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If you’re the type who shades by warping a curve in color-space, this latest version of Lightworks now supports you. Expect a growing catalog of these, but it’s not fully there yet. Lightworks recently signed on to the bandwagon of presets for various looks. Lightworks will suck in almost anything (15 container types and growing), at any resolution, and cut it-without transcoding-right on the timeline.Ĭolor timing is solid, addressing your GPU’s horsepower for fast realization. Drag and drop shots to the timeline and their sound will follow-or not, if you prefer-with PRO’s Audio Linking function.īeyond its filmic heritage, Lightworks PRO has bright potential in the open-source future, where footage can originate anywhere, shot by anyone, on every format. It’s all very Zen.Īudio can follow video as you cut. Simple export or play-out to a real-time recorder. There's just a toolbar to steer your edit by, like Lightworks doesn’t want you to be distracted by anything other than your footage. No “Save!” It stores everything you do, with apparently limitless Undo/Redo. Lightworks’ Project Browser is intentionally minimalist. Then flip the whole progression to an edit sequence with a tap of your finger. Like blocking a film, Lightworks PRO's Storyboard mode lets you push clip-tiles around to string out scenes. You can bang it like a live switcher, then step in and refine a cut as needed. PRO is also quite fast and facile in Multicam mode: As many sources of as many formats as you could want. Yet it also rocks very advanced trim types. It is simple, straightforward and intuitive. Sure, you can bounce it out to Pro Tools or Audition but for a lot of us, that is a little overkill on a workflow for a short project video – especially when you have an established workflow in a competing NLE that keeps you in the program for the entire project.Lightworks excels at long-form. The point is that you can do it and that’s an important part of an NLE to me. I’ve had it crash while applying effects or single out one channel of a stereo track when applying effects and other weird stuff. Things still aren’t perfect and the Resolve 12 audio process is a little buggy – but, hey, it’s in beta. The custom menu from the effect manufacturer is also available in a pop-out menu that you can select from the inspector. Adjustments can be made directly in the inspector to the individual controls of the effect.Click on the new black clip/track icon, which selects the track and makes controls available in the inspector.
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Many times the delivery is consistent enough that you can apply the same EQ, compressor or noise reduction to all the clips. I use this frequently when I have a single speaker’s or actor’s clips from a given scene or take on a single track.
#Lightworks pro 12.5 review full
To be clear, I’m talking about applying an effect to an entire track full of audio clips. It’s a little different than other NLEs but it’s not too hard to do. I was ready to kick Resolve 12 to the curb because there didn’t appear to be a way to add audio effects to an entire track via the Track Mixer. Unfortunately, there isn’t much in terms of training or forum conversations regarding the little features that matter to my workflow. I’ve said before that the new Resolve is what Final Cut Pro X should have been and I’m thinking more and more like that today. Not really for mission critical stuff, but duplicating projects when I have extra time and learning the work flow. I’ve been using the new DaVinci Resolve 12 beta for the past week since its release.