DaVinci Resolve workflow, the six types of edit, and your first completed short film
Focus: DaVinci Resolve project structure, media management, and the fundamental mechanics of the edit page. Get the infrastructure right before you cut a single frame.
DaVinci Resolve project structureResolve organises work into Projects (contained in a database), which contain Bins (folders for media), Timelines (edit sequences), and Media (raw footage and assets). Always create a dedicated project per job — never mix footage from different productions in the same project. Consistent bin structure: 01_Camera_A, 01_Camera_B, 02_Audio, 03_Music, 04_Graphics, 05_Sequences, 06_Exports. The Media Storage page connects Resolve to your SSD — point it to your fast external drive before importing anything.
Media management — the ingest workflowBefore editing: copy all camera card footage to your primary drive, then immediately copy again to a backup drive. Never edit from the camera card. Recommended folder structure: /ProjectName/Camera/CAM_A_date/, /Camera/CAM_B_date/, /Audio/, /Music/, /Exports/. Import into Resolve using the Media page. Do not move files after importing — Resolve stores absolute paths. On the M4 Mac Studio, 4K ProRes footage from the FX30 plays natively without proxies. For S-Log3 H.265 files, generate optimised media (right-click → Generate Optimised Media) for smooth playback.
Timeline settings — getting them rightRight-click in the Media Pool → New Timeline. Set: Frame rate (25fps for Australian delivery), Resolution (3840×2160 for 4K, 1920×1080 for HD), and timeline colour space. Getting frame rate wrong — creating a 30fps timeline with 25fps footage — causes speed errors that are painful to fix. Set it correctly at the start. The timeline frame rate should match your delivery frame rate, not necessarily your camera's frame rate.
The Edit page — tools and keyboard shortcutsCore tools: Selection (V), Trim (T), Blade (B). Core keyboard shortcuts: I and O to set In and Out points, F9 to insert, F10 to overwrite, Delete to ripple delete, Cmd+Z to undo. Develop these as muscle memory in Week 1 — editors who use the mouse for everything work at half the speed of those who use the keyboard. Time yourself daily improving.
The Kuleshov effect — why editing is the most powerful filmmaking toolIn 1918, Soviet filmmaker Lev Kuleshov demonstrated that viewers project emotion onto an actor's neutral expression based entirely on what image precedes or follows it. The same neutral face appears hungry juxtaposed with food, grief-stricken with a coffin, and loving with a child. The editor — not the actor, not the director — controls what the viewer feels. Editing is meaning-making, not arrangement.
Drill 1
Build your project template
Create a Resolve project called 'Template_Master'. Build: consistent bin structure, a 25fps/4K timeline with correct colour space, a base S-Log3 → Rec.709 colour grade node chain, a Fairlight bus structure (dialogue/music/SFX), and at least 5 export presets (YouTube 4K H.264, YouTube 4K ProRes master, Instagram Reels 9:16, Instagram Feed 1:1, Client ProRes 422 HQ). Export as a Project Archive (.dra file). This archive is your starting point for every future project in the course.
Drill 2
Keyboard shortcut drills
Import 10 clips from any module. Practice playback: J (reverse), K (pause), L (forward). Practice marking: I (mark in), O (mark out). Practice placing: F9 (insert), F10 (overwrite), Delete (ripple delete). Do 50 repetitions of each shortcut pair until automatic. Time yourself building a rough 2-minute sequence using only keyboard shortcuts — no mouse clicks for clip placement.
Drill 3
Kuleshov experiment
Film 5 seconds of a neutral expressionless face. Film separately: a plate of food, an empty chair, a sleeping baby, a thunderstorm, and a laughing person. Edit five 3-shot sequences: neutral face → each image → neutral face again. Show to someone who doesn't know what you're testing. Ask them to describe the emotion on the face in each sequence. The emotion attributed to the same neutral face will change based on context. Document what they say.
