Many of Resolve 12’s new powerful editing features came in handy here. Many shots needed to be reframed, titles needed to be added, and some cuts still needed finessing. That said, I still did have some coverage to work in (cutaways, reaction shots, etc.) as well as some other fine-tuning adjustments. The goal from a stylistic standpoint was to use long takes without any cuts whenever possible, so this first assembly cut wasn’t far off from the final cut. The assembly cut was created by editing together only master takes for each scene, without the use of any cutaways or B-roll. This film was shot with minimal coverage, so the creative editorial process was quite straightforward. With the files now synced and optimized, I was ready to move on to the offline edit. For this project, I used ProRes 422 HQ at half resolution, which worked perfectly for my needs. It’s also worth noting that you can change the quality and codec of your default Optimized Media format in the “General Options” section of Resolve’s Settings panel. You can choose between the two by toggling the “Use Optimized Media If Available” item on or off on the Playback menu. Right-click on the clips in your media browser that you want converted to a proxy format and select “Generate Optimized Media.” Resolve will automatically convert the files for you, and once the process is complete, you will have the ability to edit using either your optimized or original media. Much like audio syncing, optimizing media is extremely straightforward.
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