# How to Create New Timeline From Selected Clips in DaVinci Resolve

> **Quick answer:** To create a new timeline from selected clips in DaVinci Resolve, open the Media Pool, select the clips, right-click one selected clip, choose Create Timeline Using Selected Clips, name the timeline, choose whether to use each clip's In and Out marks, and click Create. Resolve assembles the clips in the enclosing bin's current sort order.

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*Updated 2026-09-30 · DaVinci Resolve 21.1 (September 2026) · Canonical: https://tryuncle.com/learn/davinci-resolve/how-to-create-a-new-timeline-from-selected-clips-in-davinci-resolve*

If you need a selects reel, a rough assembly, or a separate version of an edit, you don't have to drag every clip into an empty timeline. DaVinci Resolve can assemble a new timeline directly from clips selected in the Media Pool.

As of September 2026, this workflow applies to DaVinci Resolve 21.1 on Mac, Windows, and Linux. We built this guide around the command itself, then added the decisions that cause trouble: clip order, source In and Out marks, timeline settings, audio, frame rates, and the difference between Media Pool clips and clips already sitting in a timeline. After seven-plus years of professional, commercial video editing, and after teaching more than 100,000 students on Udemy as an official Udemy Business Partner, we've learned that the click is easy. The setup around the click is where editors lose time.

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.

## What is the fastest answer to how to create a new timeline from selected clips in DaVinci Resolve?

The fastest answer is to select the clips in the Media Pool, right-click one selected clip, choose **Create Timeline Using Selected Clips**, name the timeline, decide whether to use the clips' In and Out marks, and click **Create**. DaVinci Resolve then builds a new timeline from the selected source clips.

The command works from the Media Pool. That distinction matters. A clip in the Media Pool represents source media. A clip already placed on a timeline is an edit item with a position, track, and edit-point context. If you right-click a timeline clip, you'll see commands for editing that timeline item, not necessarily the selected-clip assembly command.

The compact workflow is:

1. Open the Media Pool and the bin containing the source clips.
2. Put the clips in the order you want Resolve to use.
3. Select one or more clips.
4. Right-click one of the selected clips.
5. Choose **Create Timeline Using Selected Clips**.
6. Type a timeline name.
7. Decide whether to enable **Use Selected Mark In/Out**.
8. Check the timeline options and click **Create**.
9. Inspect the new timeline before you begin trimming or grading.

The official DaVinci Resolve reference manual describes this as a way to assemble a timeline from manually selected clips. It also says the enclosing bin's sort order determines the order used for the assembly, and that the command can use each clip's logged In and Out points when that option is enabled. The wording comes from an older manual, but the command and its core logic remain the useful answer for current Resolve versions. [Blackmagic Design's reference manual documents the selected-clip workflow](https://documents.blackmagicdesign.com/UserManuals/DaVinci_Resolve_11_Reference_Manual.pdf?_v=1427701531000).

**Creating a timeline from selected clips is a Media Pool assembly operation, not a timeline rearrangement operation.**

## What should I prepare before selecting clips?

Prepare the bin, sort order, source ranges, and project settings before you select the clips. The new timeline is only as predictable as the source list you give DaVinci Resolve.

Start in the Media Pool. On the Edit page, make sure the Media Pool is visible. On the Media page, the Media Pool is already central to the workspace. Open the bin that contains the clips for this particular assembly. If you mix clips from several bins, pause and decide whether that is intentional, because a bin's sort order is the ordering context Resolve uses for the command.

Next, decide what the assembly means. A “selects reel” usually contains chosen clips in a deliberate viewing order. A “stringout” often contains many shots with minimal judgment. A “rough cut” might need the clips arranged by scene, take, camera, or interview topic. The same command can create all three, but the sort rule changes the result.

If your order is narrative, don't assume filename order will produce a narrative. Sort by a field that carries the order you want, such as date, timecode, scene, or a user-entered label.

Resolve's current training material distinguishes between the bin and the timeline. The DaVinci Resolve 20 Editor's Guide shows a workflow in which a dedicated TIMELINES bin is created before a new timeline is made, and it explains that bins can be sorted by name, date created, date modified, or user-defined order. [The current Editor's Guide explains bin organization and the Create New Timeline window](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000).

