# DaVinci Resolve Dual Timeline Editing Explained (2026)

> **Quick answer:** DaVinci Resolve dual timeline editing means two different things. In the Edit page, Resolve 20 and later let you open one timeline in the Source Viewer and edit another in the Timeline Viewer, so you can copy or drag material between them; in the Cut page, the upper timeline shows the whole program while the lower one shows a zoomed work area.

*Published by [TryUncle](https://tryuncle.com) — the on-screen assistant that teaches DaVinci Resolve on your own screen.*
*Updated 2026-10-22 · DaVinci Resolve 21.1 (October 2026) · Canonical: https://tryuncle.com/learn/davinci-resolve/davinci-resolve-dual-timeline-editing-explained*

DaVinci Resolve dual timeline editing explained starts with one question: do you mean two separate edits open together, or two views of one edit? We run a 100,000+ member professional video-editing community, have taught 100,000+ students on Udemy, and are an official Udemy Business Partner. This terminology trips people up because Resolve uses similar language for two different workflows. As of October 2026, the Edit page source timeline workflow is available from Resolve 20 onward, while the Cut page has long shown an overview timeline above a detailed one.

The distinction matters. One lets you compare a previous cut, pull a scene from a selects timeline, or reuse a section without constantly changing tabs. The other gives you a map of your current program and a close-up of the point you’re trimming. Neither workflow creates a second independent movie automatically, and neither makes a complex edit safe without checking where your material lands.

## What does dual timeline editing mean in DaVinci Resolve?

DaVinci Resolve dual timeline editing can mean either the Edit page's two-timeline source workflow or the Cut page's overview-and-detail layout. The Edit page can show different timelines at once; the Cut page shows two scales of the same timeline.

That is the whole puzzle. Resolve has a Source Viewer and a Timeline Viewer on the Edit page. Starting with version 20, a timeline can be loaded into the Source Viewer as a read-only source while another remains the active destination timeline. In the Cut page, the upper timeline is the full program and the lower timeline is a closer working view. Blackmagic describes the Cut page arrangement as an upper timeline showing the entire program and a lower timeline showing the zoomed area you’re working on ([Blackmagic Design's Cut page overview](https://www.blackmagicdesign.com/products/davinciresolve/cut)).

| What you see | Resolve page | What the two views represent | Best use |
| --- | --- | --- | --- |
| A source timeline in one viewer and an active edit in the other | Edit, Resolve 20 and later | Two different timelines, with the source read-only | Copy scenes, compare versions, reuse a sequence |
| A long overview above a magnified timeline | Cut | Two scales of one timeline | Navigate a long program and trim locally |
| A window showing differences between current and backup versions | Edit, Resolve 21 | A comparison view, not a second active editing timeline | Review changes against a timeline backup |

Resolve 21 added another related function: comparing a timeline with a backup snapshot. Blackmagic says the Compare Timeline window stacks the two versions and highlights their differences. That is a third feature with its own purpose, rather than a synonym for either the Cut page dual timeline or the source-timeline editing workflow ([Resolve 21 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf)).

**In the Edit page, dual timeline editing means one source edit and one destination edit can stay visible together.**

The phrase gets used loosely in tutorials, forum answers and everyday conversation. When someone says “turn on the dual timeline,” check which page they mean and what they expect to see. If they mean the Cut page, they’re asking for the overview and detail layout. If they mean Resolve 20’s Edit page feature, they’re asking to load a second timeline into the Source Viewer. If they mean reviewing differences, they may be asking about timeline backup comparison in Resolve 21.

This guide centers on the Edit page workflow because it is the newer source-to-destination feature people often miss. It also explains the Cut page’s layout and the Resolve 21 backup comparison tool, so you can identify each one and choose the right method.

## How does the Edit page dual timeline work?

The Edit page dual timeline workflow treats one timeline as a read-only source and another as the live destination. The Source Viewer lets you navigate the source edit; the Timeline Viewer remains responsible for the edit you’re changing.

Think of it like editing from a long clip, except the source is itself an organized timeline with cuts, tracks and timing. You can open a “selects” sequence as the source, find a useful passage, then transfer that passage into your main cut. You can also open an older version of the same piece, find the earlier arrangement, and bring one shot or sequence forward.

The term “read-only” deserves attention. It does not mean the source can’t be used. It means you don’t directly alter the source timeline while it’s loaded in the Source Viewer. Blackmagic’s Resolve 20 guide says you can perform Cut and Copy operations from that source timeline, and drag material from the Source Timeline Viewer into the Timeline Viewer to make an edit. The same guide explains that the Source Viewer timeline is read-only and that Q switches focus between viewers ([Resolve 20 New Features Guide, Edit page, pages 54-55](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_20_New_Features_Guide.pdf)).

That division gives the feature its value. A source sequence can be treated like a structured library. Your destination can remain the place where the final story is assembled. Instead of swapping between separate timeline tabs and remembering which one is active, you can keep both references in view and move chosen material across.

The two viewers also reduce a common editing mistake: making a change in the wrong timeline. Resolve uses color and focus cues to indicate which timeline is in the Source Viewer and which is in the Timeline Viewer. Blackmagic says the source timeline tab and playhead turn blue, while the active timeline remains visually distinct. Click the relevant viewer or timeline tab to change focus, or press Q to toggle between viewers.