Drill 4
Proxy performance test
Import 20 minutes of 4K S-Log3 H.265 footage from the FX30. Play back without optimised media — note how many frames are dropped (check the playback FPS in the viewer). Then right-click all clips → Generate Optimised Media. Wait for the process to complete. Play back again. Compare performance. On the M4 Mac Studio the improvement for H.265 material should be significant.
Week 1 Assignment
"The project template"
Build and export your definitive DaVinci Resolve project template as a .dra archive file. The template must include: the correct bin structure, a 25fps/4K timeline with colour space set, a base S-Log3 → Rec.709 grade node chain, a Fairlight bus structure for dialogue/music/SFX, and at least 5 export presets. This template will be used for every project throughout the course.
Bin structure is logical and complete
Timeline is 25fps / 3840×2160 with correct colour space
Colour page has an S-Log3 → Rec.709 base node chain
Fairlight has separate buses for dialogue, music, and SFX
At least 5 export presets are saved and verified
DaVinci ResolveM4 Mac Studio
Focus: the six types of edit and when to use each. Cutting is a language — these are the words.
The match cut — continuity of movementA match cut joins two shots where an element of form, movement, or position is the same in both shots at the cut point — 2001's bone-to-spacecraft cut, or a hand reaching for a doorknob that opens from the other side in the next shot. Match cuts create visual continuity that makes a cut feel seamless even when the shots are very different in scale or subject.
J and L cuts — audio overlap and the invisible editJ cut: the audio of the next scene begins before its picture appears — while we still see Scene A, we hear the beginning of Scene B. L cut: the audio of the current scene extends into the next picture — we see Scene B but still hear Scene A's audio. Both techniques make cuts invisible and create seamless narrative flow. These are among the most important editing tools — use them constantly.
The cutaway and the reaction shotA cutaway cuts to something related — an object being discussed, an environment, an event elsewhere. Reaction shots show how someone reacts to what is being said or done by another character. Reaction shots are often more powerful than the action they respond to — the Kuleshov effect in direct practice. Cover every interview and dialogue scene with cutaways and reactions; they give the editor enormous flexibility.
The jump cut — deliberate discontinuityA jump cut removes a section of a continuous shot, creating an abrupt visual 'jump.' Embraced by the French New Wave as a stylistic statement, and common in contemporary YouTube and talking-head content as a quick pacing tool. The danger is appearing incompetent rather than deliberate. A jump cut that surprises without disorienting is effective; one that confuses the viewer is not.
Montage and cross-cuttingMontage sequences images in rapid succession to create meaning that none of the individual images contains alone. Eisenstein's principle: the collision of two images creates a third meaning — a fist + a clock = urgency. Cross-cutting (parallel editing) alternates between two scenes happening simultaneously, implying they are occurring at the same time. Its primary use is to create tension — the approaching threat cut against the unaware subject. Both are compression tools that cover large spans of story in very short running times.
Drill 1
J and L cut practice
Take any two scenes from footage you've already shot. First: hard cut between them (no overlap). Then: add a J cut — audio from Scene 2 enters 3–5 seconds before the picture cuts. Then: add an L cut — audio from Scene 1 continues 3–5 seconds into Scene 2's picture. Compare all three versions. Show to someone else — they will almost certainly prefer the J/L cut versions without knowing why.
Drill 2
Match cut exercise
Shoot 10 pairs of shots designed to match cut — a hand gesture that matches in form between two subjects, a circular object in one scene matching to a circular object in another, a movement direction that continues across the cut. Assemble in Resolve. A successful match cut should feel fluid — the viewer's eye does not lose track. An unsuccessful one feels abrupt. Identify what makes the successful ones work.
Drill 3
Reaction shot coverage
Stage a simple scene: someone tells a story to one or two listeners. Shoot the storyteller (master and singles), then shoot extensive reaction coverage — close-ups of listeners reacting. In Resolve, build an edit that uses reaction shots to manipulate the meaning. Try editing it to make the listener seem bored, then re-edit to make them seem captivated — using the same reaction footage. This is the Kuleshov effect in direct practice.
