{"product_id":"first-cut-davinci-resolve-music-video-plugin","title":"First Cut — Beat-Synced Music Video Cutter for DaVinci Resolve Studio","description":"\u003ch3\u003eBefore You Buy — Read This First\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eFirst Cut requires DaVinci Resolve Studio.\u003c\/strong\u003e Everything it does runs through Resolve's timeline scripting bridge, and the free release doesn't expose it. If you're on the free version, this tool cannot work — please don't buy it. \u003ca href=\"https:\/\/youtu.be\/paNYWA_9L4g\"\u003eYOURTUBE VIDEO\u003c\/a\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDaVinci Resolve Studio\u003c\/strong\u003e — built, tested and proven against Studio 21.1.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStart on a fresh project.\u003c\/strong\u003e Step 1 sets the project frame rate, and Resolve locks that permanently the moment any timeline exists. On a project that already has timelines it can't change it, and it will tell you so.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eYour own music and footage.\u003c\/strong\u003e No media is included — this is the tool that assembles yours.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eYour Performance Takes, Cut to the Beat, in About a Minute\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eFirst Cut\u003c\/strong\u003e takes a folder of performance takes and a music track and hands you back a finished rough assembly: takes imported and waveform-synced to the song, the tempo measured, and every shot landing exactly on a detected beat. Then it tells you, in writing, what it measured and what it assumed.\u003c\/p\u003e\n\u003cp\u003eIt is not a preset and not a transition pack. It is a panel that lives in Resolve under \u003cem\u003eWorkspace \u0026gt; Scripts\u003c\/em\u003e and does the boring hour — the import, the sync, the marker maths, the hundred-cut assembly — so you can start editing at the point where taste matters.\u003c\/p\u003e\n\u003ch3\u003eHow It Works — Four Steps\u003c\/h3\u003e\n\u003cp\u003eEach step is its own button, so you can stop and look at the timeline between them.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e1. Media\u003c\/strong\u003e — pick your music, your folder of performance takes, optionally a B-roll folder, and your timeline frame rate. Creates \u003cem\u003eMusic\u003c\/em\u003e, \u003cem\u003eA-roll\u003c\/em\u003e and \u003cem\u003eB-roll\u003c\/em\u003e bins, sets the rate, then waveform-syncs every take to the track. Takes with no scratch audio of the song can't sync — they're held out of the pool and named in the report rather than silently dropped.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e2. Tempo\u003c\/strong\u003e — press \u003cem\u003eFind Beat\u003c\/em\u003e and it measures the BPM, or type one in to skip detection. It renders the track out through Resolve as a temp WAV, reads it, and deletes it.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e3. Cut\u003c\/strong\u003e — set shot length, B-roll density and a seed, then press \u003cem\u003eBuild First Cut\u003c\/em\u003e. \u003cem\u003eRe-roll\u003c\/em\u003e bumps the seed and rebuilds. V1 comes out as a continuous performance cut with B-roll on its own track above it as cutaways — switch that track off and the performance plays straight through.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e4. Look-up table\u003c\/strong\u003e — point it at your LUT folders, select the shots you want it on, and apply. Each source clip remembers its own LUT, so a two-camera shoot can carry two different conversions.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eKey Features\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMeasured tempo, not guessed.\u003c\/strong\u003e Against known-BPM click tracks the detector lands within \u003cstrong\u003e0.01 BPM\u003c\/strong\u003e with 10 ms phase error, including tracks that don't start on the downbeat.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIt refuses to invent a beat.\u003c\/strong\u003e A confidence figure accompanies every detection. Run against an 18.7-minute speech recording it reported 1.3x and declined to claim a grid that isn't there. The detected BPM is written into the box for you to confirm or overrule — never used silently behind your back.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEvery cut on a real beat.\u003c\/strong\u003e Proven end to end on a 128-second track: 41 shots, all 40 cuts landing on a detected beat, picture and music ending together.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNo one-frame gaps.\u003c\/strong\u003e Mixed frame rates are the classic way a beat-synced assembly quietly falls apart — a black sliver at every cut. First Cut conforms off-rate source properly and then explicitly checks the finished timeline for gaps and overlaps.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeeded and reproducible.\u003c\/strong\u003e Every assembly is built from a stated seed, so \u003cem\u003eRe-roll\u003c\/em\u003e is a cheap, safe experiment rather than a gamble on losing something you liked.