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They are often very creative in their own right, but they do tend to fit the “left-brained” description. On the flipside, finishing editors (or online editors before them) tend to be very detail-oriented. The cut was great and very creative, but the timeline was a mess. As someone who works on both sides, I’ve encountered some of the most awful timelines on projects where I’ve handled the finishing tasks. Many creative editors don’t have a strong technical background and some aren’t all that precise in how they handle the software. As we spend more time at a specialized skill – the “10,000 hour” rule – the better we are at it.įinally, the issue of personality. It’s not that they couldn’t, but for most of us, that’s not the way the mind works nor the opportunities presented to us. A topnotch re-recording mixer isn’t going to be a great colorist or an award-winning visual effects compositor. While having a tool like Resolve makes it possible to cover all of the technical aspects of editing and finishing, if you don’t have the proper room, high-quality finishing may still be a challenge.Įach of the finishing tasks requires its own specialized skillset. None of this is essential for basic editing tasks, even at the highest level. A properly equipped finishing room should also have the right lighting environment and/or wall treatments for sound mixing. Accurate color correction and sound mixing requires proper high-quality audio and video monitoring.

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Although your software might do everything well, you may or may not have a capable computer, which is why proxy workflows exist today. Why? It comes down to three things: personality, kit, and skillset. But the offline/online – editing/finishing – workflows have persisted, in spite of the fact that most computers and editing applications are capable of meeting both needs. As computer technology advanced and NLE quality and capabilities improved, all post production shifted to workstation-based operations.

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Everything – creative edit and finishing – was all performed in the same online edit bay.Įarly nonlinear editing supplemented videotape offline edit bays for a hybrid workflow. Of course, given proper preparation or a big budget, the offline edit stage could be skipped. But it could also be the other way around, because the offline and online processes were defined by the outcome and not the technology. Online rooms used high-res formats and often looked like the bridge of a starship. Offline editing rooms used low-res formats and were less expensive to equip and operate. Once post moved to videotape, the film workflow was translated into its offline (creative editing) and online (finishing) video counterparts. There was a clear delineation between creative editing and the finishing stages of filmmaking.

The edited workprint became the template for the optical house, negative cutter, film timer, and lab to produce the final film prints. When all production and post was done with film, the picture editor would make all of the creative editing decisions by cutting workprint and sound using a flatbed or upright editing machine.

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Clearly both products have found a home servicing professional workflows.

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On the other hand, if you look outside of the US to Europe and the rest of the world, you’ll find quite a few installations of Final Cut Pro within larger media operations and production companies. While Resolve has a strong presence as a premier color correction tool, its actual adoption as the main editor within the post facility world hasn’t been very strong. Let’s dig a bit deeper into some of the comparisons. This has some long-time Final Cut editors threatening to jump ship and switch to Resolve. They’ve even integrated a second, FCP-like editing model called the Cut page. Since acquiring DaVinci, Blackmagic has expanded the editing capabilities and melded in other acquisitions, such as EyeOn Fusion and Fairlight audio. As a yardstick, users point to the intensity with which Blackmagic Design has advanced its flagship DaVinci Resolve application.

Apple’s innovative Final Cut Pro editing software has passed its tenth year and for many, the development pace has become far too slow.