Drill 4
Build a tension cross-cut
Film two scenes: Scene A is someone waiting somewhere (a table, a platform, a doorway). Scene B is someone rushing to get to them (running, cycling, driving). Film at least 3 minutes of each scene. In Resolve, build a cross-cut that maximises tension: short cuts early, increasing pace toward the climax, then resolution. The pacing of the cross-cut — where you cut and how long each segment is — is what creates or destroys the tension.
Week 2 Assignment
"Six cuts"
Using footage from any previous module (or new footage you shoot for this), produce a 3-minute edit that demonstrates all six cut types: match cut, J cut, L cut, cutaway, jump cut (deliberate), and cross-cut. Each cut type must appear at least once and must be intentional. Label each type with a brief subtitle in the edit.
All six cut types are present and correctly labelled
Each cut type is used intentionally — not accidentally
J and L cuts create genuinely smooth scene transitions
The jump cut is deliberate — it creates effect, not confusion
Overall edit has rhythm — pacing is not random
DaVinci Resolve
Focus: pacing, rhythm, and the relationship between music and the edit. Understanding why some cuts feel right and others feel wrong.
Pacing — what creates itPacing is the perceived speed of the edit. It is created by: cut frequency (more cuts = faster pace), clip duration (short clips feel faster), shot scale (close-ups feel more urgent than wide shots), content (action feels faster than static), and audio (faster music, faster speech, and more audio events all accelerate perceived pace). Pacing should serve the emotion of the scene — tension builds with increasing pace, contemplation requires slow long takes.
Cutting on action — the physics of invisible editingA cut is least noticeable when made during movement — as a hand reaches for an object, as a person stands, as a door swings open. The viewer's eye tracks the movement and the cut slides under their attention. A cut made during stillness — between two static shots — is more visible because there is no movement to mask the transition. This is why action sequences cut so freely: every action creates a natural cut point.
Music-driven editing — cutting to music vs cutting to pictureCutting to music means placing cuts at musical beats, phrases, or rhythmic events. It creates satisfying visual rhythm but can become mechanical. Cutting to picture means placing cuts based purely on content and performance. The best editing combines both: cuts are motivated by content but timed to land musically where possible. Avoid cutting mechanically to every beat — cut to the music's phrase, not its pulse.
Walter Murch's rule of sixWalter Murch (editor of Apocalypse Now) proposed six criteria for the ideal cut, in priority order: (1) Emotion — does the cut make the viewer feel the intended emotion? (2) Story — does it advance the narrative? (3) Rhythm — does it happen at the right moment? (4) Eye trace — does the viewer know where to look after the cut? (5) Two-dimensional plane — does it respect the spatial grammar of the screen? (6) Three-dimensional space — is it spatially consistent? Emotion outweighs everything.
Rough cut to fine cutA rough cut is an assembly of all planned footage, in approximately the right order, at approximately the right length — it is overlong and imperfect, a first draft. A fine cut is where timing, pacing, music, and dialogue are refined to near-final state. Process: assembly edit → rough cut (remove obvious errors, set approximate pacing) → fine cut (trim every clip to exact frames, refine J/L cuts, check every cut point) → picture lock → final delivery. Never skip straight to fine-cutting — the rough cut reveals problems you cannot anticipate until you see all the footage together.
Drill 1
Pacing manipulation exercise
Take 5 minutes of footage from any source. Edit three versions: 90 seconds (fast — many cuts, short clips), 3 minutes (medium), and 5 minutes (slow, contemplative). Use the same footage for all three. Compare them. Note how the same material creates completely different emotional registers purely through cut frequency and clip duration.
Drill 2
Music-driven edit
Choose a piece of music with a clear structure (verse/chorus or A/B section). Import 3 minutes of footage. Edit 90 seconds to this music — cut to the musical phrases (not every beat). The chorus should feel different from the verse in visual energy and content. Cuts should feel musically satisfying without being mechanical.