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGenuinely scattered.\u003c\/strong\u003e The report gives you the closest reuse distance, so you can see whether the edit is actually varied or leaning on one take.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePer-camera LUTs.\u003c\/strong\u003e The assignment is remembered against the source clip, so it survives a rebuild. Nothing is ever applied from the playhead — with no selection, the tool refuses and says so.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStep 4 works on its own.\u003c\/strong\u003e Open a cut you made last week and press the button: it adopts what's on V1 and recovers the seed and BPM from the marker it left at frame 0. No re-import, no re-cut.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eA report that separates measured from assumed.\u003c\/strong\u003e Detected tempo is a measurement. Bar phase and shot interval are inferences. The report says which is which and saves to a text file — so when something looks wrong, you can see where it came from.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBuild-stamped.\u003c\/strong\u003e The panel header, the startup log and every saved report carry the build ID, so a bug report always says which version actually produced it.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eWho Is This For?\u003c\/h3\u003e\n\u003cp\u003eMusic video editors, multicam and dual-system shooters, and anyone who has spent an evening hand-placing markers across a four-minute track before making a single creative decision. If you shoot three or four performance takes of the same song and cut between them, this is the hour of your workflow it removes.\u003c\/p\u003e\n\u003ch3\u003eKnown Limits in v1\u003c\/h3\u003e\n\u003cp\u003eStated up front, because finding them after you buy is worse:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eStudio only.\u003c\/strong\u003e Everything runs through the scripting bridge.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSteady grid only.\u003c\/strong\u003e Shot length is constant across the cut. Ladders, collapses and speed ramps were deliberately deferred to a later version.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNo title step.\u003c\/strong\u003e Resolve has no scripting route that places an editable title on a chosen track — anything the tool could place would arrive as a compound clip you can't touch from the Inspector. Dragging a title from the Effects Library takes seconds and gives you full control.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eA LUT is not a grade.\u003c\/strong\u003e It normalises your takes so they sit in the same ballpark. It is not shot matching; carry on from there on the Color page.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLUTs are per camera, not per shot.\u003c\/strong\u003e Grading two shots from one camera differently is a Color page job.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRe-grade after a re-roll.\u003c\/strong\u003e A re-roll builds a fresh timeline and re-appended clips come back without their LUT. Re-apply step 4 after a re-roll.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eCompatibility\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eDaVinci Resolve \u003cstrong\u003eStudio\u003c\/strong\u003e 21.1 — built and verified against it\u003c\/li\u003e\n\u003cli\u003eWindows, macOS and Linux — LUT locations are handled for all three\u003c\/li\u003e\n\u003cli\u003eRequires Studio. The free release of Resolve does not expose the scripting access this depends on.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eInstallation\u003c\/h3\u003e\n\u003cp\u003eFirst Cut is a single Lua script that installs itself. Run it once and it copies itself into your Fusion Scripts folder, then appears under \u003cem\u003eWorkspace \u0026gt; Scripts \u0026gt; Utility \u0026gt; GSMixedMedia_FirstCut\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne thing to know:\u003c\/strong\u003e Resolve reads a script only when you launch it from the menu. An already-open panel keeps running the code it loaded, so after any update you need to close the panel and reopen it from the menu — otherwise the new version looks like it did nothing. The build stamp in the panel header tells you which version you're actually running.\u003c\/p\u003e\n\u003cp\u003eMade by \u003ca href=\"https:\/\/www.youtube.com\/@God_SendMixedMedia\"\u003eGod_Send MixedMedia\u003c\/a\u003e — DaVinci Resolve tutorials, plugins, and creative tools for editors and motion designers.\u003c\/p\u003e","brand":"God_Send MixedMedia","offers":[{"title":"Default Title","offer_id":50187874763029,"sku":"FIRST-CUT","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0822\/5239\/8869\/files\/first-cut-square.png?v=1790026735","url":"https:\/\/www.gsmixedmedia.store\/products\/first-cut-davinci-resolve-music-video-plugin","provider":"GSMixedMedia","version":"1.0","type":"link"}