Adobe ships Color mode as a dedicated color workspace inside Premiere Pro beta. It uses a streamlined layout that maximizes the Color monitor, reduces on-screen clutter, and adds dedicated color panels that only appear in Color mode.

Colour mode centres the experience around three pieces: the Colour monitor for evaluation, a Clip Grid for picking shots quickly, and a Colour Controls panel for doing the actual work. The intent reads as editorial-first grading: jump between shots fast, make decisions with the image front and centre, and keep the toolset close to what you already do in an NLE.

Color mode switches the monitor between a sequence view for checking the timeline and a clip view for focusing on a single shot. It also adds a Solo mode that temporarily disables overlays and composited elements so you can judge adjustments without extra layers muddying the view.

The new workspace design lands alongside a clear compatibility message. The Lumetri effect remains available in the beta Effects panel and stays supported. Existing projects and Lumetri grades keep their expected look. The Lumetri panel itself no longer appears in the beta UI, and Lumetri changes move to the Effects Controls panel.

Clip Grid turns your sequence into a grading playlist

The Clip Grid presents clips from the active sequence as thumbnails for quick selection. It supports filtering, sorting, and grouping to keep large timelines manageable while you grade. It also includes view controls that change between a row style layout and a multi-row grid so you can either stay focused on a short run of shots or see more of the cut at once.

Color Controls and Operations aim at repeatable grades

The Color Controls panel acts as the hub for adjustments to the currently selected clip in the Clip Grid. It organises colour operations applied to that clip, and it frames each operation as equivalent to a layer or node of colour tool modifications. That puts grade-building blocks front and centre, with a structure that can scale from quick balancing to more involved looks.

Color mode also introduces an Operations system for grade management, positioned as part of the new experience alongside the interface and control set. Operations appear as the mechanism for managing grades across clips, groups, and sequences.

Color mode also leans heavily on feedback. Many controls activate a heads-up display that combines scopes, numeric feedback, and real-time visual guidance. The goal is to help you understand what a control does while you drag it, instead of making you guess and undo your way back to safety.

That HUD concept matters because many controls are bi-directional. One axis adjusts one parameter and the other axis adjusts a second parameter. There is also a modifier for precise single-axis moves. Each control can surface its own on-screen feedback as you work.

If you already live in scopes, the pitch is simple: fewer trips to separate panels, more continuous feedback while you push the image. If you are newer to grading, the design tries to teach you by making the response visible and measurable while you move.

New controls: from contrast to zones to hue isolation

Color mode adds a set of new control groups and built-in styles and modules. On the adjustment side, the control set includes contrast with contrast and pivot, exposure with exposure and black level, temperature with temperature and tint, balance for shifting color balance, saturation, and a Detail section that covers texture and sharpness. Texture offers global, single, or multi-band detail. Sharpness includes radius and threshold controls, plus blur.

There is a Zones section that grades the whole image globally or isolates grades into shadow zones and highlight zones. Shadow zones and highlight zones support multiple preset zones and custom zones, letting you target darker or brighter parts of the image with separate adjustments.

There is also a Color Shift section with Sat Shift, Hue Shift, and Lum Shift. These controls focus on specific hues, letting you change saturation, hue direction, and brightness for a selected hue range. Automatic Hue Isolation surfaces prominent hues from the image for faster selection, and it also supports an eyedropper plus a full RGB spectrum picker for manual targeting.

Styles and Modules show up as built-in starting points. The system includes modules such as Film Color, Contrast Kit, and Flare, plus style presets such as Cinematic Contrast, Varied Temp, Varied Lighting, Varied Sat, and Monochrome. There is also a Make Your Own path that combines modules to build custom styles.

Color management: SDR and HDR workflows in the same mode

Color mode links directly into the application color management system. It supports workflows that include Direct Rec. 709 SDR and Wide Gamut Tone Mapped. It also supports SDR and HDR output formats including Rec. 709 and Rec. 2100.

Wide Gamut Tone Mapped has more flexibility when adjusting images. Tone mapping aims to create smoother highlight and shadow roll-off, with the benefit of easier exposure and color adjustments without clipping.

There are also updated tone-mapping and gamut-compression settings for handling SDR media and graphics. An advanced option called Apply Inverse Tone Mapping and Gamut Compression targets accuracy when working across mixed media formats. But never change the working color space mid-workflow, since switching after adjustments can alter the appearance of the grade and force extra refinement.

This is the part that can make or break the experience in real projects. Colour management should behave consistently across cameras, codecs, and delivery targets, or editors will revert to what they trust.

