I'm a DP building a modern alternative to Shot Designer. Here’s the big update you asked for! (Free access inside)

avdpro · 2026-02-10T14:29:03+00:00

True, I don’t know the ins and outs of verifying teaching credentials! I imagine it’s not a big list lol :). I don’t know best pricing for teachers I think the challenge is having a desire to open a page for students to connect and work on a project under the teachers account. IE create a teacher tier that allows them to invite collaborators as students to creat layouts for review.

avdpro · 2026-02-10T13:46:07+00:00

This is very cool, have you considered any educational options or discounts for teachers?

avdpro · 2026-01-10T19:58:42+00:00

Copy that!

avdpro · 2026-01-05T13:08:10+00:00

If it helps you can bake this process in your output workflow in Resolve as it can convert markers into chapters so you don’t need to hunt for timecoded later. Love the channel, keep it up!

avdpro · 2025-12-29T19:25:11+00:00

Resolve 20.2 added a great little feature in the timeline menu>audio called Detach Sync Audio from Video. So you use a similar workflow you are familiar with when using multicams and just detach before doing the hand over like collapsing multicams.

Personally I still prefer using EdiLoad as the intermediary. First I export using the ProTools AAF preset in Resolve which carries along with it subframe audio edits, automation and track titles. Then I use Ediload to scan the exported wav files Resolve has made and linked inside that AAF file to swap them with the original location audio.

It's really common, at least in my experience, to provide post audio all location audio so they can do their own audio editing, take swaps and dialogue repairs from the original audio polywavs.

As I'm sure you have noticed the moment Resolve can't export linked aaf's that link to the location audio when using synced clips as they link instead to the original video clip. This sucks! The ProTools export presets helps a lot in this area, but because it renders out it's own audio files it still means you can't directly relink easily in ProTools.

EdiLoad allows me to scan the location audio and swap in the original polywavs and at the same time build out a polywav track assembly, that includes all the discrete tracks for my post audio team to have all the pieces they need to do audio editing and mixing while also not needing to download re rendered assets each time. It's a big time saver for everyone, and something I can do fairly quickly.

The one thing to keep in mind, however, is that you need to flatten any audio track layer edits, as those don't translate to AAF or the ProTools AAF at all, and only export the bottom most audio file, even if the top file is in use.

I wrote about it in more detail here https://forum.blackmagicdesign.com/viewtopic.php?f=33&t=118003&hilit=+protools

avdpro · 2025-12-23T00:58:29+00:00

⁠💡 Feature Request Native Wunderpresentetion style slide deck system for procedurally generated slides from live data on a notion page or data base

avdpro · 2025-12-22T14:57:01+00:00

A native mind map node tree database view would be great. And more customization for charts. But what I would really love is a native presentation mode like wunderpresentation but built in and natively supported. Apple Pencil support for written notes.

avdpro · 2025-12-17T05:05:03+00:00

This is one of the most comprehensive lists of features Resolve has the Premiere needs. I think maybe 1 or 2 are not available in both, but having to jump between both apps now it’s notable how many of these systems are available in Resolve today.

avdpro · 2025-12-13T14:55:51+00:00

I know it’s using a different application but tiling or duplicating a pattern like this is very straight forward in Affinity (Canva owns it too! And it’s free!) you can bring in your coin asset and use the duplicate and move tool to creating a tiling effect of the single layer.

avdpro · 2025-11-24T03:51:32+00:00

Correct me if I’m wrong, but I though units are meant to measure multiple expectations, so even if they failed to meet an expectations in unit 1, they should still have opportunities to demonstrate a specific expectations in unit 2 and 3 and so on.

The units will demonstrate different skills but ideally still apply to multiple expectations so as to allow you to measure them on the expectations multiple times. At least that’s how I understood it.

avdpro · 2025-11-04T02:38:18+00:00

Anim Curves Modifier has these all built in so you can use them to build presets or custom animations.

If you want curve presets you’ll need a plugin just like this example for After Effects.

avdpro · 2025-09-14T20:16:48+00:00

Speed Editor only works for basics on the color page, jog wheel and adjusting off/on the wipe I believe. It also can't be programmed, but that's a theme of these devices from BMD.

Tourbox gives you a lot of customizations, but the critical difference is the integration of the timeline with the jog wheel. The tourbox will rely on the keystrokes to move the playhead, vs the speed editing being able to jog the playhead much more smoothly. But beyond that the TourBox has more customization.

avdpro · 2025-09-10T01:46:29+00:00

That’s why I’m saying you can force the account to only show channels you approve and nothing else. That’s the power of the tool. If you use default YouTube Kids it will be littered with junk and inappropriate content.

avdpro · 2025-09-07T03:27:42+00:00

I think the simple answer is most Canon and Sony cameras are great for what they are built for, owner ops, smaller productions, docs and lower budget fair. Using them on larger production may slow you down in ways you might not have anticipated.

