I found myself giving bad advice recently – which I hate to do – and it started with this panic email which I misinterpreted.
Resolve can easily display two timelines using either a single or dual monitor display. But it’s a bit fiddly. Here’s how this works.
Adobe Premiere supports displaying two or more timelines at the same time. For example, this can help when you need to compare two versions of an edit. This isn’t hard to do, but it isn’t obvious. Here’s how this works.
All the hype surrounding AI presents software developers making tools for creatives with a dilemma. How do they find the right balance between creating features that improve their tools versus replacing the editor?
I spent this last week immersed in editing in DaVinci Resolve Studio 19. Here’s how it compares to Final Cut and Premiere, along with features that drive me nuts.
The challenge I faced was that, once I finished a horizontal version of a video, I needed to create a vertical version for social media posts. Resolve makes it easy, but not obvious. Here’s what you need to know.
At the recent the 2025 NAB Show in Las Vegas, I sat down with Blackmagic’s audio gurus to learn more about the Fairlight page. What I learned made a big difference in the sound of my projects. Here are three secrets that I’m now using in every project.
I want to add watermarks to the videos I edit in DaVinci Resolve – but I couldn’t find a “watermark” option. Then, I discovered “Data Burn-in.” Here’s how it works, how to create presets and where to use them.
Larry Jordan and Dan May discuss BMD’s 36 newest products, with closer looks at Pyxis cameras, ATEM switchers, the role of AI in creative software, and DaVinci Resolve 20.
Here’s a list of all scheduled industry and thought leader interviews scheduled for the 2025 NAB Show in Las Vegas, NV.
Finding the exact media clip that you need is only the first step. Now, you need to get that clip loaded into your video editor from wherever it’s stored. In this short video, Larry Jordan, shows exactly how to transfer files from Axle AI directly to remote clients, or into Apple Final Cut Pro, DaVinci Resolve or Adobe Premiere Pro.
This short video, presented by Larry Jordan, describes what Media Asset Management (MAM) software does, how Apple Final Cut Pro, Adobe Premiere Pro and DaVinci Resolve currently handle media, and how a MAM can extend what they do.
Last week provided a unique (for me) perspective into the perils of AI for video editors. I’m not saying: “Don’t use AI.” But I am saying that we need to continue to view AI answers with skepticism.
We all want accurate color in our video. But, good golly it’s hard, as this conversation between Gary Bowman and myself illustrates.
At first blush, Sidebar – the ability to mirror an iPhone or iPad on a Mac – doesn’t seem to offer much value. But, when you mirror the Mac on a mobile device, magic can happen.
Still images are rich in data about the camera, lens and settings used to record an image. Surprisingly, most of this information is missing in a video file. Geoff asks why?
Here’s a list of my most popular tutorials for December, 2024. Yet what I find most intriguing is how many older tutorials are still very popular.
I’ve often wondered just how much better an SSD is for multicam editing than an HDD (spinning hard disk drive). Recently, as part of detailed review of the OWC Thunderbay 4 HDD RAID, I decided to find out.
Christopher Campbell created an amazing time-lapse image sequence about painting a large picture. Then, he asked me for ways to make this time-lapse look better. Here is a technique you can use in Final Cut Pro, Premiere Pro or DaVinci Resolve.
Backups are basic to protecting your media. But what should you use for hardware, or software, and how many backups are “enough.” Larry Jordan explains the basics.
Gary asks: “I recall you said that mixed frame rates cannot exist on a DaVinci Resolve timeline. Often my media is submitted in a myriad of forms/rates. How do I deal with that?” Actually, Resolve handles mixed frame rates easily – with one BIG!! gotcha. Here are the details.
Recently, I made a mistake that destroyed all my existing projects. Here’s what I did, and here’s what I learned: how to archive projects, how to restore from backups and where to set the initial Resolve Project Library.
Here’s a very fast technique that can reduce (or emphasize) wrinkles in an actor’s face – without resorting to plug-ins. Watch as Larry Jordan illustrates how this adjustment works – improving how an actor looks instantly!
In this short video, Larry Jordan demonstrates how to import timelines from Adobe Premiere Pro or Apple Final Cut Pro for color grading, then export them back out again.
This short video showcases the differences between using Lift – Gamma – Gain and Shadows – Mids – Highlights to change the gray-scale values of a clip. These differences are significant, powerful, and highly useful, as Larry Jordan illustrates.
DaVinci Resolve has a preference with a default setting that makes editing audio almost impossible. Here’s which preference to change and how to edit audio in very small increments, easily and accurately, using the Fairlight page in DaVinci Resolve 19.
