times on the same source clip.



After that its easy as drag and drop to timeline or used for in and out points, or used to convert them to compound clips if one needs it.



So they are like in and out points and subclips but with a bit of extra functions. Combined with colors, metadata, notes, flags and keyframes they are pretty good organizational tool.

Resolve does indeed have tools like those you mention that approximate the stringout method of editing. However, I see no good reason Resolve needs to keep an editor from using their preferred paradigm by not implementing key bits that support said paradigm.

It’s fine that they’ve made the Cut page. It’s there and not going away. But sometimes it feels like they’re trying to force people to use it even when they prefer the Edit page.

Joe Shapiro wrote:It’s fine that they’ve made the Cut page. It’s there and not going away. But sometimes it feels like they’re trying to force people to use it even when they prefer the Edit page.

In what way? Is there something edit page can't do and you can't finish a job unless you use cut page?

You can always switch between them. Its the same timeline just different presentation.

Cut page was to my understanding built for rough cut process and speed editing for people who do long form type content like concerts, wedding receptions, long interviews, events etc. And especially to be used with some of the hardware panels. Also with the POV and reply options its build for reply automation and quick editing for sports.

But personally I like that its a bit experimental. Its streamlined, light, modernized and with luxury of being extra page, developers can experiment with new ideas and still not be attacked by traditionalists and instead just try new things. I don't do long form content but I like even for simple stuff some of the functions and modern feel of cut page. There are some really clever solutions in it. Like two timelines.