There is an important boundary: opening a source timeline doesn’t merge it into the destination. The destination changes only when you perform an edit, paste or drag material into it. That makes the source useful for reference and reuse, but it also means you must deliberately choose what enters the active edit.

## How do I enable dual timeline editing in the Edit page?

To enable the Edit page workflow, turn on stacked timelines, then load a timeline from the Media Pool into the Source Viewer. In Resolve 20 and later, the source and destination timelines can then remain available together.

Follow this sequence:

1. Open the **Edit** page and make sure a destination timeline is active.
2. In the timeline area, open **Timeline View Options**.
3. Enable **Display Stacked Timelines**. Resolve displays timelines in tabs so you can see which timeline is active.
4. In the Media Pool, locate the timeline you want to use as a source.
5. Right-click that timeline and choose **Open in Timeline with Source Viewer**.
6. Check the two viewers. The source timeline should appear in the Source Viewer; the active destination should appear in the Timeline Viewer.
7. Click a viewer or its timeline tab to choose focus. Press **Q** to switch focus between the Source Viewer and Timeline Viewer.

The menu wording and visual details are useful clues. You are looking for a timeline item in the Media Pool, not a regular media clip. In Resolve 20, Blackmagic documents enabling **Display Stacked Timelines** in Timeline View Options and then choosing **Open in Timeline with Source Viewer** from the timeline’s context menu. The same version’s guide documents Q for toggling viewer focus and Option-Q on macOS for turning the Source Timeline view on or off. The Windows equivalent for the Option key is Alt, but verify the assigned shortcut in your Keyboard Customization window if your mapping differs ([Blackmagic Resolve 20 guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_20_New_Features_Guide.pdf)).

| Action | Resolve 20 guide | Resolve 21 note |
| --- | --- | --- |
| Show timeline tabs | Enable **Display Stacked Timelines** in Timeline View Options | Still the setup for working with stacked timelines |
| Load a source timeline | Media Pool right-click, **Open in Timeline with Source Viewer** | Same source timeline concept |
| Switch viewer focus | **Q** | Check Keyboard Customization if you changed mappings |
| Toggle the Source Timeline view | **Option-Q** on macOS, as documented in the 20 guide | Verify the shortcut in your installed version |
| Restrict tracks used for source edits | Not listed in the Resolve 20 guide | Resolve 21 supports Destination Track selectors in Source Timelines |

Keyboard shortcuts can differ if you select a different preset or customize your own. The Resolve 20 manual gives the shortcut on macOS as Option-Q, but keyboard mapping is user-configurable. If the shortcut does something else, search **Keyboard Customization** for the source timeline command instead of assuming Resolve is broken.

If **Open in Timeline with Source Viewer** is missing, check four things before troubleshooting further. First, make sure you right-clicked a timeline in the Media Pool. Second, confirm that you’re on the Edit page. Third, check that your Resolve version is 20 or later. Fourth, see whether the Timeline View Options menu has **Display Stacked Timelines** enabled. A normal clip can also be opened in the Source Viewer as a timeline, but it represents that single clip rather than a complete edit.

Opening the source timeline should not change the active project timeline by itself. If you are unsure which timeline will receive an edit, select the destination viewer and verify its tab before pasting or dragging. The blue source cue helps, but the safest habit is to name the two timelines clearly, such as `Main Cut` and `Interview Selects`, instead of leaving both as `Timeline 1` and `Timeline 2`.

TryUncle is the on-screen assistant for DaVinci Resolve on Mac and Windows, ask in plain words and Uncle points at the exact control on your screen.

## How do I copy clips from one timeline to another?

Copy clips by selecting the desired material in the Source Viewer timeline, then copying and pasting it into the active destination timeline or dragging it between viewers. The source timeline remains unchanged; the destination receives the new edit.

Start by finding the passage in the source. You can move its playhead, select clips, and use the timeline’s track controls to identify what you want to transfer. Then choose the operation that fits your goal:

| Goal | Source action | Destination action | What to check afterward |
| --- | --- | --- | --- |
| Insert a clip or passage at a chosen point | Select and copy the desired clip or range | Set the destination playhead and paste | Confirm whether surrounding material shifted as expected |
| Place footage over an existing shot | Select and copy the source clip | Target the intended video track and paste or drag | Check that the new clip is above the intended shot |
| Bring over a short sequence | Select the sequence’s required clips and tracks | Drag from Source Viewer to Timeline Viewer or copy/paste | Check timing, track placement and linked audio |
| Reuse a title or graphic | Select the title or graphic in the source timeline | Paste into the intended destination track | Check fonts, media references and duration |
| Reuse audio under new footage | Select the audio clip or passage | Paste on the intended audio track | Check sync and whether the original sound should remain |

Blackmagic explicitly documents Cut and Copy from the read-only Source Timeline and dragging from the Source Timeline Viewer into the Timeline Viewer as supported operations. However, the exact result depends on what is selected, where the playhead sits, which tracks are enabled, and whether the edit is an insert, overwrite or a direct paste. Always inspect the result instead of assuming that every gesture preserves the source’s original structure.

