It "works," but it's not ideal for larger projects with more media, more tracks of video, and underpowered machines.Īs an example, I was once working with a client editing a 6K RED RAW project in Premiere on a laptop, and every time he opened his project file, it took a literal hour to open.
#DAVINCI RESOLVE EDITING WORKFLOW BY FULLTIME FILMMAKER PRO#
Premiere Pro has used similar marketing for years about editing RED RAW, and it suffers from the same problem. This is true with a powerful edit workstation, but it won't be true for all of us, especially indie folk. You're going to see news about how you can just natively edit 12K Blackmagic RAW on any system. We'll also touch on how you can use other editing software like Avid, Final Cut Pro, and Premiere Pro to edit the 12K footage.įirst off, the marketing. If you do, here's how you can set up a 12K project in DaVinci Resolve. The company has recently released the URSA Mini Pro 12K, and soon, many of us will find ourselves needing to figure out a 12K workflow. When using one of their cameras, the two go hand-in-hand. Not only do they develop cameras, but they also have DaVinci Resolve, which combines editing, color correction, visual effects, and post audio into a single software. Luckily, Blackmagic Design provides filmmakers with plenty of valuable information. While some camera manufacturers release a tremendous amount of resources that detail post workflows, others are not quite as thorough about what to do after production is wrapped. When a new video file format, codec, or higher resolution is made available, there's the inevitable question of what's the best way to edit with it. Let's break down a post workflow for those without powerful workstations.