Over the last week, I tested Apple Final Cut Pro 11, Adobe Premiere Pro 25 and DaVinci Resolve 19.1 using a variety of computers from 2018 to the new M4 Pro Mac mini. This article summarizes what I’ve learned with an emphasis on the M4 Pro Mac mini and M2 Max Mac Studio.
This review looks at the performance differences in video editing running DaVinci Resolve 19.1 on a variety of Macs from the 2018 Mac mini to the new 2024 Apple M4 Pro Mac mini.
It’s important to remember that you don’t need to buy the fully-loaded version of any system to get serious work done. Here are my thoughts on how to configure an M4-series Mac for serious video editing without breaking the bank.
“How fast is fast enough?” is a question I’ve been pondering this last week. I decided to compare the speeds of two popular SSD drives: the T9 and T5 from Samsung. Partly, to see how fast they were, and partly to see if they were “fast enough” for video editing.
Audio normalization makes one or more selected audio clips louder, without creating distortion, by raising the gain (audio level) of each clip such that the loudest portion of each clip does not exceed the level that you specify. This tutorial explains when to use it and when you should not.
It appears as a bug during audio dialog editing in DaVinci Resolve 19. What it ACTUALLY is, is a preference that defaults to the wrong setting.
Here’s a list – with links – to all of Larry’s interviews at the NAB Show New York 2024.
There are several reasons why you might want to send a project from Premiere Pro to DaVinci Resolve: For example, to create more complex effects in Fusion or more detailed color correction on the Color page. If you do, you also need to know how to get those files there and back.
There are several reasons why you might want to send a project from Final Cut Pro to DaVinci Resolve: For example, to mix the audio in Fairlight or do more detailed color correction on the Color page. If you do, you also need to know how to get those files there and back.
The Fairlight audio page in Resolve has very sophisticated audio recording capability. But it certainly isn’t intuitive. In this short video, Larry Jordan shows how to record audio narration in Resolve.
In spite of our best efforts, all too often we have audio that has problems: too much noise or hum. In this short video, Larry Jordan shows how to use Resolve’s audio effects to fix both those problems.
By reader request, here are almost 100 essential keyboard shortcuts – in PDF form – for DaVinci Resolve 19. Feel free to download a copy for yourself.
I was thinking about multicams this morning. I had just finished editing my DaVinci Resolve Multicam webinar, so multicam editing was on my mind. I was pondering the differences between multicam in the three NLEs I know the best – Final Cut Pro, Premiere Pro and DaVinci Resolve. It probably won’t surprise you that the answer is: “It depends…”
So, just how well does Resolve handle multicam clips? In this tutorial, Larry Jordan decided to see how many 4K video clips Resolve could play in real-time, while still streaming a live webinar, recording that webinar and processing all this media. The answer is pretty surprising.
When working with media clips with matching timecode, the Sync Bin will automatically sync them, then display all matching angles simultaneously. This is a really fast way to build a rough cut, especially with multichannel audio, as Larry Jordan demonstrates.
This was a fun project! I decided to compare how accurately Apple Final Cut Pro, Adobe Premiere Pro and DaVinci Resolve handle tracking shape masks used for color correction. I also included movies so you can judge the results for …
Guest post: Dr. Imed Bouchrika, PhD and BSc, is a Computer Science professor from the University of Southampton, UK, who specializes in eLearning, image processing, and biometrics. (Here are Larry’s rules for guest posts.) Implementing efficient export workflows can save …
In this short video excerpt, Larry Jordan illustrates different ways to trim clips in the timeline. Larry demos both how to trim using keyboard shortcuts and the mouse.
Teaching DaVinci Resolve isn’t the same as using it. For the last three days I edited my weekly webinar in Resolve. This is the first time I’ve used it in years. Here are the highlights of what I learned.
“Ducking” is the process of lowering the audio level of background music or background sounds during dialog. Resolve has a blindingly fast way to do this automatically – without keyframes. It’s called “sidechaining.” Here’s how it works.
Hidden in the Fairlight audio page interface are several tools which can quickly optimize dialog for quality and levels in DaVinci Resolve. Here’s what they are, how they work and how to set them for best results.
Saturation and vibrance control the amount of color in an image. What’s the difference between them and which should you use? This tutorial shows how to use them for video.
AI is causing seismic tremors of fear and loathing throughout the entire creative community. In this short snippet, Sam Bogoch, Founder/CEO of Axle AI, describes what media creators can do to protect their work. There are real threats and real opportunities – and the pace is only going to speed up.
AI is causing seismic tremors of fear and loathing throughout the entire creative community. In this short snippet, Sam Bogoch, Founder/CEO of Axle AI, explains to Larry Jordan whether it’s possible for AI to be trained without violating copyrights or stealing the creative work of others?