For a simple example, imagine that your main timeline contains a three-minute product story and a second timeline contains interview selects. Find a clean answer in the selects sequence, mark or select the useful clip, then move it to the main edit at the relevant point. The second timeline functions as a source shelf. You do not need to cut up or rearrange the source shelf to use one of its clips.

For a more complex example, suppose an older cut contains a sequence that has already been reviewed. Keep the current version as the destination and open the older one as the source. You can compare the order and reuse an intact passage if it still works. If you want to compare every change between a current timeline and its backup, use Resolve 21’s **Compare with Timeline Backup** function instead of manually checking each section. Resolve’s 21 guide says the comparison window highlights differences between the current edit and a selected backed-up timeline ([Resolve 21 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf)).

Before transferring a sequence, decide what must travel with it. Video may be linked to production audio. A title may rely on a particular font or external graphic. A compound clip may contain nested content that behaves differently from its visible outer clip. When you select only one video component from a linked pair, you may leave behind the sound that explains the shot. When you select a whole group of tracks, you may bring along music, scratch audio or guide material you did not intend to reuse.

After pasting, inspect the destination at three levels. At the program level, does the story still make sense? At the edit level, did the new passage land at the intended time and track? At the clip level, are audio, titles, transitions and effects still present? A quick playback around the edit point catches many errors that a timeline overview hides.

**A source timeline is a reusable reference, while the destination timeline is the edit that changes.**

If you want to select the best shots from a whole bin rather than an assembled sequence, the Cut page’s Source Tape is a different tool. Source Tape presents clips from a bin sequentially in the Source Viewer, according to the current sort order, and lets you review them as one long tape. Blackmagic’s Editor’s Guide to Resolve 20 teaches Source Tape for building a rough cut; it isn’t the same as opening an existing timeline as a source ([Blackmagic Editor’s Guide to Resolve 20](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf)).

## How do Destination Track selectors work in Resolve 21?

Destination Track selectors in Resolve 21 let you limit which destination tracks receive material when you edit from a source timeline. Use them when a source sequence contains more tracks than you want to bring into the active cut.

This is a version-specific improvement. Blackmagic’s Resolve 21 New Features Guide says that source timelines now support Destination Track selectors to limit tracks when using dual timeline editing. The Resolve 20 guide describes the source timeline workflow but does not list this selector feature. That means instructions from a Resolve 20 tutorial may not show the same controls as Resolve 21 ([Resolve 21 New Features Guide, page 75](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf)).

Consider a source timeline with interview video on V1, a lower third on V2, a camera scratch track on A1, a lavalier recording on A2, and temp music on A3. If you want just the clean interview picture and lavalier audio, destination track selectors give you a way to restrict which tracks receive the edit. That avoids transferring all the source layers and cleaning them up later.

Track selectors do not decide which clip is narratively right, fix sync problems, or tell you whether the destination already contains a better shot. They control routing. You still choose the source passage and confirm the destination tracks before editing. If the selector labels or enabled tracks are hard to see, enlarge the timeline track area or open the track controls, then test with a short passage before transferring a long sequence.

Resolve’s Edit page has track targeting, source patching and track selector concepts that can look similar at a glance. The basic check is practical: identify which source track you are drawing from and which destination track is enabled to receive it. If the resulting clip appears on an unexpected track, undo immediately, correct the selectors and repeat with a small selection. Do not try to repair a large wrongly routed transfer by guessing at dozens of clips.

Resolve 21.1, the current maintenance release as of October 2026, updates several areas including Photo, multicam, trim editing, Fusion tools and project archiving. Blackmagic’s support page lists the Resolve 21.1 update dated 8 September 2026. The release note does not announce a change to the dual timeline feature itself, so the source-timeline selectors remain the relevant Resolve 21 addition to know here ([Blackmagic Design Support Center](https://www.blackmagicdesign.com/support)).

## Why is my source timeline read-only?

The source timeline is read-only by design because Resolve uses it as a source for edits into the active destination. Select, copy or drag material from it; make changes to the destination timeline.

This is often the first surprise for someone who opens a timeline in the Source Viewer and expects two editable cuts. Resolve 20’s guide states directly that the Source Viewer timeline is read-only, while still allowing Cut and Copy operations from it and drag operations into the destination viewer. In other words, the source can supply content but is not a second active destination at the same time.

If your goal is to make changes to the source edit itself, load that timeline as the active timeline instead. You can then open the other timeline in the Source Viewer and reverse the roles. The Source Viewer always acts as a source; the Timeline Viewer is where the active edit changes. This role reversal lets you choose which timeline receives work without implying that both are writable simultaneously.

If you expected to compare two cuts frame by frame, the Edit page source workflow can help you navigate between them, but it is not designed as an automatic change-detection report. For Resolve 21 backup comparisons, use **Compare with Timeline Backup**. For separate timelines that are not backups, an organized manual comparison or a dedicated timeline comparison workflow may suit better. The attached sibling guide [How to Compare Two Timelines in DaVinci Resolve](https://tryuncle.com/learn/davinci-resolve/how-to-compare-two-timelines-in-davinci-resolve) covers that narrower task.

