How To Professionally Work Between Multiple Editing Platforms

September 28, 2022

Special Guests Scott Simmons and Jonny Elwyn join Joey D'Anna and Patrick Inhofer to discuss moving between NLEs as a professional editor.


Office Hours: September 8, 2022

Mixing Light Contributor Joey D’Anna and special guests Scott Simmons and Jonny Elwyn join host Patrick Inhofer in leading a Mixing Light Office hours discussion. Today’s discussion includes:

  • What has grabbed our attention recently?
  • On Overview of Mixing Light’s new All Access membership level
  • Deciding which NLE to specialize in
  • How to get fast at editing while moving between different NLE systems
  • Plus: A video question about the DaVinci Resolve > ProTools workflow

Table of Contents

(bold = member question)

  • 00:00 – Introduction
  • 00:49 – An overview of the new Mixing Light All-Access membership level (releasing October 1, 2022)
  • 04:28 – Joey: Color restoration of nitrate-based film
  • 12:32 – Should a professional editor learn multiple non-linear editing systems (specifically, DaVinci Resolve and Final Cut Pro)?
  • 13:13 – Scott: The differences between FCP and Resolve
  • 16:04 – Jonny: His experience on FCP and the case for learning Avid
  • 19:45 – Jonny and Scott talk about their current work situation
  • 22:31 – Joey talks about his editing background, experience, and his tactic for easily moving between editing platforms
  • 27:51 – Joey shares a ‘war story’ that helps explain how he learns different NLEs and the value of working on a job, with a deadline, to help you get up to speed
  • 30:15 – What about using the default shortcuts for each NLE?
  • 32:00 – Scott: The foundational editing commands and taking a different approach than Joey toward keyboard shortcuts
  • 35:00 – A discussion about common default shortcuts and if/how you should modify them
  • 37:13 – Jonny: How he maps his keyboard and his mental approach to this topic
  • 38:30 – Discussion: Editing with the mouse vs. editing with the keyboard
  • 40:10 – Patrick makes the case for using each NLE’s default shortcuts
  • 42:46 – Keyboard mapping in DaVinci Resolve
  • 43:52 – Patrick asks the panelists: Do you think it’s a good idea to be a specialist in one particular NLE? Do you call yourself a Avid/Premiere/FCP/Resolve editor?
  • 49:56 – Discussion about the integration of Resolve and FCP
  • 51:33 – Stephan W.: For feature films or television series being delivered to ProTools, should DaVinci Resolve be avoided?
  • 53:38 – Joey offers advice on ProTools delivery from Resolve (and finishing, in general)
  • 55:22 – Discussion about the specific type of ProTools export to use within Resolve
  • 56:13 – Scott: Opines on using Resolve for large editing projects and the difference between editing in Premiere and Resolve
  • 57:40 – Jonny: The importance of testing your workflows before committing to them
  • 58:55 – Patrick asks about ProTools exports from Resolve with Linked Audio Tracks: Does it work?
  • 60:41 – Scott: Premiere has a similar ‘merge clip’ workflow that will destroy ProTools exports
  • 62:44 – Conclusion

Mentioned in this Insight:

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Homepage Forums How To Professionally Work Between Multiple Editing Platforms

  • Thanks for the office hours!

    @Joey — for caching to your NAS, are you using 10 GbE, or faster networking? I’m in the same boat — juggling 2 or 3 systems to speed up my work, and right now local caching with media on the other side of a 10 GbE pipe to the NAS…

    • Yup everything is 10GbE with jumbo frames.

      In fact – its all link aggregated into the switch, so the NAS has 4x10gbe links, and both workstations have 2 each.

      One important thing to know about that though – having a 4-way link aggregation does NOT give you 40gbs. Any individual transfer will still be limited to 10gbps. But with 2 machines hitting the NAS for thousands of cache files, it does help a bit.

      • Thanks, Joey. Good to know it’s viable at max throughput of 10Gbps. I’ve yet to pony up for a link-aggregation-capable switch, so it’s a ‘single-width’ link to the NAS for now. Any recommendations for such a switch that might not break the bank? There’s a Mikrotik 8-port, perhaps?

  • Thanks guys for another useful OHs!!!

    I will definitely check those video you mentioned and I am sure I will find something good there. About my approach for anyone into the same kind of “head ache” project, I solved it by asking to the editor to used the Premiere FX Clip Name which will burn the name footage (then I asked them which camera was referring to that name..for each camera used), in this way using Group I could put in place IDT and ODT.

    until the next time!

    • we’ve done this too – it is a great help.  In projects where a conform is going to be too complicated or there isn’t a budget for it, editors have split different cameras onto different tracks and then baked each of those out as separate QTs.

      Patrick has a nifty approach to this to that he shared in an Insight a while back –

      Working Color-Managed In A Flat File Workflow

  • @Joey – could you confirm what settings you’ve used to successfully export an AAF for ProTools? I’ve tried only a couple of times and it’s not worked – I even tested exporting and importing right back into Resolve  and that failed. Any tips? Thanks!

    [53:38 – Joey offers advice on ProTools delivery from Resolve (and finishing, in general)]

    • I’ve been using the protools preset – and then just changing the AAF settings under audio to “embedded in AAF” instead of wav. Not sure what version of protools our guys are on – but it seems to work great for them.

      • OK, thanks, good to know.

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