Some workflows will still need careful validation on your own media, especially mixed camera jobs and sequences that move between SDR and HDR deliverables. Test new tools and innovations before use in production, and verify the pipeline from ingest to export with footage that matches your real work.

Plans, beta access, and what it costs

Color mode is included in the Premiere beta and it comes with any Creative Cloud plan that includes Premiere, with no additional cost for the feature itself. The beta installs through the Creative Cloud desktop app. New users can start with a 7-day free trial of Premiere. The official product page also states that the Premiere single app plan starts at US$22.99 per month for an annual plan billed monthly. Pricing changes by plan and region…

https://www.adobe.com/de/products/premiere/color-mode.html

The post Adobe brings Color mode to Premiere beta first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

ShotNotes adds a dedicated notes-and-tasks panel to Adobe Premiere. It targets the everyday problem that never makes it into a spec sheet: remembering what to fix, what to check, and what to deliver while the timeline keeps changing.

The core idea is sequence-based notes: You add an entry, and it belongs to the sequence you are working on. Notes can be colour-coded, and the panel can filter what you see by colour, so you can separate client feedback from internal reminders or mark items by priority.

A note can include an optional timecode pulled from the current playhead position. When an entry includes timecode, ShotNotes automatically places a marker on the timeline so the entry stays linked to that frame. The panel treats timecode as more than a label: it turns timecode into a navigation control.

Clickable timecode that behaves like a jump button

ShotNotes can insert clickable timecode into a note so you can jump straight to the referenced point in the timeline. The note becomes a shortcut, not just a comment.

The panel supports copying timecode from one sequence and pasting it into a note for another sequence. That makes it possible to reference a moment in a different sequence and still navigate there quickly from the note.

Notes can also reference other sequences directly. The result is a lightweight way to connect the dots across a project: a note in one sequence can point to a specific moment in another sequence and take you there with a click.

If your usual approach is to build a marker forest, ShotNotes can still feed that workflow by creating markers for each note so the timeline can carry the breadcrumbs the panel shows, without forcing you to rely on markers alone as the only place your thinking lives.

Links and reference material that stay one click away

Notes support hyperlinks. If you type a URL into a note, ShotNotes turns it into a clickable link and opens it in a web browser. That is handy for reference docs, client frames, internal shot tracking pages, relevant memes, or just the one weird spec sheet everyone forgets until export day. The point is not that links are rare, but that links usually end up in a separate app, which becomes another place to lose context.

Search and filters for the whole project brain

ShotNotes can search notes across the entire project. When you need to find that one line about audio cleanup, the one producer note that actually made sense, a missing lower third, or the exact frame that needs stabilization, the panel can locate it without you hunting sequence by sequence.

The interface also includes filtering, including options to filter based on whether entries have timecode. Combined with sequence-based organisation, this lets you narrow the panel down to the entry you need right now. Notes and tasks can expand and collapse in the panel, so you can keep long entries around without turning the panel into a wall of text.

Marker sync, because timelines move

ShotNotes links entries to timeline markers when you include timecode. When edits move markers later in the project, ShotNotes provides Sync and Sync All buttons to sync entries to the marker’s new position, because a note is only useful if it still points at the right moment after the cut changes. (*looks emberassed at the heap of PostIts building a ramp below the screen*)

There is an important limitation: depending on how you edit, Premiere Pro may not move the markers. If that happens, you may need to manually update the timecode in the affected notes when frame accuracy matters.

A built in time tracker for tasks and receipts

ShotNotes includes tasks with timers. You can start and stop a timer for a task, log multiple timer entries, and then review those entries in the task log. If you forget to stop a timer, the panel includes an edit option that lets you adjust the end time so the entry reflects when you actually finished. If a timer entry is junk, you can delete it so it does not appear in exports.

The time tracker also logs certain events to provide more detail about what happened while a timer ran, including switching sequences or selecting a clip in the timeline. That makes the report more descriptive than a single number on an invoice.

This is also where reality bites a little. Premiere Pro limits what events can be captured, so the activity log does not represent every editing action. Some actions can appear as delete and add events because Premiere Pro treats certain edits that way internally.

Export and backup that fits the handoff phase

ShotNotes can export notes and other data in a variety of formats for printing out or viewing.

For backup and transfer, ShotNotes includes exporting to JSON as its native format. That JSON export can be imported on another computer, copied to another sequence, or used as a backup. For time tracking, ShotNotes can generate a report that saves timer entries for a sequence to a CSV file that can be viewed in a spreadsheet.