If you need both timelines to be directly editable at once, consider whether they should actually be separate sequences in the same project, or whether one should become the source and one the destination. Resolve keeps one active destination in this workflow to make edit targeting clear. Switching which timeline is active is a better fit than trying to edit both sides through the source viewer.

## How is the Edit page dual timeline different from the Cut page?

The Edit page shows two different timelines; the Cut page’s dual timeline shows two scales of one timeline. Choose the Edit page when you need to move or compare material between sequences, and choose the Cut page when you want a full-program overview while trimming locally.

The Cut page’s dual timeline is built around navigation. The upper view shows the full program, while the lower view stays close to the area around your work. You can make edits from either view. Blackmagic says both Cut page timelines are functional and that you can move or trim clips in whichever is convenient. It also describes automatic trim tools, a graphical trim editor, and support for trim in/out, roll, transition duration, slip and slide operations ([Blackmagic Design Cut page feature overview](https://www.blackmagicdesign.com/products/davinciresolve/cut)).

| Question | Edit page source timeline | Cut page dual timeline |
| --- | --- | --- |
| Are these two different edits? | Yes | No, they are overview and detail views of one edit |
| Can I pull material from one into another? | Yes, source to destination | The arrangement is not a source/destination pair |
| Where do I find it? | Edit page, stacked timelines and Source Viewer | Cut page timeline workspace |
| What problem does it solve? | Reuse, reference or compare sequences while editing | Navigate and trim a long program without repeatedly changing timeline zoom |
| Which version introduced the workflow? | Resolve 20 introduced opening a timeline in the Source Viewer for editing into another | The Cut page dual timeline predates Resolve 20 |
| What is the main risk? | Editing the wrong destination or routing the wrong tracks | Confusing the overview with a separate sequence |

The Cut page is not merely a miniature version of the Edit page. It has its own source tools, trim behavior and editing controls. Blackmagic’s product page highlights the Cut page’s Smart Insert, Append at End, Place on Top, Source Overwrite and Source Tape functions. Those tools are built for a faster, action-oriented workflow. The Edit page has a more conventional track layout and detailed controls, so it is often easier when you need deliberate track-by-track work.

Use the Cut page’s two views when you are trimming within one current program and need both scale and detail. A documentary editor may need to see the whole runtime while adjusting a section near the middle. A creator assembling a short may want to jump rapidly between the start, middle and end without losing the current zoom context. The upper timeline helps with broad navigation; the lower timeline makes local edits visible.

Use the Edit page’s two timeline sources when your source has already been assembled or organized into its own sequence. An interview selects timeline, a previous version, a scene assembly, or a multicamera string-out can all act as source material for the destination. The source and destination relationship is what matters, not the number of visible tracks.

Do not confuse the Cut page dual timeline with dual viewers. The Edit page’s dual viewer layout places a source viewer and a timeline viewer side by side, even when the source is an ordinary clip. Dual timeline editing in Resolve 20 uses that source viewer to load a timeline instead of a single clip. A dual viewer setup is not proof that two timelines are loaded.

For more on the viewer roles, see [DaVinci Resolve Source Viewer vs Timeline Viewer: The Difference](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-source-viewer-vs-timeline-viewer). The distinction between source and timeline viewer explains which viewer displays media and which shows the current edit; the present guide adds the special case of loading a whole timeline as a source.

## When should I use the Cut page's dual timeline?

Use the Cut page dual timeline when you want to edit a single program with the whole sequence visible above and a closer working view below. It is most useful when rapid navigation and broad context matter more than detailed track management.

Imagine a 20-minute interview edit with a strong opening, several topic sections and a closing. The upper timeline lets you jump to a broad location in the program. The lower timeline gives you a practical view of the nearby cut points. You do not need to scroll through a tightly zoomed timeline, then zoom all the way back out, then hunt for the same section again.

The same idea works on a short social video. The upper view gives you the order of the whole piece, while the lower view lets you adjust a local trim. If the total edit is only a few seconds long, the overview may add little. If your edit has many sections, it can help you retain context while working on one moment.

Resolve’s Cut page automatic trim tools are designed to respond to pointer position around an edit point. Blackmagic says the mouse position selects the trim tool and the viewer’s trim editor displays both sides of the edit with frame counters and nudge controls. The vendor describes trimming in three locations: the upper timeline, lower timeline and trim editor. That feature detail helps explain why the Cut page’s dual timeline is a working layout rather than a passive overview ([Blackmagic Design Cut page](https://www.blackmagicdesign.com/products/davinciresolve/cut)).

Still, the Cut page does not automatically make every edit faster. If the timeline is built from many stacked layers, complex keyframes, dense track routing or intricate sound design, the Edit page’s conventional timeline may be easier to read. If your task is to copy sections from one complete sequence into another, use the Edit page’s source timeline workflow. The similar names do not make the tools interchangeable.

One useful decision is to choose a page by the question you need answered:

- **Where am I in the whole program?** The Cut page overview is built for that.
- **Can I trim this edit while seeing a broader context?** The Cut page keeps broad and close views together.
- **Which version or selects sequence has the shot I need?** The Edit page source timeline can keep that sequence open beside the destination.
- **Which tracks should receive the copied material?** Resolve 21’s source timeline Destination Track selectors can help.
- **What changed compared with my backup?** Resolve 21’s Compare with Timeline Backup view highlights differences.

