How Cutting in Resolve brought this editor closer to the camera

Award-winning editor Terel Gibson recently learned how to edit in DaVinci Resolve Studio, and it changed the whole post process.

In his career Terel Gibson has cut a number of iconic films such as Sorry to bother you, Ready or Not, and Kings of summer.

From the beginning of his career he understood the incredible power of the editor.

“I worked my way up and fell in love with the editing,” Gibson told No Film School. “The ability to create a story with this incredibly powerful medium surprises and inspires me again and again.”

Gibson selects its NLE based on the size and complexity of the project. Via the Disney + function security, he was able to edit Resolve for the first time. Here’s how it worked, and where Gibson sees post-production.

This is how cutting Resolve worked for the Disney + feature security

The film marked Gibson’s first time editing an entire feature film in Resolve Studio, and all of the production took place in the DaVinci ecosystem.

“We have Resolve for a Disney + feature called. used security last year, ”Gibson told No Film School. “It was recommended by our producers and we had it [a] great support system throughout post production. ”

To the security, the post process was quite different from the first day. Because of the digital asset management system and the way the entire team within DaVinci Resolve was able to work together, the editorial team was part of the production team from the start.

Editorial even had a suite in the production office!

Gibson and his team were often able to edit scenes while they were still being filmed, and rough cuts could be viewed at the end of the day or the next morning.

“I’ve never felt this close to the camera,” said Gibson.

Director Reginald Hudlin speaks to the cast of the film “Safety”, edited by Terel Gibson. Recognition: Disney +

A breakdown of the insanely fast workflow on security

In this production, the editing started practically on the set.

How? Here’s how that was possible.

  1. As soon as the cameras roll, the Hyperdeck Studio mini recorders record the appropriate timecode on the digital asset management (DAM) car and play back footage.
  2. This video feed is routed to DaVinci Resolve and rated live on set.
  3. Video Village displays the color corrected footage
  4. Live images were immediately available via ATEM 1 M / E Production Studio 4K switcher and Teranex Mini SDI Distribution 12G boxes.
  5. Directors, DPs and executives could take notes on clips that went straight to the editorial office through the DAM shopping cart.
  6. Script supervisor notes are added to metadata and are immediately available to editors.
  7. Digital asset manager Michael synchronized the audio with the camera files, added non-destructive color grading, and then created an editorial timeline.
  8. Camera footage is downloaded from cards to RAID drives and delivered to post-production several times a day.
  9. With notes and footage arriving so quickly, the editing team was never more than six hours behind shooting.
  10. The editors worked on rough cuts, often by the end of the day!

Are the days of the editorial office, which resides in a dark cave months (or years) after production, over …?

Here is a BTS clip examining the finished movie security where you can get a little glimpse into digital asset management at work.

Is the future of post production in … production?

Post-production has always been a completely separate phase of filmmaking, where the cameras and actors have long been gone. But with this type of technology and a whole team working within DaVinci, we see how this can change.

Is this a natural progression as technology advances? Will indies do that? Is this part of a fundamental post-production shift in the future?

“It could be,” Gibson told No Film School. “The file size is huge and requires a lot of storage space. If costs go down, I’m sure that productions will continue to try to make editorial the home for raw camera dailies. ”

Recognition: Blackmagic design

Advice to Become a Great Editor

Gibson has edited many great titles and continues to edit great films, both in the studio and indie.

He is at the interface between cutting edge technology and some of the best filmmakers in the world. What is his advice to you?

“The most important piece of advice was given to me by a great editor and mentor,” said Gibson. “It’s not how you start, it’s how you stop. Hard work will always pay off in the end. ”

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