Exportable notes and exportable time data matter for finishing and delivery, because that is where you often need to share information outside the NLE. Like, what to bill the client for his latest “Just one more change”. ShotNotes gives you a structured way to pull that information out without rewriting it.

Licensing, trial, and getting it into the workspace

ShotNotes includes a free seven-day trial, which is fully functional. Licensing can be done with a serial number or by logging in to a Digital Anarchy Cloud account. The cloud account method is described as the easiest way to license if you want to install on a different machine without juggling serials. If you cannot license online, support provides an offline activation file option.

Compatibility notes, including one awkward bug

ShotNotes only supports Premiere Pro 2023 and newer versions. A known issue exists in Premiere Pro 2025 and 2026 that can occasionally cause the recorded timecode of newly created entries to be slightly inaccurate. The amount of offset can depend on how zoomed out the timeline is when the entry is created; zooming in typically reduces the offset. If needed, you can manually adjust the timecode for the entry.

Price, promo window, and the practical take

ShotNotes is available immediately at $129 USD, with a $99 price offered until May 15. As with any new workflow tool, test it before you rely on it for a deadline-sensitive job.

https://digitalanarchy.com/shot-notes/

The post Digital Anarchy releases ShotNotes panel for Premiere. first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Getting your bearings: Switching from Premiere Pro to DaVinci Resolve

Getting started in a new Software can be tough. I usually just want to get started with my edit without having to look for the right buttons to achieve what I have in mind. In the previous article, we looked at setting up your project, importing and organising media and generating proxies to get you ready for your first edit really fast. If you’re already set, the following will give you input on where you’ll find everything in Resolve to get your first cut done.

Get your Project settings right.

After you’ve imported and organised all your footage, you probably want to start editing right away. Still, there’s one more thing we need to do beforehand: set up the project’s framerate and resolution. Unlike Premiere Pro, DaVinci Resolve uses a single frame rate for the whole project. This will be the framerate all your Timelines will automatically be created with. When importing footage, this will be automatically played at the Timeline’s speed. If you, e.g., insert 50fps in a 25fps timeline, Resolve will drop frames to make it play in real-time. It’s important to know that after creating your first Timeline in a project, the current set project framerate will be locked. But don’t worry: although the project uses a single frame rate, it’s still possible to create timelines with different frame rates in that project. To set the project frames to the project settings, click the gearwheel icon in the bottom-right corner of the project, and the master settings will open.

A cool feature to mention is the ‘Use vertical resolution’ checkbox, which lets you switch to vertical resolution quickly without even thinking about the right numbers. This is also possible for a single Timeline instead of a project. If you tend to work with the settings a lot, click the three-dot menu in the top-left corner of projects to set your current settings as a default preset.

Now that you’ve set your project settings, you can create a Timeline by right-clicking in the media pool and selecting Create New Timeline, or pressing Ctrl / Cmd + n. If you want to have a different framerate or Resolution than what is set in the project settings before, untick the ” Use project settings checkbox to get into the small menu.

A small gearwheel icon in the Timeline’s thumbnail indicates it’s a custom timeline. It will automatically open and become visible through the playhead, turning red. If you’d like to give your Timelines different colours, you can do that by right-clicking them in the Media Pool and choosing clip colour.

Media Pool navigation on the Edit page

When working on a different page, your Media Pool is accessible via the Media Pool Panel, which you can activate in the top-left corner. It can be accessed on every page except the Deliver Page. Like in Premiere Pro, you have different view options. The three available are list, thumbnail, and metadata view. To switch between them, use the drop-down menu in the top bar.

List view gives you the most information about your clip. Using thumbnail view, it’s easy to identify the clip by a picture. A powerful feature in the thumbnail view is the live preview: when you hover over a thumbnail, you will see a preview of your clip in the source viewer. It can be deactivated in the three-dotted menu of the source viewer by deselecting live media preview.

To deactivate the sound when Live previewing, press Shift + s. If you want to adjust the thumbnail size, use the zoom function in the top bar. If you’d like a thumbnail as well as some metadata, the metadata view is for you.
When you’re looking for a particular clip, there’s a search bar in the top menu that allows you to find clips by any metadata available, including the one you set yourself when organising your clips. After you’ve found your clip, seeing the waveform can be quite helpful. By double-clicking, your clip will be loaded into the source viewer.

J, l, and K can be used like in Premiere Pro. By pressing the left or right arrow key, the clip will scrub single frames backwards or forwards.