Then inspect the clips for marks. A source clip can have an In point and an Out point that describe the portion you want in the assembly. If you use selected marks, every selected clip needs a sensible range. A clip with an accidental Out point can become a surprisingly short item in the new timeline. A clip without useful marks may contribute its full source range, depending on the version and the state of the option.

Before you select anything, ask:

- Do I want filename, metadata, timecode, or manual order?
- Do I want complete source clips or marked portions?
- Should the timeline inherit project settings, and is this a new edit rather than an append?

The fourth question saves the most confusion. If you only want selected clips added to an existing edit, use an insert, append, or drag-and-drop edit instead. Creating a new timeline gives you a separate edit container. It doesn't create a copy of the source media.

## How do I select clips in the Media Pool without selecting the wrong thing?

Select the source clips in the Media Pool, not the bin name, a timeline item, or a search result you haven't reviewed. One selected clip is enough to expose the command, but multiple selected clips are what make the new timeline useful.

In a thumbnail or grid view, click a clip to select it, then use the normal multi-selection gesture for your operating system to add or remove clips. On Mac, hold Command while choosing separate clips and Shift when selecting a contiguous range. On Windows, use Ctrl for separate clips and Shift for a range. These gestures are standard selection behavior, but the important check is visual: every clip you expect in the assembly should show the Media Pool's selected state before you right-click.

In List view, selection is easier to audit because you can see names and metadata in rows. This is usually the better choice for a planned assembly. If the bin contains 40 clips and only 8 belong in the reel, List view makes the selected set easier to verify. If a bin contains 200 shots and you want all of them, selecting one clip and using Select All can be faster, but verify that the bin contains only the intended material first.

The DaVinci Resolve 17 Colorist Guide documents a concrete example: select all media in a Video bin, right-click one of the selected clips, choose **Create New Timeline Using Selected Clips**, name the timeline, and create it. That example assembled 27 selected clips into a new timeline. The number 27 belongs to that training exercise, not to a Resolve limit. It demonstrates that the command can handle a group of clips rather than only one item. [Blackmagic Design's Colorist Guide shows the selected-clip command in a real exercise](https://documents.blackmagicdesign.com/mx/UserManuals/DaVinci-Resolve-17-Colorist-Guide.pdf?_v=1623808249000).

Selection has three common traps.

First, a bin is not a clip. Right-clicking the bin gives you bin-level operations, including the command for creating a timeline from the entire bin in versions that expose it. That is a different decision from selecting a subset of clips.

Second, the source viewer and timeline viewer are not the same context. If you are viewing a source clip, the Media Pool selection still controls which clips are assembled. If you are viewing a timeline, the timeline's current state does not automatically define the new timeline's contents.

Third, a search filter can hide clips without changing what you intended conceptually. If you select all while a filter is active, check whether Select All applies to the visible result set or the whole bin in your current view. The safest approach is to clear the filter, sort the bin, and select deliberately when the assembly matters.

When your selected group is ready, right-click one of the selected source clips. You don't need to right-click each clip. Resolve uses the current selection, and the clicked item only provides the context menu.

If you want to assemble every clip in one bin, the bin command can be more appropriate. If you want only a subset, use the selected-clip command. That choice is the first branch in a clean workflow.

**The clicked clip opens the context menu, but the selection determines the clips Resolve assembles.**

## How do I use Create Timeline Using Selected Clips?

With the intended source clips selected in the Media Pool, right-click one selected clip and choose **Create Timeline Using Selected Clips**. The New Timeline Properties dialog opens so you can name the new timeline and set its initial behavior.

The menu label can vary slightly by Resolve release. Older official materials use **Create New Timeline Using Selected Clips**, while other manuals describe **Create Timeline Using Selected Clips**. If you see either wording on a Media Pool clip selection, it is the command you need. Do not choose **Create New Multicam Clip Using Selected Clips** unless you are deliberately creating a multicamera source object rather than a normal assembled timeline.