## When should I use the Edit page source timeline?

Use the Edit page source timeline when the material you need already exists as a timeline and you want to reuse parts of it in a different active edit. It is a good fit for selects, alternate cuts, scene assemblies and reference versions.

Here are distinct cases where it can help:

**Building a main cut from selects.** Create or maintain a selects timeline while reviewing long interviews, event footage or documentary material. When you find a strong passage, use the selects timeline as the source and your story cut as the destination. This keeps your selection work and story structure separate.

**Reusing a scene from an approved cut.** If a scene already exists in another sequence, load that sequence as the source rather than recreating the cuts by hand. Check its audio, titles and effects after transfer because those elements may rely on separate tracks or media.

**Making an alternate version.** Keep the current edit active as the destination, and open a prior version as the source. You can consult the old timing and bring forward pieces that still serve the new version. If the purpose is to inspect a previous backup systematically, Resolve 21’s comparison window is more direct.

**Creating platform variants.** A 16:9 edit and a vertical social edit are separate destination timelines. A source timeline can help transfer selected shots or titles between them, but reframing and timing still need human review. A clip that works in landscape may place the subject off screen in a vertical frame.

**Rebuilding a section after feedback.** Keep the rest of the destination edit intact, and use a source sequence to pull in a reworked passage. This is useful when feedback changes the order or pacing of one section but the surrounding timeline remains approved.

**Working with a long source clip as a timeline.** Blackmagic documents that an ordinary media clip can be opened in the Source Viewer as a timeline, which is useful for very long clips such as interviews. That does not create a second edit, but it gives the clip timeline-like navigation and lets you use source-to-destination operations ([Resolve 20 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_20_New_Features_Guide.pdf)).

There are also cases where the feature adds overhead. If you only need one clip from the Media Pool, a normal source clip is simpler. If you need to browse many raw clips in a bin, Source Tape may fit better. If you need two views of the same program, the Cut page layout or a second viewer arrangement may be more appropriate. Match the tool to the source you have.

**The Edit page source timeline is most useful when your source material already has an order worth preserving.**

## Why are the two timelines not both editable?

Only the active Timeline Viewer timeline is the editable destination in this workflow; the Source Viewer timeline supplies material. If you need to edit the other timeline, make it active and treat the first as the source.

This one-destination rule makes the workflow predictable. If both timelines accepted edits at the same time, each click or paste would need an additional target decision. By keeping one source and one destination, Resolve lets the user move through the source while the active edit remains explicit.

It also protects the source sequence from accidental changes while you are finding material. That is valuable when your source is an approved timeline, a selects assembly or a previous version you want to preserve. You can navigate through it, choose what matters, then change only the destination.

If you truly need to revise both cuts, swap which timeline is active between passes. You might first use Version A as source and Version B as destination, make your changes, then activate Version A and load Version B as source. Keep your names clear and save a new version before making broad changes. The source relationship changes when you change which timeline is active.

The active timeline tab and viewer focus matter. A timeline can be visible as a tab but not be the destination. Click the correct tab or viewer and confirm the active playhead color and viewer label before editing. Pressing Q changes focus, but it does not convert the source into an editable destination; it changes which viewer has focus.

If edits seem to go to the wrong place, stop and undo once rather than making several corrective edits. Confirm the active timeline, the viewer focus and the target tracks. Then repeat with a small, obvious clip so you can verify the behavior before transferring a larger passage.

## Why can't I see the second timeline?

You usually cannot see the second timeline because stacked timelines are disabled, the source timeline was never loaded, or you are looking at the Cut page layout instead of the Edit page source workflow. Check the page and the setup steps before changing project settings.

Try this diagnostic order:

1. Confirm that you are on the **Edit** page, not the Cut page.
2. Open **Timeline View Options** and enable **Display Stacked Timelines**.
3. Locate the timeline in the Media Pool, right-click it and select **Open in Timeline with Source Viewer**.
4. Check whether the timeline appears in the Source Viewer and whether its tab is available.
5. Click the Source Viewer or press **Q** to change focus.
6. If the Source Viewer is still showing a regular clip, use its timeline dropdown or reopen the desired timeline from the Media Pool.

In Resolve 20, Blackmagic documents the Source Viewer dropdown as another way to change which timeline is loaded. That can be quicker than repeatedly returning to the Media Pool when you are switching between source timelines. If no timeline appears in the dropdown, first verify that the project contains more than one timeline and that the intended item is actually a timeline rather than a bin or compound clip.

The Cut page also has two timelines, but they do not appear as two independent sequences. If the upper timeline is a compressed overview and the lower one is zoomed in, you are seeing the Cut page’s dual timeline. If you expect a source sequence and a destination sequence, switch to the Edit page and load the source timeline explicitly.

Resolve’s workspace can also be rearranged. Closing a viewer, changing the timeline area height or hiding panels may make the layout seem different. Restore the viewer layout or adjust the panel splitters before assuming that the feature has disappeared. Avoid resetting the entire workspace until you have checked the relevant view options; a workspace reset can discard a layout you rely on.