Get through lots of footage. Fast.

By default, Resolves’ source viewer is set to Source Clip mode, in which it lets you preview and work with one clip at a time. I also like to work with Source Tape. This can be opened by clicking on the drop-down menu in the top left of the source viewer or pressing Shift + Q to switch between Source Clip and Tape.

The clips in the current bin are then available in the source viewer as if they were one clip. This makes it super-fast to go through a lot of footage and find the needed B-Roll, e.g., to add into a Source Timeline. Which leads me to one feature I find very useful: using a Timeline in the Source Viewer. If you’re the person who likes to preselect clips in a timeline, this is the tool for you! Simply drag and drop your preselection Timeline into your Source Viewer, or right-click on it in the Media Pool and select Open in Timeline with source viewer.

You can then use the Timeline like a clip and insert from it into your main edit without the need to switch between timelines all the time. Using a Timeline as Source Timeline will be indicated by the playhead turning blue.

Getting shots into the Timeline

To only insert the needed clip part into the Timeline, I set my in point with I and my out point with O. Alternatively, you can use the in and out mark buttons in the lower left corner of the source viewer. Accidentally set points and want to get rid of them again? Press alt / opt + I or O to delete the in or out point. For Resolve, it’s important to know that shortcuts do different things, depending on what is currently active. E.g., if you press X in the source viewer, it will delete both in and out points. If you press X while the Timeline is active, it’ll mark the clip at the playhead’s position.

A tip that helped me a lot: lots of buttons show a small overlay when you hover that gives you information about the functionality and shortcuts. There are seven insert options for adding footage to the Timeline.

Important to know: The behaviour when inserting a clip depends on the number of tracks and whether Auto Select is active. In addition to the most frequently used, the insert options are: fit to fill, place on top, append at end, and ripple overwrite. Their shortcuts are assigned to the F-buttons F9-F12 and Shift+F10-F12. They can also be found in the edit menu at the top of your screen. Beware Mac users: You might need to switch the fn keys from volume and brightness to the standard fn key on your Mac to use this.

You like to drag and drop? Check out the possibility to drag and drop from the source viewer into the Timeline Viewers Insert Option Menu. This will open when moving footage above the source viewer and gives you the option to drop onto an insert option.

Mismatched Resolution: Wait, is this already scaled?

When editing, handling different framerates and resolutions is an everyday task. Thankfully, when working with DaVinci Resolve, that’s no problem at all, since mixed frame rates are possible in a single Timeline.
When switching, I liked how Resolve sped up my workflow by handling scaling for mismatched resolutions. I think Premiere Pro handles this quite poorly, since I’ve always had to scale clips manually in the Timeline. Resolve offers four distinct options: Crop, Fill, Fit, and Stretch.

The option to scale the entire image to fit is the default setting and ensures the entire image is visible without blanking. When Crop is activated, Resolve will centre Crop without resizing. Larger clips will be cropped, smaller ones will have black borders. Using a full-frame scale with Crop will scale the clip to fill the frame, zooming in until the shortest dimension fits. The last option is to use a stretch frame on all corners. In this case, Resolve will distort the image to fit the frame.

By default, higher-resolution media will always be scaled down to the Timeline resolution. If you want to change that, go to Project Settings > Image Scaling > Input Scaling. If you want to change the scaling mode for individual clips, you can do so easily in the inspector’s retime and scaling window. Since Resolves Timeline resolution can always be changed, it’s good to know that correct scaling will be maintained. This gives you a lot of flexibility when working with different distribution aspect ratios.

Timeline navigation

When looking at the Timeline, Resolve should look familiar to you from Premiere Pro. The height of the audio and video Timeline can be adapted by clicking and dragging the Timeline divider. The height of the tracks can be adjusted by pressing Shift and scrolling, or by dragging the track divider to adjust only one track. To scroll through the Timeline, you can use strg / cmd + scrolling. Zooming in and out is possible with opt/alt + scrolling.

But there’s one advantage with zooming in Resolve: The Timeline toolbar offers three buttons for predefined zoom settings and one slider for individual adjustments. The left button will zoom to the full extent, the right to full detail zoom. The middle one will zoom to the current slider setting. You can therefore quickly jump to different settings without a lot of clicking or scrolling.

What I found quite annoying was the different navigation in the Timeline between Resolve and Premiere. When using Premiere, I liked to zoom around the mouse pointer. By default, resolve zooms around the playhead. If you don’t want that, simply change it in the menu view > zoom around mouse pointer. Honestly, when I finally realised I could change that, I had already gotten used to the Resolve default, and my Premiere way suddenly felt like chaos.

