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Forgot to say thanks for posting this video. I never thought of using the timecode from a display in front of the camera on start of recording. I use a Tentacle Track E recorder with iphone and action cameras. Tentacle has an app that displays the visual timecode on my smartphone while bluetooth-linked to my Track E which has timecode chip inside. That way every clip can be manually timecode align perfectly to the exact frame in Resolve using the phone screen timecode in the video file first frame. Might help when timecodes between my devices begin to drift out of sync over he course of a day which happens often with the Osmo Action 4 cameras.

Also a cool trick I use when there is no timecode at all, is if the cameras and audio recorders are all set to same time of day clocks you can manually enter the "time modified" into the timecode field in the media pool making sure to shift all the numbers one slot to the left as timecode uses values smaller than seconds from the time of day,. Assuming the files were not modified since capture. This can provide a mostly accurate layout on the timeline when inserted based on timecode and then just nudge the clips to align with the audio tracks manually since its not as accurate as neatly synced timecoded clips. This works great for cheap production setups using various smartphones and action cameras. No setup time required for timecoding and no additional gear, just a bit more work in post but vastly less work than trying to manually insert everything by hand with no time reference which can be a nightmare.

This has to be the best video I have ever seen coming from an FCPX user. I searched and have asked for years how I can do something similar to FCPX, which is the fastest way of editing for me. In FCPX I hit I/O F and can blaze through my clips and choose just my favorites. then build my timeline from those favorite selects. I cannot believe after asking for years nobody told me about this way of doing it. SO THANKS!!! I have P as append to end of timeline but will change it to make a sub clip and try your method which seems the best way of doing. The only thing I cannot figure out is When I have them all selected I tried your command to put them into a folder but that does not work. I have to manually make a new folder or bin and drag them there which is not difficult. But did you set up Davinci to make a folder from those selects or is that suppose to be a default DR command bc it does not work for me.

These videos, Are so helpful man, the amount of time and effort you put into these videos is very much appreciated.

Great video !

How do you do the color strips on the footage at 4:43?

Excellent info. Thanks for sharing your skill and knowledge.

This is such a helpful video. I want to design a setup just like this.

Thank you men so helpful and clear

Great explanation, great audio and great style. Thanks a lot!

Hi i tried this but i cant get the second camera on another layer on top of video layer one. Is there something i'm missing?

Excellent set up. I thought I was organised but you've taken to another level and one that I'll definitely take on.

What works best with Go Pro footage as input color space ?

Really helpfull. very much appreciated. THanks allot.

תודה!

thank you for your advice

Wow call me impressed

Is there any option for monitoring the scopes on the iPad?

I'm following your workflow for a motorsports movie, creating stringouts for b-roll and a-roll. Since the clips are already organized by date, I’m wondering if I should arrange them by specific time, down to the minute. For example, if two b-roll cameras were capturing the same car at the same moment, should I align those clips in precise chronological order in the stringout?

thanks

Thanks for the vid man! I am in the process of getting more gear for doc style shoots with a small crew as well! have a few questions though...... what matte box is in the video? what happens when you have the directors monitor set up and the sound guys monitor setup... is there a monitor for the camera man? which monitors do you prefer? again, thanks for the vid man!

This is one of the coolest features and videos I've seen on this. Great job.

Is it ok to use groups ( pre and post grpoups to collect shots into one group which then applies the space conversion nodes ( pre and post )?

😍😍😍😍

Hey, your editing workflow videos have helped me tremendously! I wanted to ask, on what are you editing documentaries that are more than 8TB of footage? I am thinking of what to buy that will also be portable for editing on the go. I was thinking of the OWC Express 1M2 with 8TB and splitting some of the footage to another SSD or even my MacBook. Or you think it's worth going into the area of enclosures that need to be plugged into the wall. Then, you can have the whole project on one bigger SSD drive that is a bit more portable than a NAS. At home I have everything on an Owc thundarbay 8 (das) but I realized I cannot take this documentary now when I’m abroad outside the office. I would love to know how you think about it.

Are the nods setup you did needed in order to get the correct color output?

only thing is it looks different on my iphone -_-

Is there a way to crop video in Resolve but export the video at the resolution of the selected area? E.g. if I’m cropping a 4:3 video to 16:9 and the 4:3 is 1440x1080 I want the exported 16:9 video to have a resolution of 1440x810 without any black bars. I want to avoid scaling up and the artifacts that come with it.

