You want an ego check as an experienced video editor? Put yourself in a position where a complete work stoppage can only be solved by typing “how to add titles” into a search engine. Indeed, simple tasks that were second nature in Premiere turned into early roadblocks in Resolve. Sometimes, it felt like I was holding in a sneeze as I’d slowly move around the program looking for simple effects and tools to use. Climbing into Resolve, well, it was humbling. I knew where stuff was and what stuff did. Of course, there were some growing pains. The learning curve is gentle, and I had a general understanding of what I was doing pretty quickly. While learning a new program can be daunting, Resolve is no Blender. Put it alongside Resolve’s tracking capabilities, and you’ve got the most substantial one-two gut punch in all of color grading.
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The Magic Mask tool for coloring is mind-blowing.Stabilization in Resolve is far superior to the Warp Stabilizer tool in Premiere.They’re new and different, but they make more sense and give you a better understanding of what you’re doing. The dedicated color page is so well designed and organized, it’s the most user-friendly experience ever.The best thing I can say or pitch about Resolve’s color page is that it’s an actual dedicated space for color grading, designed specifically to help you get to the finish line while producing the best images possible. After watching countless tutorials about using nodes and playing with images in ways I never felt comfortable with in Premiere, the color page ended up playing a big part in the decision to switch. I had been eyeing it with excitement in the last days of my Premiere Era, seeing it as a possible challenge that could usher in the next phase of my career. But, I digress.Īlso, after a year in, I’m pretty over the moon with the color page. Sure, there are small critiques: The Magnet tool is kind of infuriating to work with, as it lacks the nuance and intuition of Premiere. Basic cutting, working with the timeline, piecing together edits, it’s all a breeze.
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You can only really enter into an understanding with an NLE- let’s meet each other where we’re at, just as we are, and try to make this relationship work as long as we can, dang it.Īll of that said, I feel like it’s working out pretty well with Resolve I’ve grown comfortable with almost every aspect of it. You can’t really love a program, and, thanks to the number of other options, there’s no value in actively hating one. The Editor/NLE relationship is a complicated one, a thing of wild highs and lows that fluctuate on a project-by-project basis, often in relation to creative energy, technical aptitude, and client attitude. However it all sounds-silly, biased, whatever-it’s where I was. At the same time, I couldn’t shake the feeling that Blackmagic Design (as a company) simply cared more about its customers. I was feeling less and less enchanted by Premiere due to Adobe’s pricing structure. When I looked at these three things all together, there was definitely, for lack of a fancier word, a vibe. The Third Thing, filed under “R” for Real Talk: After the pandemic put me out of a job, the monthly Premiere bill started taking a toll. When you purchase a Blackmagic Design product, you get Resolve Studio for free. While watching those finely crafted tutorials and reading those in-depth articles, I found myself appreciating and becoming curious about Resolve’s capabilities as a do-it-all software.
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The First Thing: As a long-time writer for the blog, I was exposed to Lewis McGregor’s many Resolve musings. Really, though, my choice came down to three things. How I was evolving beyond Premiere, growing as a colorist, and wanting to expand my horizons. I could wax poetic here about how and why my needs weren’t being met. Why Did I Make the Switch? The answer’s in the question. If so, then hopefully this look at my journey will give you a pretty good idea idea of what to expect should you ever decide to make an NLE change. I’m certain many of you relate to this self-assessment. But, either way, I treat every day as a chance to get a little better. Some days I feel a bit above average, some days a bit below. In fact, what I am is a perfectly average video editor. Ultimately, as an experience, it’s been both thrilling and humbling.īefore we go any deeper, though, hear me out-I was never really a Premiere Pro Expert™ to begin with, nor am I currently an expert at DaVinci Resolve. At the same time, there is much I miss about Premiere. As you’ll see, there are things about Resolve that I can’t believe I once lived without. It’s been about a year since I made the leap from Adobe Premiere Pro to DaVinci Resolve, and now I’m ready to share some hot, steamy takes. Here’s everything I’ve learned about switching to a new NLE-the good, the bad, the unexpected, and the humbling.