They work great in tandem and I would suggest that it’s good to know and use both. That doesn’t make them mutually exclusive. In addition, it’s my opinion that Final Cut is optimized for editing, whereas Resolve is optimized for finishing. Likewise, if you’ve shifted to Resolve, you’re probably wondering, why not just do it all in Resolve? Both concepts are true in theory however, I contend that most good editors aren’t the best finishers and vice versa. If Apple’s Final Cut Pro is your main axe, then you might be reading this and think that you can easily do this all within FCP. Since offline/online still exists, how can you use modern tools to your advantage? And of course, Pro Tools seemingly “owns” the audio post market. But the tools that pop up most often are Autodesk Flame, DaVinci Resolve, and Avid Symphony (the latter for unscripted shows). The world of finishing offers many options, like SGO Mistika, Quantel Rio, and Filmlight Baselight. You may be cutting on Media Composer, Premiere Pro, or Final Cut Pro, but the final assembly, insertion of effects, and color correction will likely be done with a totally different system and/or application. The latter is often referred to as the DI (digital intermediate) process in feature film productions. In feature films and high-end TV shows, the film editors are separate from the sound editing/mixing team and everything goes through the funnel of a post facility that handles the finishing services. However, most major commercials, TV shows, and films definitely split them up. If you are an editor cutting local market spots, YouTube videos, corporate marketing pieces, etc, then you are probably used to performing all of these tasks on your own. And so, the offline/online split continues to this day. However, both phases require different mindsets and skills, as well as more advanced hardware for finishing. Thus offline equates to the creative editorial stage, while conforming and finishing services are defined as online.ĭigital nonlinear edit systems evolved to become capable of handling all of these stages of creative editorial and finishing at the highest quality level. The terms offline and online were lifted from early computer lingo and applied to edit systems when the post process shifted from film to video. Work print was cut by the film editor during the creative stage of the process and then original negative was conformed by the lab and married to the final mix for the release prints (with a few steps in between). The concept of offline and online editing goes back to the origins of film editing.
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