I've noticed so many videos that get this wrong. Is there any way to fix this when there's two people, two lav mics and they're talking at the same time. There is a delay when one voice is being picked up by two mics. All I can think is not letting both people talk at the same time. If you mic A on person A and mic B on person B, is there good way to reduce the signal of person B in mic A?

Love this thought process. Thanks for sharing

Looks great, but way too advanced for me.. maybe you could do a video for those of us just learning?

Love the channel, always great information. Is there really lots difference in color processing between sidecar and Davinci Remote monitor? Some people say because Davinci Remote bypasses computer hardware, its better? Sidecar seems a little smoother with playback so would prefer it..

Living legend indeed! This kinda videos will definitely help us, get unstuck. I’m handling 3 years of footages and still figuring out a way to get to the middle line.. this video gonna take me there.

Thank you so much 🙏 nice work und thanks for share 😎

Sometimes you find the right thing immediately. Exactly what I was looking for. Super easy and well explained. Thank you!😃

Thankyou for this tutorial I am searching for this

Thank you for this video. Yesterday I was editing a video and decided to use this technique. I have to admit, it's fantastic. It will certainly be part of my process. I usually use 3-point editing and now I'm going to combine the two methods to make my process even more organized and agile. Thank you for such high-quality content! This inspires me to create a channel to share my knowledge as well. I've already done this individually in groups. I want to take this to RUclips! You're awesome!

2:45 I'm trying to set-up hotkeys for cycling through clips in the media pool while it plays, but can't find it. Any chance you can provide the name, or even a list for the shortcut names you use? I find it hard to search for them all.

Started watching the video - and my brain we like "that accent sounds so familiar and then you mentioned New Zealand. Ahhh Haaa! I am from New Zealand too! - btw Great video mate

I was so excited to use this method, but when I went to apply it to an ongoing project to speed it up, I encountered a problem that I don't know how to solve. Apparently it's an old bug, but I haven't found a solution yet. Simply put, the subclips don't respect the In and Out duration and are created as if they had Use Full Extents activated, but the problem is that after the section delimited by the In and Out in the original clip, the subclip starts showing Media Offline. This is really frustrating. I'm going to try using this workflow again in a new project, but for now, unfortunately, it didn't work for me.

Its Mind Blowing! Thanks for do it for us! One question, how do you set this shortcuts to change the clip you are watching?

Incredible, do you know anyone who has a workflow with auto align 2 and fairlight, my understanding is that it's not compatible.

WOAH a nz youtuber filmaker. awesome. respect from Palmy.

the terms "basic" and "unimportant" are mutually exclusive. If it's basic, it is extremely important, and that's why I am constantly looking for opinions on "basics" from professionals, such as you. Thanks for this!

Such a great tutorial, suppose by any chance you don't know what lens/es were used?

I use to work this way but I feel like it's not my favorite workflow personally. I was exactly working on basketball events with 7 hours of rushes. Method 1 : I was creating IO points, use a shortcut to convert them into duration marker, and another shortcut to tag them (dance, laugh, public, player, shot, dunk etc) and use smart bins to regroup by tag. Method 2 : same thing but with subclip. Method 3 : creating timeline stringouts with a scene number. Scene number by theme replacing the tagging stuff I was doing. Scene 2 = dance, scene 6 = dunk, scene 5 = showcase and so on. I think I found subclips can be messy with lots of rushes but I don't have yet a strict close advice on this.

Dear Joshua, I have two questions for you: 1. my reference monitor is calibrated AdobeRGB. Which setting should I use to work on the timeline? Rec.709? Davinci does not have AdobeRGB setting but only sRGB... 2. if in my pipeline I set rec.709 as output but my work is intended for cinema, is it sufficient to change from rec.709 to DCI-P3 at the time of delivery, or does it create problems? Thanks for any response and compliments for your masterclasses. Giorgio.

This is a great breakdown - a lot of work at the start but certainly worth it down the line

Thanks so much for the info. I have a question: when using your method, how do you know if your grade is being applied to the davinci WG gamut, and not to the rec709 colourspace? I only have experience using CSTs so can control where my final rec709 output is, and can make sure I’m only applying my grades to the Davinci WG gamut that I declare as the first node in my workspace.

Would the theos be great for livestreaming on a c70?