What still irritated me was only being able to see one open Timeline at a time. But this can be fixed by going into the Timeline View options. These open when you click the left icon on the Timeline toolbar and give you options to modify how your Timeline looks. The Display Stacked Timelines setting at the top lets you see all your open Timelines as tabs, like in Premiere Pro.

To open another Timeline, simply double-click on it in the Media Pool. Alternatively, you can open and switch between Timelines by using the drop-down menu at the top of the Timeline Viewer.

If you want to work from one Timeline into another, you can view multiple timelines simultaneously. To do so, click the small Symbol on the right, above the Timeline, while Display Stacked Timeline is activated. This will open a second Timeline Space below the first one. To open a Timeline in this space, double-click the wanted Timeline while the new space is selected. This is indicated by its Timeline Name being red.

Editing modes: Different workflows for different editors

As one major difference, editing tools in Resolve are consolidated into three editing modes: Selection Mode, Trim Edit Mode, and Blade Mode. The Key Advantage: Fewer tools mean fewer hotkeys to remember. Different editing operations are therefore intuitively performed by clicking on different parts of the clip. For example, if you’re in Trim Edit Mode, you can ripple by positioning the mouse pointer near an edit point, roll by positioning the mouse pointer over the edit point, slip with the mouse over the upper part of it, or slide by positioning the mouse on the lower part of the clip in the Timeline.

If you want to move a clip freely or delete something, Selection Mode is the one you want to go for, since this isn’t possible in any other Mode. You can still ripple and roll in Selection Mode, but Slip and Slide aren’t available. If you want to use the Blade, well, Blade Edit Mode would be the one. To switch between modes, you can either use the icons in the Timeline toolbar or their shortcuts. Like I said before, knowing which button does what and having a routine in that makes you fast, which is why the Edit Mode shortcuts irritated me the most when switching: instead of the shortcut v for Selection, it’s a, and instead of c it’s b for Blade.

It might take some time to get used to the new shortcuts, but all the functions you know from Premiere are there, too. E.g., cutting at the playhead can be done with Cmd/Ctrl+B. What I wish I had known earlier: alt/option + y lets you mark everything from the playhead forward, as you would in Premiere Pro. Playhead can be moved backwards with strg/cmd + y. If you want to turn snapping or linked Selection on or off, you can use the magnet and chain buttons in the Timeline toolbar. Alternatively, linked Selection can be temporarily disabled by pressing Alt, or by snapping with N while holding the mouse button. In addition, when dragging, holding Alt will copy the clip.

Need to fix something? Inspector.

With all shots in the Timeline, there might be a need for some refinement. This is what the inspector is for. It’s the place to optimise and adjust your clips and to work on effects you’ve added. To make adjustments in the inspector, check that the clip you want to work on is selected. This will be visible through a red outline.
What I really appreciate: Basic adjustments can be found here without having to add them from the effects panel.

First, there’s reframing. You can do this with the Transform tool in the inspector, which gives you easy access to zooming, position changing, rotation, and flipping. If the Studio version of Resolve is available to you, the AI Smart Reframe function helps you quickly reframe individual clips to other aspect ratios. For fast cropping, there’s a cropping function integrated directly into the inspector, too. Looking for a way to adjust across a defined range of clips? Adjustment clips can be added from the effects panel—these work just like in Premiere Pro.

If you need some speed adjustments, Speed Change will help you. With this, the Clips speed can be changed as a percentage or in fps. Important when switching from Premiere: By default, Resolve does not ripple the Timeline when adjusting a clip’s speed. This can be changed by checking the Ripple Timeline checkbox. Speed Change also gives you direction-change and freeze-frame options.

The stabilisation is one thing that really annoyed me when using Premiere Pro, since it was slow and didn’t work too well. Thinking about Resolves: it’s fast, accessible through the inspector, and yields a good outcome. You can choose between three modes: Perspective, Similarity, and Translation. When using Blackmagic Cameras, gyroscopic stabilisation is also available. Most of the time, the Perspective does the job. You can also adjust the cropping ratio, smoothness, and strength the way you like. Good to know: Unlike Premiere Pro, Resolve stabilisation can be applied to every clip, whether or not a speed change has been applied. Clips don’t need to be nested to apply stabilisation.

By now, you’ve got everything you need to edit the visual side of your video. For input on working with your audio and music, and on sharing and delivering your final clip, stay tuned.