The command does not export, duplicate, or transcode the media. It creates a timeline that references the selected source clips. Your original clips remain in the Media Pool. The new timeline becomes another project item, and you can move it into a Timelines bin afterward if Resolve created it in the current bin.

The usual sequence is short:

1. Confirm the selection highlight in the Media Pool.
2. Right-click one selected source clip.
3. Choose **Create Timeline Using Selected Clips**.
4. Wait for the New Timeline Properties dialog.
5. Name the timeline before changing optional settings.

Resolve may open the new timeline immediately after you click Create. That is useful, but don't start editing before you perform a quick inspection. A new timeline can look plausible while still having the wrong order, wrong source ranges, wrong audio tracks, or an unexpected frame rate.

The command is especially useful when you want to preserve your source organization while creating several editorial views. For example, you can keep an interview bin intact, select the clips that contain strong answers, and create a “Topic Selects” timeline. You can then make a second selection from the same bin and create a “B-Roll Selects” timeline. The source media hasn't moved. The two timelines simply provide different arrangements of the same source items.

**A new timeline organizes source clips without duplicating the source media files.**

The feature also works as a fast assembly tool for logged footage. The older reference manual explicitly connects the command with metadata-rich media, sorted bins, and previously logged In and Out points. That is why the workflow is more than a shortcut for lazy dragging. It turns preparation work in the Media Pool into a repeatable assembly.

If you select only one clip, the command still creates a timeline from that source clip. That can be useful for checking a clip's source range, making a review timeline, or isolating a troublesome file. If a one-clip timeline opens with unexpected duration, inspect the clip's marks and the timeline settings before assuming the media is damaged.

## Why is Create Timeline Using Selected Clips missing?

The command is usually missing because the right-click happened in the wrong area or because no Media Pool source clip is selected. Return to the Media Pool, select one or more clips, and right-click one selected clip.

Work through this checklist in order.

#
## Did you right-click a bin instead of a clip?

A bin selection gives you bin operations. The selected-clip command belongs to a clip context menu. Click a clip thumbnail or row, confirm its selection highlight, then right-click the clip itself.

#
## Did you right-click inside the timeline?

A timeline clip is not the same as a Media Pool clip. Go back to the Media Pool and select the source media. If you want to build from clips already edited into a sequence, first decide whether you need a duplicate timeline, a compound clip, or a copy and paste operation. The selected-clip command is not a general “collect these timeline items” command.

#
## Did you select an effect, generator, or folder?

The command is designed for source clips. A title, generator, still, audio file, or folder can expose a different menu. Audio clips can appear in selected-clip examples, but availability can depend on the clip type and the version. If a mixed selection behaves unexpectedly, try a small selection of ordinary video clips first, then add the other media once the basic path works.

#
## Are you on the right page?

The Media Pool appears on both the Media and Edit pages, so the page itself is not the key. The context is. Find the Media Pool, open the bin, select the source clips, and right-click them there.

#
## Is the command named differently?

Official Blackmagic training material has used both **Create New Timeline Using Selected Clips** and **Create Timeline Using Selected Clips**. Look for the longer phrase if your menu differs from a current tutorial. The important words are “Timeline,” “Using,” and “Selected Clips.”

#
## Is the selection actually active?

Clicking a clip to view it in the source viewer does not always communicate the same thing as selecting it for a Media Pool operation. Click the clip once, then add the other clips, and verify the selection styling. If the menu still lacks the command, clear any search filter and try a single video clip in a normal bin.

#
## Is the project in a state that blocks editing?

A read-only project, a locked collaboration state, or a permission problem can affect what operations are available. The menu can also be different when a project or bin is being managed by another user. If the command is visible but Create is unavailable later, troubleshoot project permissions and collaboration status separately from clip selection.

The fastest diagnostic test is to open a simple project, import or use one ordinary video clip, select it in the Media Pool, and right-click. If the command appears there, the original problem is likely selection context, media type, filtering, or project state rather than the timeline feature itself.

If the command never appears in a current release after that test, check the exact Resolve version and the official documentation for that build. DaVinci Resolve 21.1 is the current release context for this guide, and Blackmagic's release materials show that the product continues to change its media and editing features across point releases. [Blackmagic Design's Resolve 21.1 announcement](https://www.blackmagicdesign.com/media/partial/release/20260908-03) is the best version anchor for this September 2026 guide.

