Had I chosen to work in FCP X for instance, I would have still needed to convert my RAW media via Resolve first (to ProRes) before editing in FCP X, and then eventually roundtrip back to Resolve for color and finishing. “Stray” was shot on the Blackmagic URSA in CinemaDNG RAW, so I knew that the workflow and overall post-pipeline would be streamlined simply by the fact that I could edit and grade the RAW files natively in the application. DaVinci Resolve 12 fits that bill and then some, which is why it was the natural choice as an end-to-end editorial and finishing system for my latest short film, “Stray.” Why Resolve?Īs an editor that is extremely comfortable in both Final Cut Pro X and Adobe Premiere Pro, amongst other editing programs, I had no shortage of options when it came to choosing an NLE for this film.

For years now I have been using DaVinci Resolve Studio as my primary color grading platform, and most recently it has become my go-to non-linear editing (NLE) software, too.Īs a director, editor and colorist I wear many hats on a daily basis, and it’s critical to my success as a filmmaker that I am using tools that can enhance the speed and quality of my work, without getting in the way of the creative process.

How to export davinci resolve 12