The post Switching to Davinci Resolve: Your first cut first appeared on DIGITAL PRODUCTION and was written by Jana Johnston.

Even if you really want to, you have your workflow and rarely have the time to really get to know the new software. In the end, I was tired of getting slowed down by a constantly crashing software and not being able to render without artefacts. I thought the time spent on these issues with Premiere would have been better spent switching, especially since I was already colour grading in Davinci Resolve. To make the transition easier, here are some tips for switching from Premiere Pro to Davinci Resolve so you can get started as quickly and efficiently as possible:

Project Manager: Wait, where did I save my project?

One big difference between Davinci Resolve and Premiere Pro is how projects are managed. For this, the first thing you will see when opening the software is the Project Manager. This is the place to create and manage your projects. I’m honest: when switching, that was something that needed some time to adapt to, but it’s worth it.

While Premiere Pro projects are saved as files where you decide where, Davinci Resolve works with managed Libraries. These are structured containers that serve as a central repository for all project data. Libraries are managed via the Project Manager and can be hosted on your computer, on a networked server or in the Blackmagic Cloud. To switch between the three options, simply click on the one you choose in the top left corner of the Project Manager.

If you tend to make copies of your project on your computer to keep backups, this will change your workflow. But we’ll take a look at that later. For now, it’s important to know that projects saved in your active project library can easily be exported to your hard drive as a .drp file for a manual backup or transfer to another system. To export your project, right-click it and choose export.

Libraries come with some advantages. My favourite one: multiuser collaboration. I can’t describe how useful this is! Editors, colourists, VFX artists and sound engineers – everybody can work with the same project file on different workstations. Even at the same time, in the same timeline. Brilliant and timesaving.

Also speeding me up: powerbins. These are useful when working with media I use in multiple projects. They make media easily accessible across different projects, as long as it is in the same Project Library.  

Pages: Where do I start?

When switching from Premiere Pro, you’ll probably be used to using Dynamic Linking to get your edit into Audition, After Effects and Media Encoder to complete your postproduction process. In Resolve, this is what the Pages are for.

These follow the typical postproduction process from ingest to delivery, which provides a great advantage: you can have your whole postproduction in just one software. No exporting timelines for audio postproduction, visual effects or colour and no translation issues between software. There’s no need to manage multiple project files or export assets to get them from one project into another. Changes made in one page are instantly accessible in others, and you can quickly go back and forth as needed to change things.

I think to start, it’s important to say: Most things can be achieved in the Edit Page. Don’t get scared away by the masses of pages and functions! There are different ways to achieve your goal when editing, and you will get around very well, mostly by starting in Edit Page. Lots of functions from other pages are also available there. If you like, you can even turn off pages you don’t want to use in the preferences. To still give you a bit of orientation, here’s a quick overview of what the different pages are for:

The Media Page is for ingesting and organising. Right next to it we find the Cut page, which is an editing interface designed for speed. In the Edit Page, we have the traditional editing interface, which should be very familiar to you, coming from Premiere Pro. Quite different from After Effects is Fusion, the node-based workspace for compositing and VFX. The Colorpage – quite self-explanatory – is made for colour grading. Fairlight is the page where you can mix and master your audio after editing to then, finally, render your video out in the Deliver Page.

Interface basics: Where to find what you need

It will probably need some time for you to adapt to what’s different. One of the things that took me a while to get used to was the fixed panel places. While we’re used to being able to move everything around freely in Premiere Pro, Davinci Resolve allows only view windows to pop out and be moved freely throughout all pages. But once I adapted, it made total sense where everything is.

In the Edit Page, one big part of the window is the timeline in the lower part of the screen. Above that, we’ve got the source viewer and timeline viewer. Note: When your screen is too small or your screen resolution is too low, you might only see one viewer. Don’t worry, you can easily switch between those pressing Q.

In the Edit Page there are nine panels you can open and close by clicking their buttons located in the upper part of the screen. The ones on the upper left side will then open on the left and vice versa. The Media Pool on the upper left will give you fast access to your footage. It’s the same Media Pool as in the Media Page which we’ll look at later. The Effects panel, the index, and the mixer should be intuitive when switching from Premiere, though the feature I love most in the panels is the Inspector on the upper left side.

It could be compared to the effects controls in Premiere but has basic effects like crop already integrated, as well as more advanced effects like stabilisation, speed change, retime, and scaling.

Even though most panels are fixed, you can give yourself some more space by closing the panels you don’t need. Depending on whether you have opened multiple panels from both sides or not, they can be full-screen height or half-screen height. Accidentally messed up your UI? Don’t worry. You can quickly reset your UI layout in the menu Workspace > Reset UI Layout.