## How does DaVinci Resolve decide the clip order?

DaVinci Resolve uses the selected clips' order in the enclosing bin, so sort the bin before creating the timeline. Selection order is not a reliable substitute for bin order when you need a repeatable assembly.

This is the detail that surprises most editors. You can click clips in what feels like a careful sequence, but Resolve's assembly logic is tied to the bin's current ordering context. If the bin is sorted by Clip Name, the new timeline will follow that order. If the bin is sorted by a metadata field, the new timeline will follow that field's order. The exact visible controls vary by view and release, but the principle is stable: control the list before invoking the command.

Use the bin order intentionally:

| Desired new timeline | Useful ordering decision | What to verify afterward |
| --- | --- | --- |
| Interview selects | Sort by a controllable editorial field or arrange the clips manually | Answers appear in the intended conversation order |
| Camera roll stringout | Sort by clip name, source timecode, or recording order | The first and last clips match the shoot order |
| B-roll reel | Sort by shot category, location, or subject metadata | Similar shots are grouped where you expect them |
| Scene assembly | Sort by scene, shot, and take metadata | Takes are not mixed across scenes |
| Music video selects | Sort by performance, camera, or planned song section | The timeline does not silently follow filename order |
| Review reel | Sort by the review or delivery sequence you want the viewer to see | The first clip gives the viewer the correct context |

The table is a planning aid, not a list of required metadata fields. Your project may not contain scene or shot data. If it doesn't, use a field you can set consistently, or make a smaller selection and verify it manually.

A safe order workflow looks like this:

1. Open the bin.
2. Switch to a view where the current order is visible.
3. Sort by the field that should control the assembly.
4. Select the intended clips.
5. Right-click one selected clip.
6. Create the timeline.
7. Compare the first, middle, and last clips in the new timeline with the intended order.

Why compare the middle? Checking only the first and last clips can miss a wrong grouping in the center. If a stringout should move from wide shots to medium shots to close-ups, inspect one clip from each block. If an interview reel should move from hook to context to conclusion, check those structural positions.

Sorting does not rewrite the source media. It changes how the bin presents the source clips and therefore how the assembly command reads them. You can create another timeline later from the same source bin after sorting it differently. This is a simple way to produce alternate selects without changing the original clips.

If the order is wrong after creation, you have two choices. For a short timeline, rearrange the clips directly. For a large assembly, delete or set aside the incorrect timeline, return to the source bin, fix the order, and create a new one. The second option is often cleaner because the timeline remains a faithful record of the bin order used to create it.

**The source bin's sort order controls the sequence of clips in the new timeline.**

## Should I use each clip's In and Out marks?

Enable **Use Selected Mark In/Out** when the new timeline should contain only the marked ranges from the selected source clips. Leave it off when the assembly should use the clips' full source ranges.

This checkbox is a decision about source duration. It doesn't mean “mark the new timeline.” It means “use the In and Out points already logged on the selected clips.” The distinction matters because the same bin can serve two jobs. You may mark only the usable portion of a shot for a selects reel, but later need the full source clip for a different edit.

Use selected marks when:

- You reviewed each source clip and marked a usable section.
- You want a compact stringout rather than a full camera dump.
- You logged interview answers with In and Out points.
- You trimmed away camera setup, false starts, or unusable tails before assembly.
- You are creating a review reel where each source range already represents a decision.

Do not use selected marks when:

- The clips don't have intentional marks.
- A previous session left stale marks in the bin.
- You need to review complete takes.
- You want the new timeline to preserve full source durations.
- You are not sure whether the marks belong to this project or an earlier pass.

The official reference manual explains the intended behavior directly: set In and Out points for each clip, select the clips, choose the selected-clip timeline command, and enable **Use Selected Mark In/Out** when those ranges should define the assembly. [Read the documented In and Out behavior in Blackmagic Design's reference manual](https://documents.blackmagicdesign.com/UserManuals/DaVinci_Resolve_11_Reference_Manual.pdf?_v=1427701531000).