Drill 3
Cutting on action practice
Shoot 10 simple actions: someone sitting down, picking up a glass, opening a laptop, walking through a doorway, pouring water. For each action, shoot in two different ways (different angles or sizes). In Resolve, practice cutting mid-action between the two angles. The cut should be invisible — the action appears continuous across the edit point.
Drill 4
Rough to fine cut workflow
Take the Module 4 covered scene footage. Build an assembly edit (every take of every shot in approximate order, nothing trimmed). Build a rough cut (choose the best take of each shot, set approximate timing, trim obviously bad frames). Build a fine cut (trim every clip to its exact optimal in and out points, refine every J and L cut, check every cut point). Compare the three versions. The time investment between rough and fine reveals the value of systematic refinement.
Week 3 Assignment
"The travel reel"
Using any footage you have from different locations, cut a 90-second travel reel to a piece of music of your choice. The reel must have a clear beginning, middle, and end — a sense of journey and narrative arc, not just a collection of pretty shots. Cuts must be music-motivated but content-driven.
90 seconds exactly — no shorter, no longer
Cuts land musically — on phrases, not on every beat
A narrative arc is present: arrival, exploration, departure
No jump cuts between similar shots (unless deliberate)
Audio mix is clean and music is at an appropriate level
Sony a6700 or FX30DaVinci Resolve
Focus: export settings, delivery formats, and completing your Phase 1 short film — a genuine accomplishment.
Export settings — the matrix of formatsYouTube 4K: H.264 or H.265, 3840×2160, 25fps, bitrate 35–68 Mbps. Vimeo: same specs or ProRes 422. Instagram Reels (9:16): H.264, 1080×1920, 25fps, under 4GB. Instagram Feed (1:1): H.264, 1080×1080. Broadcast/client delivery: ProRes 422 HQ, native frame rate, correct colour space. The M4 Mac Studio's hardware H.264/H.265 encoder makes these exports fast — a 10-minute ProRes export that would take 30 minutes on an Intel machine takes 4–5 minutes on the M4.
Colour space for deliveryFor most web delivery (YouTube, Vimeo, Instagram), deliver in Rec.709 colour space. If working in a wide colour space, ensure your output transform in Resolve's colour management converts to Rec.709 before export. Delivering in the wrong colour space causes colours to appear washed out (S-Log3 direct) or oversaturated (wide gamut) on standard displays. Always export a test frame and check it in a web browser before delivering the full file.
File naming and archiving conventionsAdopt a naming convention and apply it universally: ProjectName_Version_Format_Date.ext. Example: LocalBusiness_BrandFilm_v03_YT4K_20260601.mp4. Archive all project originals (camera card copies) and the Resolve project .dra archive file. Store one copy locally on your primary drive and one copy on an offsite drive or cloud storage. The discipline of archiving is invisible until you desperately need a file from 18 months ago.
Reviewing your own work criticallyAfter finishing a cut, leave it for at least 24 hours before final review — time creates critical distance. Watch it back on a different screen than you edited on (your phone, your TV). Watch it with the sound off first — does the visual storytelling work without audio? Watch it with someone else if possible. Ask them: where did your attention drift? What confused you? What excited you? Their unfiltered first-watch response reveals what your habituated view of the footage has hidden from you.
Power Bins — sharing assets across all projectsPower Bins in Resolve persist across all projects — anything you put in a Power Bin is available in every project. Use Power Bins for: your standard LUTs, motion graphic templates, music libraries, commonly used sound effects, and your base grade stills (.drx files). This eliminates the need to re-import standard assets into every new project. Set up your Power Bins in Week 1 and populate them throughout the course.
Drill 1
Export preset library
In Resolve's Deliver page, create and save 6 export presets: YouTube 4K H.264, YouTube 4K ProRes 422 master, Instagram Reels 9:16 1080p, Instagram Feed 1:1 1080p, Vimeo 4K, and Client ProRes 422 HQ. For each, verify the settings are correct by exporting a 30-second test clip and checking the resulting file in QuickTime Player — frame rate, resolution, and quality should all be as specified.
