By Noam Kroll
Over the past few weeks I’ve been working tirelessly on the finishing work for my feature film Shadows On The Road. I’ll have some big news about the film’s release very soon (and the full trailer!), but for now I want to take a moment to share my finishing workflow, which was quite unique.
For those of you that aren’t as familiar with the terminology, finishing is essentially everything that happens after the picture edit is locked. It includes color correction, stabilization, noise reduction, and audio mixing amongst other things.
Below I’m going to break down each of the finishing stages that the film went through, and why I chose to take an unconventional path in some respects.
If you’re interested in hearing about my offline editing workflow and why I decided to lock picture reel by reel, be sure to check out this article here.
RESOLVE TO FCP X, AND BACK TO RESOLVE
While I initially intended to edit the feature in DaVinci Resolve, for a number of reasons I decided to cut it in FCP X. I love Resolve and certainly could have cut this entire film on the software (in fact, I even started cutting the first few scenes in Resolve), but ultimately realized I could work faster on FCP X. I hadn’t yet edited any other long form projects on Resolve, and at the time I didn’t have the same shorthand that I did with FCP X.
The film was shot entirely in RAW on the Blackmagic URSA Mini 4.6K, so I decided I would ingest the RAW files into Resolve, convert them to ProRes for editing in FCP X, and re-link the FCP X edit to the RAW files in Resolve later on, during the color correction phase. The plan was quite typical workflow-wise, with one important distinction…
From:: Noam Kroll