The practical danger is invisible history. A source clip can carry a mark from a previous review, and the new timeline can correctly honor it even though you forgot it existed. If the resulting clip is unexpectedly short, load the source clip in the viewer and inspect its In and Out points. Do this before blaming the assembly command.

The opposite problem is an Out point too far to the right. A clip can appear normal in the new timeline but include unwanted material at the end. Check the first and last frame of a few assembled clips when the marks were supposed to be editorially meaningful.

For interviews, a useful pattern is to create one timeline from marked answer clips and another from full takes. The answer timeline supports editing. The full-take timeline remains a reference. Both can point to the same source media, and neither requires a second copy of the video files.

For B-roll, marks can represent the cleanest part of a shot. A six-second mark might exclude a camera bump at the start and a focus change at the end. For a general review reel, though, those marks might be too aggressive. Decide what the new timeline is for before checking the box.

If the option is disabled, Resolve may not have a usable clip selection, or the current media and command context may not support the option in that state. Select ordinary source clips in the Media Pool first. If the option remains disabled, create the timeline with the default settings, then inspect the current version's manual and the clip type you selected.

## What should I choose in the New Timeline Properties dialog?

Name the timeline clearly, keep **Use Project Settings** enabled unless you have a deliberate reason to override it, and change **Use Selected Mark In/Out** only when you understand the source ranges. The other controls define the initial tracks and timing context.

The dialog can include fields such as:

| Dialog control | What it controls | A sensible default for most selected-clip assemblies |
| --- | --- | --- |
| Timeline Name | The project item name for the new timeline | Use a name that describes the purpose and selection pass |
| Start Timecode | The starting timecode displayed by the timeline | Keep the project default unless a delivery or conform workflow requires another value |
| No. of Video Tracks | Initial video track count | Use the number your assembly needs, often one for a simple stringout |
| No. of Audio Tracks | Initial audio track count | Use enough tracks for the selected source audio and the intended review workflow |
| Audio Track Type | Initial audio format for created tracks | Match the source and project needs rather than guessing |
| Empty Timeline | Whether Resolve creates no assembled clip content | Leave it off for a selected-clip assembly; enable it only when you intentionally want an empty timeline |
| Use Selected Mark In/Out | Whether logged source ranges define each assembled clip | Enable only when the marks are intentional |
| Use Project Settings | Whether the timeline inherits project defaults | Keep enabled unless you need a separate timeline setup |

The visible field names and defaults can change across versions, but the DaVinci Resolve 20 Editor's Guide shows the current pattern: a timeline name, start timecode, video and audio track counts, audio track type, an empty timeline option, selected-mark behavior, and a project-settings option. It also explains that project settings provide the default timeline settings and can be overridden by turning off **Use Project Settings**. [Blackmagic Design's Editor's Guide shows the New Timeline Properties controls](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000).

#
## What should I name the timeline?

Name the purpose and the pass, not just the date. “Interview Selects Pass 01,” “B-Roll Wide Shots,” and “Client Review Shortlist” communicate more than “Timeline 1.” If you make multiple assemblies from the same bin, the name is your first defense against opening the wrong one later.

#
## Should I turn off Use Project Settings?

Usually no. Keep it enabled when the new timeline belongs to the same project and should follow the project's resolution, frame rate, and other defaults. Turn it off only when the new timeline intentionally needs different settings, such as a vertical social deliverable, a different starting timecode, or a distinct audio track setup.

The safest choice for a new editor is to use the project settings, then change a timeline setting only when you can explain why. A setting that looks harmless can affect how clips are conformed, displayed, or reviewed.

#
## Should Empty Timeline be enabled?

No, not for this query. The point of **Create Timeline Using Selected Clips** is to assemble the selected clips. An empty timeline is useful when you want a blank container and plan to edit manually, but it defeats the selected-clip assembly step.

#
## How many tracks should I create?

Create enough tracks for the assembly you actually plan to review. One video track is enough for a flat stringout. More tracks can be useful when you expect layered source items, separate audio, or an editorial layout that will be built immediately after creation. Extra empty tracks don't add media, but they can make a small timeline harder to read.