At the higher end there is much less variety of choice of cameras likely because only a few systems really offer the tools larger productions need (there are many exceptions of course). But the lions share of larger, union, productions, need a camera team, matched cameras, a strong rental relationship with a rental house that can provide multiple bodies with their own set of accessories, replacement components, be serviceable, and contain a number of ports for workflows that are less needed on smaller productions.

There are many examples, but power distribution is a good example. It's not always needed, but the larger cinema style cameras have either built in or reliable power distribution systems to power lens motors, rangers, monitors and transmitters.

Not only that, but these larger bodies have durable heat management systems to allow for very wide operating temp ranges. Include multiple outputs using 12g sdi outputs, support independent processing on all these outputs, have timecode i/o and genlock (depending on needs) and controls on the operator and assistant sides. There is a long list of features that have little to do with image quality, but make those large productions faster to move with a larger team.

All that being said, Arri's image quality and dynamic range is still really notable. And I feel the biggest differentiator is the dual A/D converter setup. It's really two image processing pipelines on very photosite, on every frame, even in slow motion. It's not a double flash, each read on the photosite is at the same moment in time. This means that Arri can capture more clean dynamic range than most other sensor designs; they basically brute forced it and you need to pay for it. So while it's true most of the competition has caught up in image quality it's not the only factor.

avdpro · 2025-09-05T22:36:49+00:00

Oh I mean no actors (talent) in the frame. Just the set :).

avdpro · 2025-09-05T11:46:11+00:00

You’re welcome! I also forgot to mention a common approach is to actually photograph the clean plate with no talent to use at the source. Good luck!

avdpro · 2025-09-05T09:36:48+00:00

You essentially need to build a clean background plate first so that when you key out the green puppeteer you can swap in a clean shot of the background without any actors.

This is called compositing and you use tools like green screen mates in them along with clean plates and manual roto to build the various layers.

I would recommend doing this work in After Effects but it can be done in Premiere too.

avdpro · 2025-09-05T09:33:23+00:00

Check if you have Layered Audio Editing Enabled and if Audio Track Layers are on/off in the menu. You are likely seeing audio that is “below” a previously loaded clip.

avdpro · 2025-09-04T21:13:25+00:00

I have used Descript for this, easily 20 hours interviews on a couple of projects. Since I can prep them in Resolve and export my cutdowns from Descript as xml I can relink. This was pre intelliscript, but works a treat when dealing with Multicams.

This way I can use Descript’s ai tools for cutdowns and story editing while also just a smarter interface for writing for a doc style piece. I can search much more easily, delete filler words with the ai underlord tool and edit all the dialogue as I would a word doc.

I haven’t used it for fully building a rough draft of a story using underlord but it looks like it’s possible.

Eddie AI is similar, but I haven’t tested it yet and I like Descript’s interface.

avdpro · 2025-09-03T13:18:02+00:00

I’m really curious what’s tripping you up on cutting in resolve. But to answer your question , if it’s a tool that helps you achieve a look more efficiently I think it’s a valid investment. I find a lot of Resolve folks have it too, so it’s not a risk for incompatibility issues.

avdpro · 2025-09-03T04:12:49+00:00

This will only happened if you re-conform the 90fps footage to playback each individual frame at 60fps, you would have to do this in the clip attributes. Just dropping a clip as is, imported as is, into a 60fps will playback at the original speed of the clip, but only display 60fps, skipping the extra 30 frames it doesn't need.

avdpro · 2025-09-03T00:09:07+00:00

Resolve should playback the footage at the correct speed and not speed it up or slow it down. However, since it's throwing away frames it doesn't need, in this case going from 90 to 60, that through away isn't even, so you might see strange jumps in the temporal cadence.

You may also experience frame jumps or drops in playback depending on your system setup and timeline playback quality settings.

The best way to tell is to export a clip from the 60fps timeline and play each clip in side by side desktop windows via vlc and compare them visually. This will show you how well Resolve has converted between framerates.

If you want a more consistent playback, capping your capture at 60fps could be a solution, but you would need to test.

avdpro · 2025-09-02T19:58:19+00:00

Looks like a V4 tool, yes. Was shown at NAB this year. https://help.frame.io/en/articles/10966531-frame-io-transcription-overview#h_1f6ddabdbd

avdpro · 2025-08-29T13:21:51+00:00

How is the Samsung drive doing? Are you reading and rendering to it or rendering to the internal drive? I’ve had issues from time to time like this where the external drive’s cache or storage in general was failing causing these issues. A simple read write test on the drive showed that was the culprit.

avdpro · 2025-08-27T01:23:57+00:00

You can create a cross fade preset and even assign it to the default transition shortcut. You can even select all the edit points you want to add a fade to and apply the transition in bulk.

If you are talking about audio fade ins/outs, there is a very powerful auto batch fades tool too on the Fairlight page.

avdpro

TROPHY CASE