You’ll find dual-screen mode, full-screen Timeline, and, using Resolve Studio, permanent full-screen video out in the same menu.

Live Save and Project Backups

When working in Premiere Pro I often feared software crashes. I tried to save after every single thing I did because autosaving just didn’t cut it. Davinci Resolves Auto Save, which is called Live Save, is on a completely different level. I never fear that something is gone! I’ve got way fewer issues with the software crashing, but if it does, I know that what I did last will be there.

To restore the backups, right-click the project in the Project Manager. This won’t overwrite the current project version you’re working in. If you’re used to copying your Premiere Pro Sequence to revert to an earlier version of your edit, you may like to check out the Timeline backup function. It works just like Project Backups and can be activated and customised in the same spot. To restore a Timeline Backup, right-click on the timeline in either the media panel or Media Page. Just note: Timeline Backups will be stored locally, even when working on Network or Cloud Libraries, so they will only be accessible on the system where they were created.

Media Page: Import and Media Organisation

The one time I’d highly recommend switching pages is when importing media into your project. Even though it is possible to import media on all pages except Deliver, the Media Page offers many options for importing and managing your media.

The Media Page is split into Media Storage and Media Pool. The upper-left is Media Storage, which might be familiar to you if you used the Media Browser in Premiere Pro. It’s effectively a file browser for finding or exploring files on drives mounted on your computer. What I find very useful about this: you can quickly review or check footage in the viewer in the top-right corner of your screen, even without importing. A little extra: hovering over the footage lets you scrub through and preview without loading a clip into the viewer.

The lower part of the screen is your Media Pool – the project-specific repository for all the assets you’re importing or creating in Resolve, like footage, audio files, timelines, etc. On the left side, you’ll find the current projects bin list with the master bin. It’s the top level of your projects’ folder structure where all the other bins containing your project’s footage are listed. The right side shows the inside of the currently opened bin.

To get your footage into Resolve, simply drag and drop it from Media Storage, Finder, or Explorer into the Media Pool. If doing so on the Media Storage Bin list, the folder structure will be translated into the bin structure of your project. When adding to the right side, all the footage will be unpacked into the current bin

But there are other import options that let you stay in Resolve, leading to the same results: when you navigate to your folder in the Media Storage and right-click it, you’ll see the option to import your footage folder and all its subfolders into the current bin. This I find useful when working e.g., with Sony in camera folder structures, where you don’t want all the extra bins. Alternatively, you can choose “add folder and Sub folders into Media Pool (creating bins)” to get your complete folder structure as sub bins in the current bin. This is helpful if you already have your folders sorted out on your hard drive and want to copy the structure into Resolve.

Ways to create and work with proxies

Depending on the footage you’re working on, you might want to render some proxies. This is one particularly strong thing in Resolve and speeds me up quite a bit. You’ve got two options: if you’ve already set up your project and imported your footage, it’s super easy to create proxies by right-clicking on some highlighted footage and choosing proxie media > generate proxy media from the project settings.

In this case, it will automatically create proxies for the highlighted clips and save them in the location that is set in the project settings > master setting when scrolling down to working folders.

The Quality of the proxies can be defined in the same menu at optimised media and render cash. The proxy resolution is defined in relation to the original resolution. Possibilities are, for example: original, half of the original, a quarter of the original, etc. By default, it’s set to “choose automatically”, which will generate at the current set timeline resolution. When working with proxies, you can switch fast between disabling All proxies, preferring proxies and preferring camera originals, in the Timeline viewer.

You can also see whether proxies are attached by the white (for high-resolution) or purple (for proxies) icon on your clip, which will be visible in the thumbnail of your clip in the media pool.

If you really want to speed up your preparation process in advance, you should look into the Blackmagic Proxy Generator, an external tool which will automatically be installed with Davinci Resolve. It gives you the opportunity to render proxies in advance, without even having to get your project set up before. The proxies will then automatically be attached when importing the footage into a project.

This process will ensure you can go straight into editing when setting up your project. The strongest part of this tool is the watch folder function, which continues to scan your chosen folders for additional footage even after generating proxies. Very useful when you keep adding footage to folders you’re already working with.

