If not, at least I’d get a firm grasp on what Resolve was capable of. If all went well, I’d consider cutting the entire film in the software. I’d cut the first day’s footage on set in Resolve. My curiosity was getting the better of me, and so I decided.
On set, I’d be editing in as close to real time as possible so that we’d know, definitively, that we had the coverage to cut a great scene. To have a chance of cramming it all in, we’d need to move lightning fast, including me. The scene clocks in at two pages, but it’s dense-54 shots in total. Production Design by Sarah Caye Art Direction by Langston Kahn Carpentry by Ryan Murphy.Īnd we had scheduled our toughest scene for day one-a full-on riot with stunts including gunshots, wounds, and a ton of extras to wrangle. Before… …and after at the Forestburgh General Store. We would have three days to turn a quaint, country store in upstate NY into our personal pre-Apocalypse. The shoot was already under enormous pressure. “Maybe I should edit this thing in Resolve.”Īs both post-production supervisor and editor, I was my own devil’s advocate. “Huh,” I thought, my curiosity officially piqued. A family-run gas station becomes the most important storehouse in a small town, but the family finds itself deeply divided about what to do with its newfound “wealth.”Īs pre-production started buzzing around me, I was knee-deep in writing a previous article on DaVinci Resolve and came across this bold statement on the Blackmagic website: How then, on that relentlessly sunny day in late August, did I find myself tasked with assembling an entire day’s footage, on set, in DaVinci Resolve-a program I had never before considered a capable NLE-to help put together the following day’s shot list?Ī few months earlier, my co-writer and I took the plunge and set a production date for our short film, Currency.Ĭurrency takes place in a small town one week after all banking, credit, and electronic monetary records disappear.
And I like using software that I know inside and out.
Foam bats, fake wounds, choreographed fight stunts.Īnd me, at a rickety folding table, furiously editing in the midst of chaos.Īs a feature film editor, I like quiet. I like temperature controlled edit suites. A horde of 35 extras playing an angry, shouting mob. Would I be able to edit an entire film in Resolve, without ever having to go to my staple NLE? The StoryĪ wailing baby. But I wanted to put it to the test on a real project.
We recently wrote in this article that Blackmagic Design’s DaVinci Resolve 14 could soon become the ultimate post-production tool.
0 kommentar(er)