If a tutorial shows a different menu label or arrangement, compare its Resolve version. The Edit page feature arrived in version 20. A Resolve 19 tutorial may demonstrate Cut page dual timelines or stacked timeline tabs, but it cannot show the Resolve 20 source timeline workflow as released. Resolve 21 changes the available source track selectors, so even a Resolve 20 tutorial may omit that control.

## Why did my clips land on the wrong track?

Clips can land on the wrong track when the destination track targeting or source track selection does not match what you intended. Resolve 21’s Destination Track selectors can limit the tracks used by source timeline edits, but you still need to inspect the routing before transferring material.

Start by undoing the unwanted edit. Then check the destination’s track controls and identify the source tracks you actually want. If you are bringing over video and audio together, decide whether the audio should replace, join or sit beside the existing audio. If a title sits on a higher video track in the source but should not accompany the picture, exclude it from the transfer where possible.

A few common examples:

- **The picture landed above the intended shot.** Check the destination video track selector and whether the operation was a drag or a paste.
- **Audio appeared on a new track.** Check which source audio tracks were selected and which destination tracks were enabled.
- **Only the picture arrived.** The source audio track may not have been included, or it may not have been linked to the video selection.
- **A title came across unexpectedly.** The selection included a title track, or the transfer included more tracks than needed.
- **Material replaced rather than inserted.** The edit operation or cursor context differed from your expectation; undo and choose the intended edit type deliberately.

Do a small test transfer first if the source sequence has many tracks. One short clip tells you whether track targeting, link selection and edit behavior are right. That quick check is easier than sorting out an entire sequence after a broad transfer.

Resolve 21’s support for Destination Track selectors is useful, but the New Features Guide only says these selectors limit tracks when using dual timeline editing. It does not promise automatic semantic matching between source and destination track names. Treat the selectors as routing controls, not an intelligent conform assistant. If the source uses A1 for a lavalier and the destination uses A1 for music, you still need to choose the correct destination track yourself.

## How do I compare two timelines in Resolve 21?

Use the Edit page source timeline when you want to browse one timeline while editing another; use **Compare with Timeline Backup** when you want Resolve 21 to highlight differences against a backed-up version. The two workflows solve related but different problems.

To compare a current timeline with one of its saved timeline backups, right-click the timeline and choose **Compare with Timeline Backup**. Select the backup from the dropdown in the comparison window. Blackmagic’s Resolve 21 guide says the window stacks the two timelines and highlights differences, making it appropriate for reviewing changes against previous backups ([Resolve 21 New Features Guide, pages 75-76](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf)).

That comparison tool is useful when you want to answer “what changed since the saved version?” It is not the same as opening any arbitrary timeline as a source. The backup comparison depends on a timeline backup; a separate alternate cut or selects timeline is better handled through the source timeline workflow.

Before comparing, check that you have a backup snapshot worth comparing against. A backup reflects a saved state, not necessarily the exact review version someone else remembers. Give important milestones clear names or notes, and preserve a deliberate backup before a major revision. If no relevant snapshot exists, the comparison tool cannot reconstruct an unsaved older version.

Use source timelines to move selected content between different edits. Use backup comparison to inspect differences between a current timeline and its own saved state. If you need a manual side-by-side check across two unrelated timelines, the source timeline approach can help you navigate them, but it will not automatically classify every difference.

## Does dual timeline editing change the final export?

Dual timeline editing does not export both timelines together; the Deliver page renders the active timeline you queue for export. The source timeline is a reference for edits unless you make it the active timeline and render it separately.

This is a practical distinction. Opening an additional timeline in the Source Viewer does not combine two cuts into one program. It does not create a split-screen comparison automatically, and it does not add source clips to the destination without an edit. It changes what you can see and use while working.

Before delivery, confirm the active timeline name, the full edit duration, the timeline range and the render settings. If the project contains a main cut, a vertical version and a selects timeline, make sure you have the intended delivery timeline active. Naming conventions help: `Client_Project_Main_16x9`, `Client_Project_Social_9x16`, `Client_Project_Selects` are clearer than several generic timeline names.

If you want to deliver two actual cuts, render them as two timeline jobs or use the Deliver page’s options for multiple timelines where supported by your version and workflow. Do not expect the dual timeline viewer setup to queue two exports. Resolve 21’s product page and support notes describe many export and project changes, but the dual timeline source feature itself is an editing arrangement, not an export mode ([Blackmagic Design Resolve 21 product page](https://www.blackmagicdesign.com/products/davinciresolve)).

After a source-to-destination transfer, play the destination from a few seconds before the new edit through a few seconds after it. Confirm that the clip timing, linked sound, transitions and titles are right. Then inspect the complete destination timeline once before export. These checks take less time than investigating why the wrong version reached review.

## What are the limitations and edge cases?

The dual timeline workflow helps move material between sequences, but it does not guarantee a perfect conform, preserve every contextual dependency or resolve version conflicts automatically. Treat each transfer as an edit that needs review.

**Track and audio relationships.** A video clip and its production sound may be linked, on separate tracks or processed differently. If you transfer only one side, playback can lose sync or sound. Inspect the audio tracks after moving a passage.

**Transitions at the source boundary.** A transition may depend on handles or neighboring clips. Copying a section without enough surrounding media can change how the transition behaves. Check the first and last cuts of the transferred section, especially if it begins or ends on a dissolve.

