But even though version 11 is undeniably a powerful editing system in it’s own right (in addition to being a world class color grading platform), I have never really been tempted to edit any long form material in it, as it isn’t quite at the level of FCP X or Premiere Pro in some ways. The current version of Resolve (11) already has some incredible editing functionality built right in, and I’ve even used it to edit a couple of short form commercial projects from end to end. With all that in mind, DaVinci Resolve 12 is the new kid on the block and it may just become the most powerful and useful editing system out there. To this day I’m still not a big fan of Avid, although I will occasionally use Media Composer on specific jobs as needed – usually based on the other editors involved on those projects. Up until this point I have been using FCP X for the majority of my editing work and Premiere Pro for certain jobs where I feel it’s a better fit. Every platform has it’s strengths and weaknesses, and you really should always “pick the right tool for the job”, no matter how cliche that may sound. I may have my favorites (FCP X certainly being one of them), but am not married to any one platform and never have been, just as I am not set on using the same camera for everything that I shoot. Much like cameras, I think of editing platforms as individual tools that should be chosen based on the job they’re being used for. That said, some of the benefits of editing on Resolve 12 are going to be hard to pass up, especially for the unique needs of my upcoming film. Those of you that read this blog frequently know that I use all of the major NLE’s, and often lean towards FCP X for my personal work. I’ve been using DaVinci Resolve extensively as a color grading tool for the past few years, but with version 12 just around the corner I am very tempted to use it to cut my next feature.
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