As a feature film editor, I teach this method to my assistants and have used it flawlessly on countless projects.Įven if you’re not familiar with the software, you’ll likely feel comfortable pretty quickly. No labeling or manually matching audio and video files required. It allows me to import edit-ready files into my NLE and get right to work. Resolve is both easy to learn and is the fastest way to churn out synced dailies on a deadline. No other program gives you three methods of syncing while also allowing for easily baked-in LUTs and color correction, trimming, and transcoding, all in one. I’ve found DaVinci Resolve to not just rival, but surpass, paid programs like PluralEyes in both speed and flexibility. Why Sync in DaVinci Resolve?įirst and foremost, it’s free! And extremely powerful. We’ll cover batch auto-syncing by both waveform and timecode, how to make adjustments to your synced clips, and manual syncing. This will allow you to quickly and easily sync video to audio recorded on a separate device.

In this article, you’ll learn how to seamlessly integrate Resolve into your post-production workflow. Y ou can sync an entire day’s worth of footage with a single click. And while many editors have taken advantage of the software, many more still think of it as a complicated, high-end color correction tool. On longer projects, syncing individual clips quickly becomes both tedious and a big waste of time and money. But it doesn’t have to be.ĭaVinci Resolve has come packaged with expert batch-syncing capabilities for years. Avid, Premiere Pro, FCP X – none of them allows for batch syncing without caveats. If there’s one thing NLEs (other than DaVinci Resolve) get wrong, it’s syncing.

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