**Titles and graphics.** Titles may rely on fonts, Fusion compositions or external graphics. The timeline transfer does not prove those dependencies are available on another system or project. Confirm that the title renders and that its duration still matches the new timing.

**Nested and compound clips.** A clip can represent a nested sequence, multicam container or compound clip. Its visible duration may not reveal all the media and track structure inside. If you need to edit the underlying elements, open the nested timeline deliberately and verify that you are working at the right level.

**Frame rate and timeline settings.** Two timelines may use different resolutions, frame rates or start timecodes. When you move material between them, check timing and framing in the destination. A shot may fit the source project but require scaling or repositioning in a different aspect ratio.

**Effects and grades.** Clip-level effects can travel with clips, but timeline-level context, adjustment clips, track effects and color management choices may not behave as expected when a section moves. Review the image and sound after the transfer, and compare against the source if the result looks different.

**Collaborative projects.** If another editor can change the same project or timeline, make sure the source and destination are in a stable state before moving sections. Resolve 21 has collaborative timeline and project features, but edit permissions and locks are separate from the source timeline concept. Do not assume that opening a timeline in the Source Viewer gives you a protected archival copy.

**Long interviews.** A timeline source can be useful for navigating long material, but a single media clip opened as a source timeline may be simpler if the interview is not already cut into selects. For bins of many clips, Source Tape can be more direct. Choose the representation that gives you the best way to search and mark material.

**Version mismatch.** Resolve 20 introduced this Edit page source workflow; Resolve 21 adds Destination Track selectors. If two editors use different versions, they may see different controls. Coordinate the Resolve version before handing a project to another system, and check Blackmagic’s current support notes for version-specific requirements ([Blackmagic Design Support Center](https://www.blackmagicdesign.com/support)).

For each case, the safe pattern is the same: name the source clearly, set the destination, transfer a small test, inspect the result, then move the rest. That is not busywork. It is how you preserve intent when several timelines contain similar scenes or alternate edits.

## Is dual timeline editing the best way to learn DaVinci Resolve fast?

Dual timeline editing is one useful workflow to learn after you understand the Source Viewer, Timeline Viewer and basic track targeting; it is not a shortcut around learning how edits behave. If you are new, practice with a short project and a clearly named source sequence before using the feature on a client timeline.

The best way to learn DaVinci Resolve depends on how you learn. Blackmagic Design offers official free training videos and project files. Its Editing curriculum includes a 1 hour 9 minute Introduction to Editing lesson, a 44 minute lesson on refining an edit, and a 32 minute Multicam Editing lesson. Those are concrete, structured resources with downloadable material ([Blackmagic Design training](https://www.blackmagicdesign.com/products/davinciresolve/training)).

YouTube channels such as Casey Faris provide demonstrations you can watch and pause while following along. In his Resolve 21 beginner course, Faris explains that the Cut page is “a different approach to editing, although it does a similar job.” The quote is useful here because it captures why page names confuse new editors: they may both assemble footage, but the controls and workflow differ ([Casey Faris, Making Videos in Resolve 21](https://moderncreator.app/2026-05-28-casey-faris-making-videos-in-resolve-21-full-course-for-beginners)).

**A tutorial can show the route, but practice teaches you what each edit actually changes.**

Our professional editing community sees learners get stuck when a tutorial’s menu, version or timeline context does not match the project on their screen. That is why the best learning plan combines a reliable course with small exercises: create two short timelines, load one as a source, copy a clip, check the target track, then repeat with audio and a title. Keep a clean copy of the exercise so you can deliberately make and undo mistakes.

| Learning method | Best for | Trade-off |
| --- | --- | --- |
| Blackmagic official training | Structured lessons, project files and current vendor terminology | The lesson progresses on its own schedule; finding one control may take searching or scrubbing |
| Casey Faris and other YouTube tutorials | Seeing a complete workflow demonstrated, often with beginner context | A video may use another Resolve version or assume a different starting project |
| Practice project | Remembering where controls are and seeing how edits affect your own timeline | You must create useful exercises and diagnose your own mistakes |
| Written manual or guide | Checking exact menu labels, version behavior and edge cases | Reading can be slower than watching a short demonstration |
| An app that helps you while using Resolve | Getting context while the real project is open | Check what it can see, which platforms it supports and whether it explains rather than automates the edit |

If you want to learn DaVinci Resolve fast, avoid trying to memorize every page at once. Learn the Edit page viewers and track controls, then add source timelines when you have a real second sequence to work from. A beginner who understands source versus destination can recover from an unexpected paste more easily than someone who only remembers a sequence of clicks.

There are also live help options. The TryUncle app is for the moment when you are stuck in Resolve or a tutorial does not match your project; it is a paid assistant, not a substitute for learning editing judgment. If that kind of help fits your workflow, [see TryUncle](https://tryuncle.com/).

If you would rather learn through an established course, Blackmagic’s free training is a strong starting point, and Casey Faris’s walkthroughs are another familiar resource. If your question is only “where is this option?”, a manual search or targeted video may be enough. If you need help interpreting your own screen and project state, an on-screen assistant can close that gap while you work.

