Edit Cut Sound Colour
Start the Lesson
By the end you can set up a DaVinci Resolve project for this laptop with proxies preferred and a 9:16 timeline, assemble a cut from the logged keepers against the shot list, tighten it to sixty seconds with a story reason for every departure, level the sound in one band with room tone under the joins and music under the speech, correct every shot on the scopes before one restrained look, lay the captions from the script, use an AI for the transcript and the rough cut with receipts, and keep every pass as its own versioned timeline, six in all.
Submit Your Work
What You Turn In
- Your project file
- Exported to the MD folder, named under FS4's rule with the version, a copy in your second location; six 9:16 timelines: v01 assembly, v02 sixty, v03 sound, v04 colour, v05 fine cut, v06 thirty
- Timeline screenshot
- The Edit page with all six versions visible in the media pool
- Playthrough recording of your sixty
- Plays clean end to end on your machine, on proxies, captions showing — or a coach watched it live and countersigned
- Your notebook pages
- Every departure from the shot list with its story reason; sound, grade and caption checks ticked only when true on your machine; the AI receipts: route, spec, kept, rejected; the three screening notes with acted-on or declined and why; the method note
- Your daily post
- One still frame or a ten-second clip from the cut to the track channel; the log line
How
- Asha, by Saturday's update.
Done when
- Project file: Six 9:16 timelines v01–v06; fine cut and thirty play clean on proxies
- Timeline screenshot: Six versions visible in the media pool
- Playthrough recording: End to end, captions on; sound in one band, room tone under joins; every shot corrected, skin honest
- Notebook pages: Departures with story reasons; checks true; AI receipts; three screening notes with decisions; method note
- Daily post: One still or ten-second clip posted and logged