Organising footage with scene metadata and smart bins

After you’ve added everything to your bins, it’s time to organise your footage. With Premiere Pro, I used to either restructure footage directly in bins, which made everything messy quite quickly, or sort my footage into sequences. In Resolve, I recommend using the scene metadata and smart bins. I know that Premiere Pro also lets you create smart bins using metadata, but it wasn’t intuitive enough for me to use back then. Resolve on the other side makes it super easy:

On the Media Page, click one clip or highlight multiple, then navigate to the top-right to close the audio panel. This will give your open Metadata panel more space. Choose “shot and scene” from the three-dotted menu. There, you’ve got lots of options to set metadata. One thing I like to use in this context is Clip colour, since it gives me an easy way to differentiate between different footage, for example, interviews with different people. Other than that, you can set metadata and let Davinci Resolve create smart bins based on it. For a start, I’d recommend you use Keywords. To do so, enter a Keyword you want to sort your footage by into the Keyword cell.

Then navigate to the bottom-left of your screen to find the Smart Bin List. By default, there should be a bin for Keywords. Davinci Resolve automatically generates one smart bin for every keyword you set before. By clicking on ‘Keywords’, a menu with all the smart bins will open.

Personally, I love this feature because it lets me keep my original folder structure while allowing me to sort my footage more intuitively. It also allows me to have the same clip in different bins, e.g., for location and person, which speeds up my process. With all this said, you should have everything you need to make your first steps in the software. Next up: how to get your Project Settings and Timeline right to start your first edit in Davini Resolve.

The post Getting your bearings: Switching from Premiere Pro to DaVinci Resolve first appeared on DIGITAL PRODUCTION and was written by Jana Johnston.

Neat Video is a GPU-accelerated denoising plug-in for NLEs, compositors and grading systems, including Premiere Pro, After Effects, Final Cut Pro, Motion and Baselight. It builds device specific noise profiles and applies spatial and temporal filtering inside the host application.

OFX plug in across Windows, macOS and Linux

Neat Video v6 is available as a plug in for OpenFX hosts on Windows, macOS and Linux. Version 6.1 of the Neat Video v6 plug in for OFX hosts adds support for Baselight 7. This extends compatibility for grading workflows using OpenFX on macOS and Linux in that host.

Expanded support in other hosts

According to the vendor, version 6.1 adds compatibility with the latest versions of several major host applications. These include Premiere Pro 2026 on Windows and macOS and After Effects 2026 on Windows and macOS. On macOS, version 6.1 supports Final Cut Pro 12 and Motion 6 from Apple. The plug-in is compatible with standalone versions purchased from the App Store as well as bundled versions of Final Cut Pro 12 and Motion 6 included in Apple Creator Studio. The vendor states that the Neat Video 6.1 plug in functions identically in both cases, allowing users to switch between those versions if required. Support for Baselight 7 has also been added, as noted above, via the OFX plug in.

Default Noise Profile and Filter Preset controls

A key update in version 6.1 is the introduction of new controls to simplify using a fixed noise profile and filter preset when working with a series of clips with the same noise. The stated aim is to speed up the overall setup process when applying multiple instances of the noise-reduction effect to similar materials.

Users can now set the Default Noise Profile using the current noise profile. This is implemented through a new button with a popup menu in the Device Noise Profile panel and through new commands in the main menu under Profile.

Similarly, users can set the Default Filter Preset using the current filter settings. This is available via a new button with a popup menu in the Filter Settings panel and through new commands in the main menu under Filter. When the filter is applied to additional clips in the same series, new instances automatically load the Default Noise Profile and Default Filter Preset.

The improved representation of the names of the current noise profile and current filter preset makes it clear when defaults are in use. Their names are displayed in the Device Noise Profile and Filter Settings panels.

The Input Data Gain section in Preferences is disabled when the Default Noise Profile is used. The vendor states that this is because the actually applied gain is determined by the Default Noise Profile in that case.

Reset controls and minor fixes

Version 6.1 adds a new Reset button in the Device Noise Profile panel and a corresponding command in the main menu under Profile to reset the current noise profile. A new Reset button with a popup menu has also been added to the Preferences dialog. This allows users to reset settings on the current page, reset settings on all pages, or re enable all optional messages and dialogs that were previously disabled.

Neat Video 6.1 is available as a free update for licensed users of version 6. Users of earlier major versions can upgrade with a discount. Demo editions are available for evaluation. As always, new tools and updates should be tested in a controlled environment before deployment in production.

// https://www.neatvideo.com/blog/post/neat-video-61-host-support-better-workflow
// https://www.neatvideo.com/download/history/ofx-plugin

The post Neat Video 6.1 updates OFX and host support first appeared on DIGITAL PRODUCTION and was written by Bela Beier.