The Real Yellowstone was Peters first documentary using DaVinci Resolve Studio for both offline and online editing. After the experience Peters stated that Resolve provides an end to end workflow that’s hard to beat.

After being tapped by award winning Director and human rights advocate Tom Opre to assist with recuts for his “Killing the Shepherd”

documentary, Peters quickly signed on to edit the subsequent two films in Opre’s series, “The Last Keeper” and “The Real Yellowstone.” These films reveal how true conservation begins with respect for the people who live closest to the wildlife.

 

 

An editor and colorist with expertise in commercials, television and feature films, Oliver Peters says that “‘The Real Yellowstone’ was my third documentary film for Opre but the first using DaVinci Resolve Studio for both offline and online editing. The switch to Resolve came

 

 

at the urging of the colorist, largely to eliminate relinking issues he’d encountered in the past with other systems,” said Peters. “Up until now, I’ve used DaVinci Resolve Studio for color grading and some minimal editing tied to finishing work, and ‘The Real Yellowstone’ is the first project where I used Resolve as my principal editing application, start to finish.”

 

 

“The Real Yellowstone” delves into the lives of ranching families who find themselves at the heart of a complex struggle: rising real estate prices, predator attacks, and a powerful conservation movement that seeks to reshape the landscape they call home.

 

 

“It’s an honest look at modern life in the American west, which is quite different from the way it’s presented in TV fiction,” noted Peters. “As a documentary, we tried to give voice to all sides, draw some observations, and raise awareness for ideas that sometimes challenge popular concepts.”

According to Peters, unlike a scripted drama, a documentary also involves curiosity and education. “You learn things you might not have been aware of. As someone who’s never lived in the western states, there are unique issues particular to that region that I learned about. As a film editor, documentaries are more of a vehicle for the editor to tell the story, in effect, writing with picture and sound. Naturally, it’s the director’s story to tell, but the editor has a key role in shaping it in ways that other types of content don’t offer,” he said.

According to the information shared by Blackmagic Design, production spanned two years and incorporated multitudes of content, including events, interviews, and B roll recorded with various formats: professional cameras, smartphones, and drones, as well as some stock footage, stills, and animation.

“To keep things simple, I worked in a DCI 4K timeline with all proxy media at the same size and frame rate as the original. No conversions or relinking wizardry would be needed when handing off the project to the colorist,” noted Peters.