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.


Series

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:


Member Content

Sorry... the rest of this content is for members only. You'll need to login or sign up to continue (we hope you do!).

Membership options
Member Login

Comments

Homepage Forums How To Professionally Work Between Multiple Editing Platforms

Viewing 2 reply threads

    • Stephen A
      Participant

      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
        Participant

        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 A
          Participant

          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 D
      Participant

      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
        Participant

        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/


    • Jamie Dickinson
      Participant

      @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
        Participant

        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
          Participant

          OK, thanks, good to know.

Viewing 2 reply threads
  • You must be logged in to reply to this topic.

Hundreds of Free Tutorials

Get full access to our entire library of 900+ color tutorials for an entire week!


Start Your Free Trial
Loading...