The downside of this was the difficulty in performing precise alterations. When it comes to working with audio straight from the timeline, your options are pretty limited, but you were always able to alter the gain by dragging a clip’s volume line up or down. Anything that shaves a few seconds of work is a benefit in our book. This then allows you to fill that gap extremely quickly with a selected clip from the Media Pool. It’s Resolve’s section where you build your video, one clip at a time, and it’s received a lot of minor, yet highly useful tweaks which should be welcomed into most workflows.įor instance, it’s now possible to quickly mark a gap in your edit with in and out points using a simple keyboard shortcut. The Edit page is where you may well be spending most of your time. Improvements in the EditĬreate your own custom shortcuts, which now include the ability to switch between timeline tabs. We’ll be taking a look at some that caught our eye, while experimenting with a video editor we consider one of the best alternatives to Adobe Premiere Pro. ‘Color’, is where your color grading takes place, ‘Fairlight’ is for intensive audio work and manipulation, and ‘Deliver’ focusses on exporting your finished product.ĭespite not being a major leap in version numbers, this iteration of Resolve still packs a fair amount of improvements, from the subtle interface tweak, to the large under the hood performance enhancements. ‘Fusion’ lets you assemble and apply effects to clips via a node-based interface (it’s more confusing and less straightforward than how other editors work with special effects, but it’s also immensely powerful).

There’s one to check your ‘Media’, another to prepare and ‘Cut’ your footage, yet another to ‘Edit’, although you can also do editing in ‘Cut’. Resolve is huge, and is thankfully broken down into various ‘Pages’.

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Resolve editing