01
One lit moment per line.
The italic is where the eye goes. Light two places and the eye doesn’t know where to land. A short phrase like obvious thing still counts as one moment.
Do
Don’t
Every title, transition and layout we put on screen, as the Editorial template pack for DaVinci Resolve. Start with how it moves and the do’s and don’ts, then browse the templates. Everything loops live, exactly as it plays in the edit. Flip the Room for the light (CDC) version, and turn on Guides to see the safe zones.
For editors. Five minutes the first time, then it’s drag and type.
Open the pack folder (always the newest version). Install the fonts in its Fonts folder. Double-click Editorial.drfx (and Editorial Light.drfx if you shoot on white). Copy the Scripts folder’s contents into Resolve’s Fusion/Scripts/Edit. Restart Resolve.
Edit page › Effects › search Editorial. Titles and generators go on a track above the clip. Effects go on the clip. Transitions go on the cut.
Select the clip and type in the Inspector. Put the one accent word between stars: The *system* behind it. It becomes Larken italic in honey (carnelian in the light pack).
Every template has Size, Position, Letter spacing, Speed and Animate out, plus its own switches (listed under each cell). Keep the defaults unless the shot needs it.
Workspace › Scripts › Editorial Subtitles styles the whole subtitle track. Editorial Layout … builds Bento, Panels or Showcase from the selected clips.
On Premiere Pro? Open Editorial for Premiere (beta). This is a script you run once in After Effects 2025+. It builds 13 of the titles as Motion Graphics templates (.mogrt) for Premiere's Essential Graphics panel, with the same type, timing, accent-word stars and Light mode. The lens comes as a two-adjustment-layer recipe in its README. It hasn't been tested yet: the first run is the test, so send Matty the build report it writes.
Every template already moves this way. This is here so you can judge a graphic by eye, or brief a new one.
The last thing on every video: one lens finish over the whole frame, footage and graphics together. A soft bloom off bright type, a faint warm halo, softer corners, a vignette and fine grain. It is why the titles read as shot, not pasted. Every cell on this page shows it (switch it with Lens above). Dark room only: the light room never takes glow or grain.
Edit page › Effects › Adjustment Clip onto the top track, across the whole video. Drop Editorial Lens on it.
Inspector › Look. Editorial unless a segment calls for another. Strength dials the whole finish; Bloom, Halo, Soft corners, Vignette, Grain and Fringe dial one part each.
Set it once at the start. Another look only for a marked segment (a flashback on its own adjustment clip). Never stack two lenses, and don’t add another grain or glow on top.
Composed full-screen titles, creative-director style: one block of type low-left with a lot of empty field around it, one lit moment per line, and the lens over everything. Big type stays mixed case; caps only as a whisper (the credit row, the small line under the block). The small credit row in the corner is situational: it belongs on these composed layouts, never on a title over footage. In the Resolve pack as Editorial Statement, Editorial Turn and Editorial Window (an effect you drop on a clip).
Every example is live. The good one is the real template. The bad one is a mistake we actually see. If a graphic in your edit looks like the right-hand column, fix it before export.
The italic is where the eye goes. Light two places and the eye doesn’t know where to land. A short phrase like obvious thing still counts as one moment.
Emerald is for rules, bands and structure. A green word sinks into our green room. (In the light pack the accent is carnelian.)
Subtitles are for reading, not for style. One colour, Medium weight, tight spacing, and a band that hugs the words and fades out.
Type lives in the empty space beside the speaker. The face is the most important thing in the frame.
If it takes longer to read than to hear, it fights the voice. Keep a title to a few words and let the subtitle carry the rest.
Editorial Light has nothing behind the type. On our dark set, dark type just disappears. These two cells ignore the Room switch.
Lausanne for the voice, Larken italic for one word. No outlines, no heavy caps, no thumbnail-style type in the edit.
Each word rises into place and lands. Nothing slides in from off screen, spins or bounces.
One graphic on screen at a time. Let one go out before the next comes in.
Use a transition for a new chapter or a new idea, not on every cut.
Keep the defaults. Change Size or Position only when the shot needs it.
Turn on Guides above to check type sits inside title safe and clear of the subtitle line.
When it feels 90% done, take one thing away.
Grouped by job. Tap a cell to see it large. Where a template has a look switch in the Inspector, try it under the cell.
Full-screen layouts: Statement, Turn and Window. Editorial Lens (v0.4): the whole-frame finish, four looks. Nothing sits above a title any more: no kickers, eyebrows or episode labels. The viewfinder frame is gone. Type over footage now has a soft shadow, a slight fuzz and grain through the letters, so it sits in the footage. A Film blend slider sets how much.
Editorial for the usual set. Editorial Light only for white-backdrop shoots: its titles have nothing behind the type, so on a dark set raise Scrim.
Workspace › Scripts › Editorial Subtitles turns the subtitle track into styled subtitles. Editorial Layout … builds Bento, Panels or Showcase from the selected clips in one go.
One italic word per line, honey on dark, carnelian on light. Emerald is for rules and structure, never words. Type steps at 12 fps over smooth footage. Full rules in DESIGN.md §7.1, with good and bad examples above.