How To Professionally Work Between Multiple Editing Platforms

Series	Office Hours

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

(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:

Visit Jonny Elwynn’s blog & website
Visit Scott Simmons’ website
Scott Simmons ‘Keyboard Manifesto’ blog post – This article is at ProVideoCoalition.com, where Scott also writes about the craft, technology, and business of digital video editing.
Joey’s Insight on keyboard mapping in DaVinci Resolve for faster editing.

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Comments

Creator

Discussion
September 28, 2022 at 1:17 pm #46979

Patrick Inhofer
Keymaster

This is the discussion thread for the Insight: How To Professionally Work Between Multiple Editing Platforms
Creator

Discussion

Stephen Abbott
Member

October 16, 2022 at 6:16 am

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…
- Joey D’Anna
  Member
  
  October 17, 2022 at 9:11 am
  
  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.
  - Stephen Abbott
    Member
    
    October 24, 2022 at 3:44 pm
    
    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?
Antonino Durante
Member

October 17, 2022 at 5:13 am

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!
- Robbie Carman
  Member
  
  October 17, 2022 at 7:44 pm
  
  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 – https://mixinglight.com/color-grading-tutorials/color-managed-flat-file-workflow/
  
  Working Color-Managed In A Flat File Workflow
Jamie Dickinson
Member

November 17, 2022 at 4:37 am

@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)]
- Joey D’Anna
  Member
  
  November 17, 2022 at 12:06 pm
  
  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.
  - Jamie Dickinson
    Member
    
    November 17, 2022 at 12:07 pm
    
    OK, thanks, good to know.
Author

Replies

How To Professionally Work Between Multiple Editing Platforms

Office Hours: September 8, 2022

Table of Contents

Mentioned in this Insight:

Member Content

Member Login

Comments

Patrick Inhofer

Joey D'Anna

Jonny Elwyn

How To Actively Manage Your Post Production Career

Office Hours LIVE! HDR White, Saturation Controls, New Displays, and AI Fails

Office Hours LIVE! Color Management, Gamma Woes and Budget Remote Live Review

Office Hours LIVE! Post-NAB – Sony HX-3110, Resolve 18.5, Virtual Sets and Colorists

Office Hours LIVE! LUTs, Color Management, HDR, and Cinema Workflows

Color Grading Docs, HDR Trims, NVMe Disks for Cache, and more!

How To Professionally Work Between Multiple Editing Platforms

The Care And Feeding Of A Post Production YouTube Channel

Remote Media Sharing and Collaboration – Featuring Hedge’s Postlab

How do colorists extend the life of old computers? Becoming a Mixing Light Contributor?

Charting Gamma Curves, Revisiting REC-709a, and Premiere Pro 2022 Color Management

Streaming Dolby Vision, REC-709a, And Consumer OLED Displays

Talking Professional Reference Displays with Bram Desmet of Flanders Scientific

How Do You Succeed Running A Color Grading Business?

Evaluating Skin Tones, Working With Drone Footage, Grading On Laptops

Good Ideas? The HDR Palette One Year Later & Selling Your Project Files

NAS, Security, Archival Footage, and HDR – An Office Hours Discussion

Office Hours – ACES Color Management Using Nodes in DaVinci Resolve

Office Hours Live Stream – Color Management (and much more)

1,000+ Tutorials to Explore

Our Products

About

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How To Professionally Work Between Multiple Editing Platforms

Office Hours: September 8, 2022

Table of Contents

Mentioned in this Insight:

Member Content

Member Login

Comments

Patrick Inhofer

Joey D'Anna

Jonny Elwyn

How To Actively Manage Your Post Production Career

Office Hours LIVE! HDR White, Saturation Controls, New Displays, and AI Fails

Office Hours LIVE! Color Management, Gamma Woes and Budget Remote Live Review

Office Hours LIVE! Post-NAB – Sony HX-3110, Resolve 18.5, Virtual Sets and Colorists

Office Hours LIVE! LUTs, Color Management, HDR, and Cinema Workflows

Color Grading Docs, HDR Trims, NVMe Disks for Cache, and more!

How To Professionally Work Between Multiple Editing Platforms

The Care And Feeding Of A Post Production YouTube Channel

Remote Media Sharing and Collaboration – Featuring Hedge’s Postlab

How do colorists extend the life of old computers? Becoming a Mixing Light Contributor?

Charting Gamma Curves, Revisiting REC-709a, and Premiere Pro 2022 Color Management

Streaming Dolby Vision, REC-709a, And Consumer OLED Displays

Talking Professional Reference Displays with Bram Desmet of Flanders Scientific

How Do You Succeed Running A Color Grading Business?

Evaluating Skin Tones, Working With Drone Footage, Grading On Laptops

Good Ideas? The HDR Palette One Year Later & Selling Your Project Files

NAS, Security, Archival Footage, and HDR – An Office Hours Discussion

Office Hours – ACES Color Management Using Nodes in DaVinci Resolve

Office Hours Live Stream – Color Management (and much more)

1,000+ Tutorials to Explore

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