Basic 3-Point and 4-Point Editing in DaVinci Resolve

If you have been using DaVinci Resolve for any amount of time you will quickly realize that more times than not there is more than just one way to accomplish a task, with varying levels of efficiency. 3-Point (and 4-Point) editing is one of the more efficient editing techniques that you have probably used at one point or another but never realized. So, we thought it would be beneficial to create a video that dives into all the different 3-Point (as well as a 4-point) editing options and show how they work. Take a look below:

As always, thank you for watching/reading. Hopefully you found some useful information in the video and it helps you understand what some of the different editing options in DaVinci Resolve do. Like mentioned previously, you have probably already used one or more of these techniques in your workflow and do not realize it. Sometimes though, it helps to have everything laid out at once and maybe you discover a new technique or two you have not used yet. Keep an eye out for more videos on our YouTube channel where are uploading videos weekly about DaVinci Resolve and are planning to bring even more to the channel soon.

New Workspace, Shooting Downtown

Hey there good people, long time no type! It has been a busy few weeks for me, and it pains me to admit but the blog is the first Sword & Shield outlet to suffer when life inevitably speeds up. So posts had been put on hold for a few weeks. Finally, though, I have found a bit of time to sit down and write what I have been up to and what I am thinking about doing in the near future with the YouTube channel and my commercial work.

The first thing you probably noticed from last week’s YouTube video is a change of setting. That is because just prior to preparing for that video I spent some time building two of these DIY IKEA desks for my wife and I. Since the beginning of the COVID-19 lockdown here in March I had my desktop set up at a table in our living room. That is where I would record a majority of the videos now available on the Sword & Shield YouTube channel up until last week when I was finally able to build the desks and assemble our new work-from-home friendly workspaces.

New workspace/studio with full DOOM memorabilia in action.

Of course there was some maintenance I needed to take care of around the house in the middle of this project. That’s how life often goes. The dogs needed their vet visits. The dishwasher broke. Things were getting busy around the house. Then I received a call from a colleague to go shoot some video for Bishop Arts District. I was a bit nervous about going out, but ultimately I decided to take him up on the opportunity and I am glad that I did.

It turned out to be a great day of shooting. My colleague’s name is Nobuyuki Ogata by the way ( or Nobu for short) and he does some amazing photography/videography work which you can find here. He already went out and shot some footage at an earlier date, so we were out with a purpose to fill in any B-roll gaps. Little did we know most of the action would come right to us. We got just about everything we needed after just over three and a half hours of shooting. A live jazz band, crowds on the streets, friendly shopkeepers, and most importantly people wearing masks and staying a safe distance from one another. We got some great material, I will be sure to share the finished product here on the blog when Nobu is finished editing it and Bishop Arts post it online. Hopefully this is just one of many such collaborations of ours to come!

As always, thanks for reading. Stay safe and keep on creating.

Future Still Bright for APS-C Sensor Cameras

There is a pattern that has been more than evident the past year in the camera industry. That pattern is smaller and more compact full frame cameras. Between Sony’s recent A7C launch, the new Panasonic LUMIX S5, and the Nikon Z5, there are plenty of compact, full-frame camera bodies for videographers to get their hands on at an entry level price point. So does this mean it is the end of the line for APS-C sensor cameras? Well, probably not.

The price has never been better for a full-frame hybrid camera, capable of high quality still photos and sharp, high resolution video at high framerates. If you were making an investment today in a camera to get your new video business off the ground you would be hard pressed not to pick one of the solid full-frame options I previously mentioned. After all, many of these camera bodies only cost between $500-$1000 greater than their APS-C counterparts. There remains a few reasons why an APS-C sensor camera is still a solid option for a small studio or independent filmmaker though.

One reason you might buy an APS-C sensor camera in 2020 is that you are already invested in an APS-C system. For instance, it makes more sense for me being invested in an Sony APS-C system to upgrade to the a6600 as opposed to look at the new A7C. If I were to switch to a full-frame body I would ultimately want to pick up full-frame lenses and accessories. By the time you add up the total cost you are looking at a hefty investment. Additionally even if you are not already invested in an APS-C, the lenses will cost much less than full-frame lenses due to their size and crop factor.

Another reason you would want to opt in for an APS-C camera is for the size. While the bodies for full-frame cameras have gotten smaller, the size footprint for the lenses remain the same. The size advantage still belongs to APS-C when you consider the fact that since the lens can be smaller you can operate with a smaller tripod, a gimbal rated for less weight, and operate handheld for longer without fatigue.

Why am I not scared about the future of APS-C then? Does it not seem like it is only a matter of time before the price gap closes on these entry level full-frame cameras and the APS-C sensor is left in the dust? I do not think so. I believe APS-C camera bodies have their own shrinking down left unannounced. I believe the smaller glass of the system will continue to be an asset to handheld and gimbal camera operators. Lastly, besides the Fujifilm X-T4 which is probably the most feature filled APS-C sensor camera on the market, the strongest showing we have seen on the APS-C front is the Sony a6600 in late 2019. We are due for some new APS-C releases from Canon, Nikon, and Sony (as the a6600 was essentially a a6500 with a bigger battery, flip screen, and no recording limit). There is a good chance these new cameras will provide competitive features to their compact full-frame counterparts at a lower, competitive price point.

Where do you think the future of APS-C sensor cameras lies? Are they done for good? Have the major camera companies figured out how to make full-frame work in small bodies without compromise? What is your next potential camera upgrade? As always, I would love to hear your thoughts in the discussion below.