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My edit suite, before it became an active set the following day and I retreated to a dark corner. I was inside, laying claim to my wobbly table and ingesting footage into Resolve. Of course, I barely saw any of that late-summer sun. From left to right: Nick Heppding (sound mixer), Scott Gabriel (director), Nikhil Kamkolkar (2nd AC), Jonny Kapps (AC), Matthew Canada (вЂњBвЂќ Camera Operator), Matthew Weitz (Ed, on ground), Jan Lucanus (fight choreographer), Our Incredible Extras (behind gate). The cameras started rolling, and so did the footage! It takes a village. We were a bit behind schedule, but no matter. On a bright, dry day in late-August, the extras were fed, briefed, and in place В the last few set dressings were going up В and our fearless director and co-writer Scott Gabriel was ready to rock.

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I used the free version of Public Beta Resolve 14.

We used jam-synced timecode and recorded in-camera scratch tracks.

We shot at both 23.976fps and 47.952fps.

We shot between 3K-6K and simultaneously recorded ProRes in-camera proxies at 1920Г—720 (de-squeezed in camera).

We shot on two RED cameras, using Kowa anamorphic lenses.

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I worked on a Macbook Pro (2.6Ghz Core i7, 16GB RAM, NVIDIA GeForce GT 750M 2048 MB).One by one, I recreated my shortcuts in Resolve, and was immediately impressed.В There really were a ton of new edit features, and I began to feel pretty confident that I wasnвЂ™t going to be missing too many shortcuts I enjoyed in Premiere.Д«ut before we go any further, a few relevant project details: I used the вЂњAdobe Premiere ProвЂќ set as a baseline. IвЂ™m an enthusiastic keyboard-based editor and my muscle memory for my custom Premiere shortcuts was extra strong, as I had just come off a feature edit. The first thing I did to make absolutely sure I wasnвЂ™t dooming us to failure was open up ResolveвЂ™s keyboard mapping. If not, at least IвЂ™d get a firm grasp on what Resolve was capable of. If all went well, IвЂ™d consider cutting the entire film in the software. IвЂ™d cut the first dayвЂ™s footage on set in Resolve. My curiosity was getting the better of me, and so I decided.

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Deliver on its promise of industry-standard professional edit tools? CheckвЂ¦?.

Easily handle mixed frame rates in a single timeline? Check.

Batch sync with the click of a button? Check.

I needed a workflow that would let me fly through ingesting and syncing and get to the edit as fast as possible.

On set, IвЂ™d be editing in as close to real time as possible soВ thatВ weвЂ™d know,В definitively, that we had the coverage to cut a great scene. To have a chance of cramming it all in, weвЂ™d need to move lightning fast, including me. The scene clocks in at two pages, but itвЂ™s dense-54 shots in total. Production Design by Sarah Caye Art Direction by Langston Kahn Carpentry by Ryan Murphy.ДЄnd 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. BeforeвЂ¦ вЂ¦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. вЂњMaybe I should edit this thing in Resolve.вЂќДЄs both post-production supervisor and editor, I was my own devilвЂ™s advocate. вЂњHuh,вЂќ 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 вЂњwealth.вЂќДЄs pre-production started buzzing around me, I was knee-deep in writing a previous article on DaVinci ResolveВ 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 dayвЂ™s footage, on set, in DaVinci Resolve-a program I had never before considered a capable NLE-to help put together the following dayвЂ™s shot list?ДЄ few months earlier, my co-writer and I took the plunge and set a production date for our short film, Currency.Д¬urrency takes place in a small town one week after all banking, credit, and electronic monetary records disappear.

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And I like using software that I know inside and out. Foam bats, fake wounds, choreographed fight stunts.ДЄnd me, at a rickety folding table, furiously editing in the midst of chaos.ДЄs a feature film editor, I like quiet.В 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 StoryДЄ wailing baby. But I wanted to put it to the test on a real project. We recently wrote in this article that Blackmagic DesignвЂ™s DaVinci Resolve 14 could soon become the ultimate post-production tool.