Drill 2
Colour space delivery test
Grade a 60-second clip in S-Log3 and export three versions: (1) directly in S-Log3 (wrong — for comparison), (2) in Rec.709 with correct output transform, (3) with no colour management. Upload all three to an unlisted YouTube video. Compare how the platform renders each. The Rec.709 version should look exactly as graded.
Drill 3
Export speed benchmark
Export the same 10-minute timeline in three formats: H.264 (hardware acceleration), ProRes 422 HQ, and H.265 (hardware). Time each export. Note the file size of each result. This gives you a real-world sense of the M4 Mac Studio's export performance and helps you plan post-production time when working to client deadlines.
Drill 4
Fresh-eyes review session
Take your Module 6 Week 3 travel reel. Watch it on four screens: your Mac Studio display, your phone, a TV (via AirPlay or HDMI), and via earbuds with the built-in speaker off. After each viewing, note what looks or sounds different. Make adjustments based on your findings. The goal: the edit should look and sound acceptable on all four systems.
Week 4 Assignment
"Phase 1 short film"
Produce a 2-minute short film demonstrating competence in everything covered in Phase 1: correct exposure (S-Log3 properly graded), considered composition, intentional lighting (using your Neewer panels where appropriate), designed camera movement (at least one RS5 shot), clean audio (NTG or DJI Mic 2 properly mixed), and edited to tell a clear story. Deliver in two formats: YouTube 4K H.264 and a ProRes 422 master file.
Footage is correctly exposed and properly graded from S-Log3
Composition is intentional in every shot — no throwaway frames
Audio is clean, dialogue intelligible, and music appropriately balanced
At least one RS5 gimbal shot demonstrates smooth stabilisation
The edit tells a clear story that a viewer with no context can follow
Delivered in both YouTube H.264 and ProRes 422 master formats
Sony FX30 / a6700DJI RS5Neewer RGB660 Pro II ×2Rode NTG / DJI Mic 2Neewer F700 7" monitorDaVinci Resolve
Editing from camera cards instead of copied media
If the card is removed, corrupted, or fails, the entire project is unrecoverable. Camera cards are not designed for repeated random-access reads during editing.
Fix: Always copy all footage to your primary SSD before importing into Resolve. Copy again to a backup drive. Only then import into Resolve. The 10 minutes of copying is the cheapest insurance in filmmaking.
Creating the timeline at the wrong frame rate
A 30fps timeline with 25fps footage causes every clip to play at an incorrect speed — very difficult to detect by eye but audible in dialogue (pitch and speed both shift slightly).
Fix: Before placing a single clip, verify the timeline frame rate matches your camera's frame rate and your delivery specification. In Resolve, right-click the timeline → Timeline Properties and check. For Australian delivery, almost always 25fps.
Delivering in the wrong colour space
Exporting without the correct output transform means the viewer sees S-Log3 footage (flat, washed out) or a wide-gamut colour space (oversaturated on standard displays) instead of the Rec.709 image you graded.
Fix: In Resolve's Colour Management settings, set your output colour space to Rec.709 for standard web delivery. Always export a test frame and check it in a web browser before delivering the full file.
Use Smart Bins for instant organisation
Resolve's Smart Bins automatically organise media based on rules you define — all files from Camera A, all files with 'interview' in the name, all files of a specific resolution. Right-click → Add Smart Bin → define your rules. Set these up in your project template and they persist into every future project.
DaVinci Resolve · M4 Mac Studio
The cut page for assembly, the edit page for refinement
Resolve's Cut page is designed for fast rough assembly. Use it to get all the material down quickly. Switch to the Edit page for the rough and fine cut — the more granular trim tools, the inspector, and the compound clip system are worth the slightly steeper interface. Cut page speed + Edit page precision is the optimal workflow.
DaVinci Resolve
Use Power Bins to share assets across all projects
Power Bins persist across all projects — anything you put in a Power Bin is available in every future project. Use them for: your standard LUTs, motion graphic templates, music libraries, commonly used SFX, and your base grade stills. Populate your Power Bins throughout this course and they become an instantly accessible creative asset library.