Does that mean editors will now be expected to handle more of the color workload? In fact, editors can do a whole lot of the color management and primary color correction using a suite of automated tools. It also means that editors can apply color management to clips so that clients aren’t staring at the dulled, washed out image of log-encoded footage. No reason to wait for picture lock before grading can begin.

Having the NLE and grading suite “living under the same roof”, so to speak, promises that the entire post process of cutting and coloring can suddenly become seamless and iterative. No more conforming EDLs, chasing down assets or needing to get editorial to send clips and XML files before color work can happen.

For facilities that handle editorial and color, using Resolve 12 as an NLE will greatly speed up workflows and process. As you edit, you have all of the color management and grading tools available to you. As an NLE, it’s fully integrated with the industry leading color grading suite in the exact same application.

When I say “editor-friendly”, I mean exactly that - feature updates in Resolve 12 have made the application a full-featured NLE, robust enough to meet the needs of a professional editing environment. There are three tools that I want to cover in some detail because I think they form the critical basis for a rapid, editor-friendly, colour grading workflow: Auto Color, Color Match and Shot Match. Eric Escobar looks at some of the new automatic colour grading tools in Resolve 12 that promise to usher in a whole new world of ‘editor-friendly’ grading.whether editors like it or not.

Davinci resolve auto color correction