Get the tool
Get the tool
DaVinci Resolve Studio · Project automation
On commercial work you are the editor, the colourist, and the sound designer — all before the deadline. Assist by NXT EDITOR does the setup grind for you: bins, imports, colour-coded clips, chronological timelines, transcripts and audio renders all built in a single click so your time is better spent on the work that gets you noticed.
Set up once. Every run after that looks like this.
Quick-turnaround commercial projects don't leave time for the part nobody sees: naming bins, dragging clips, sorting by take, colour-tagging, laying selects. That’s time spent, before the editing even starts.
The run sequence
Everything below happens on a single click. Tick the steps you want and let the whole lot run, or fire a single one on its own.
Inside the tool
Everything is configurable, then saved as a preset. Build a “Commercial” setup, a “Social” setup, a “Podcast” setup — and reuse them on every project. Built-in per-step presets let you fire any single step on its own.
Point it at your project's footage folder, tick any of the steps, choose a saved preset, and go. The whole run is one button — and the interface comes in five looks, switchable live, from NXT Orange to Resolve's native theme.
A grid of up to seventeen bins — each with sub-bins, a clip colour, and a Type that decides where its footage goes: B-Roll, Interviews, Scene Cut or Bin only. Reorder rows with a click. Clips sort onto the timeline by capture time, automatically.
Set your colour science, timeline and output spaces, or let colour management run automatic. Drop in a Power Grade and it lands on every clip across every timeline — or, with nothing else ticked, straight onto the timeline you have open.
Define the audio track layout once — Dialogue, Music, Ambience, Foley, SFX — and it's built onto every timeline the tool creates. Or build an empty template timeline carrying just your track stack, ready to sync a podcast before laying anything down.
One timeline per interview, created in your Projects bin and named exactly what you type. Fill each from a Media Pool bin or a disk folder, then render its audio to 48kHz/24-bit WAV. Choose Stacked to put one angle per track ready to sync, or Sequential to lay every clip end to end in chronological order.
A standalone page, deliberately outside the run sequence: open the script mid-project, tick the timelines you want, pick a render preset and send the lot to the Deliver page. Name the files with a token and each one is named after its own timeline.
Why it exists
By hand, every project
≈ 45 min before you edit a frame
With Assist
≈ seconds and you're editing
Get the tool
Assist by NXT EDITOR
£99
one-time
Want to know when it's live? Email
Good to know
Yes. Assist is built for DaVinci Resolve Studio 20 or later on macOS. Interview transcription and Scene Cut Detection run on Studio's Neural Engine, so the free edition of Resolve isn't supported.
Auto Align and multicam sync rely on two calls Blackmagic added in DaVinci Resolve Studio 21.1, so those two routes need 21.1 or newer. Everything else — all fourteen steps, including the interview timelines themselves — runs on Studio 20. If you are on an earlier version, the tool checks whether the calls are actually present rather than reading your version number, tells you plainly in the console, and builds the timelines stacked instead. You get the angles laid out one per track ready to sync by hand; nothing fails and nothing is skipped.
No. It creates bins that don't already exist and imports from your folders. Every step is a tick you choose before you hit Run — and an existing interview timeline is never touched, filled or overwritten. Re-run it and you get a fresh timeline alongside, leaving your edit exactly where it was.
It reads each clip's capture date straight from Resolve's own clip metadata, so clips land on the timeline in the order they were actually shot — across every camera.
Yes. Save any configuration as a named preset — bins, colours, audio tracks, colour science, interview rows, the lot — and reload it on the next project in a click. Built-in per-step presets also let you fire any single step on its own, like a standalone Scene Cut Detection or Power Grade pass.
48kHz/24-bit WAV — one audio-only render per ticked interview, named after its timeline and queued through Resolve's Deliver page automatically.
Yes, and it puts them first. If a multicam clip is sitting in your interview bins, the sync decision is already made — so only the multicam goes onto that timeline and the source files are left off. No multicam in the bin and every clip is used as normal. B-Roll and Selects stay source-file timelines by design, so multicams are kept off those.