## What is the simplest practice exercise?

The simplest exercise is to create a destination timeline and a short source timeline, then transfer one video clip, one audio clip and one title while checking the destination after each move. This reveals the source/destination roles without risking a finished project.

Try this practice sequence:

1. Create a project with a few media clips and make a timeline called `Practice Main`.
2. Create a second timeline called `Practice Selects` with a short, edited passage.
3. Return to `Practice Main` as the active timeline.
4. Enable **Display Stacked Timelines** and open `Practice Selects` in the Source Viewer.
5. Find one clip in the source and copy or drag it into the destination.
6. Play the destination around the new edit and confirm its track and sound.
7. Repeat with a title or graphic, then check its duration and appearance.
8. In Resolve 21, practice changing the Destination Track selectors before a second transfer.

Start with a tiny source timeline, not a full feature or a long interview. A short practice sequence makes it easier to see the effect of each selection and track choice. Give the timelines names that state their role. When the source and destination names make sense, you have less to remember while you work.

Then deliberately try a mistake in the practice project. Select video without audio and notice what happens. Select the wrong destination track and undo. Load the wrong source timeline and switch it. Practicing recovery teaches more than repeating the ideal path, because real projects contain lookalike timelines and existing track layouts.

Once the routine feels clear, apply it to a copy of a real project. Keep the original project or a named timeline backup intact. If the project includes client media or collaborative changes, verify that you are working in the intended project and that the source sequence is stable before moving content.

## Which dual timeline workflow should I choose?

Choose the Edit page source timeline when you need to move material between two separate edits, the Cut page when you need an overview and close view of one edit, and Resolve 21 backup comparison when you need to inspect changes against a saved version.

Here is the short decision rule:

- **Two different timelines, one source and one destination:** use the Edit page workflow introduced in Resolve 20.
- **One timeline at two zoom levels:** use the Cut page dual timeline.
- **Current timeline against a previous backup, with changes highlighted:** use Resolve 21’s Compare with Timeline Backup.
- **A regular clip or a bin of raw footage:** use the Source Viewer or Source Tape, depending on whether you are browsing one clip or a bin.
- **A single clip or edit needs precise track-level work:** use the Edit page and confirm your source patching and destination targeting.

The version context remains simple as of October 2026: DaVinci Resolve 21.1 is the current release listed by Blackmagic Design; the Edit page source timeline workflow arrived in Resolve 20; and Resolve 21 added Destination Track selectors for source timeline edits. The Cut page dual timeline is older and continues to mean a program overview plus a magnified work area ([Blackmagic support notes](https://www.blackmagicdesign.com/support), [Resolve 20 guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_20_New_Features_Guide.pdf), [Resolve 21 guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf)).

When you next hear “dual timeline,” ask one clarifying question: do you need two edits open, or two views of one edit? That answer points you to the correct page, keeps edits aimed at the right destination, and prevents a naming coincidence from becoming a workflow problem.



## FAQ

### What is dual timeline editing in DaVinci Resolve?

In the Edit page, it means opening a second timeline in the Source Viewer while keeping the destination timeline in the Timeline Viewer. The Cut page also has a separate dual timeline layout: a whole-program overview above a zoomed working timeline.

### How do I open a second timeline in the DaVinci Resolve Source Viewer?

On the Edit page, enable Display Stacked Timelines, then right-click a timeline in the Media Pool and choose Open in Timeline with Source Viewer. Resolve 20 introduced the workflow, and Resolve 21 adds Destination Track selectors to source timelines.

### Can I edit the source timeline directly in Resolve's dual timeline view?

No. The source timeline is read-only in the Edit page dual timeline workflow. You can select, copy, or drag material from it into the active Timeline Viewer timeline.

### Why do I see two timelines on the DaVinci Resolve Cut page?

The Cut page's upper timeline gives a whole-program overview and the lower timeline shows the area around your work at a closer scale. They are two views of the same edit, unlike the Edit page workflow that can show two different timelines.

### Does DaVinci Resolve dual timeline editing work in Resolve 19?

The Edit page feature for opening one timeline in the Source Viewer was introduced in DaVinci Resolve 20. Resolve 19 and earlier still support the Cut page's overview and detail timelines, which are a different feature.

## Sources

- [DaVinci Resolve 20 New Features Guide, View and Edit Timelines in the Source Viewer](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_20_New_Features_Guide.pdf)
- [DaVinci Resolve 21 New Features Guide, Source Timelines Support Destination Track Selectors](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf)
- [DaVinci Resolve 21 New Features Guide, Compare Timelines with Timeline Backup Snapshots](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf)
- [DaVinci Resolve Cut page features, Dual Timelines and trim tools](https://www.blackmagicdesign.com/products/davinciresolve/cut)
- [DaVinci Resolve 21.1 Update, Blackmagic Design Support Center](https://www.blackmagicdesign.com/support)
- [DaVinci Resolve 21, Blackmagic Design product page](https://www.blackmagicdesign.com/products/davinciresolve)
- [DaVinci Resolve Training, Blackmagic Design](https://www.blackmagicdesign.com/products/davinciresolve/training)
- [Making Videos in Resolve 21, Casey Faris course transcript](https://moderncreator.app/2026-05-28-casey-faris-making-videos-in-resolve-21-full-course-for-beginners)