After you enter the name and review the options, click **Create**. Don't click Create while the timeline name still says “Timeline 1” unless that is genuinely the name you want. If the project uses a particular start timecode, audio layout, or conform convention, confirm those fields before creating the timeline.

## Why did my new timeline open empty?

An empty new timeline usually means the wrong option was selected, the selection was lost, or the command was used to create a blank timeline instead of assembling clips. Check the dialog and the original Media Pool selection before changing anything else.

If **Empty Timeline** was enabled, the result is expected. Create another timeline with that option disabled. If you used File > New Timeline instead of the selected-clip command, you also created a blank timeline by design.

Return to the Media Pool and verify the clips, selection, and bin filter. If the timeline contains clips but the viewer looks black, move the playhead over a clip and check the timeline viewer, track visibility, and clip enable state. A viewer can look empty even when the timeline is not.

If the timeline contains tiny portions of each clip, inspect **Use Selected Mark In/Out** and test again with it disabled. If only some clips appear, test three obvious video clips in a deliberate bin order with selected marks off, then add marks, mixed audio, or mixed frame rates one variable at a time.

## How do I create a timeline from selected clips with mixed frame rates?

You can create the timeline, but you should choose a deliberate timeline frame rate and then review how clips with different frame rates play and conform. The selected-clip command assembles media; it doesn't remove frame-rate differences.

Think of two separate settings. A source clip has a frame rate. The timeline has a frame rate. When they differ, Resolve must interpret the source frames in the timeline's timebase. That can be correct, but it can also change motion, duration, or the number of frames displayed if the source was recorded for a different delivery standard.

Set the project's timeline frame rate before importing media when possible. Blackmagic's training material has long emphasized that the project frame rate is an early decision and that changing it after media is added can be restricted. [The Editor's Guide discusses setting the timeline frame rate before importing media](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-15-Definitive-Guide.pdf).

For a selected-clip assembly, use this sequence:

1. Identify the intended delivery frame rate.
2. Confirm the project and timeline settings before creating the assembly.
3. Sort and select the clips.
4. Create the timeline with the project settings unless you have a deliberate override.
5. Inspect clips from each source frame-rate group.
6. Watch motion and compare durations before you begin detailed editing.

Don't choose a timeline rate just because the first clip has that rate. The first clip may be a phone clip, a screen recording, or a temporary reference. Choose based on the project, delivery, or editorial purpose.

DaVinci Resolve 21.1 introduced and expanded many editing features, but its release announcement does not say that the selected-clip command changed its fundamental frame-rate behavior. Verify the current dialog and test a representative clip group. [Blackmagic Design lists DaVinci Resolve 21.1 as available in September 2026](https://www.blackmagicdesign.com/media/partial/release/20260908-03).

Mixed frame rates are not automatically a failure. A 24 fps narrative timeline can contain footage recorded at another rate when the conversion is intentional. What matters is that you know which clips differ and that the resulting motion matches the project goal.

If the new timeline looks jittery, don't immediately recreate it. First check the timeline frame rate, source clip interpretation, playback performance, and any retiming settings. The separate issue of mixed-frame-rate playback has its own diagnostic path. A selected-clip assembly can be correct even when the chosen project settings need adjustment.

## How do I create a timeline from selected clips with different resolutions or orientations?

Create the timeline using the project settings, then check how horizontal, vertical, square, and other source formats are framed inside that timeline. The new timeline's format is not simply a promise to preserve every source geometry unchanged.

A project can contain clips with different resolutions and aspect ratios. DaVinci Resolve scales or fits those clips according to the project's image-scaling and timeline settings. A horizontal source in a vertical timeline may crop, pillarbox, or require reframing. A vertical phone clip in a horizontal timeline may show side areas or require a deliberate crop.

The selected-clip command is therefore a good way to assemble a review timeline, but the review should include framing checks. Look at the first vertical clip, the first wide clip, and any source with a noticeably different resolution. If the assembly is for editing, decide whether to fix framing now or later. If it is for a client review, fix enough to make the review understandable.

The current DaVinci Resolve 21.1 release notes say that the Source Viewer preserves the source media's original aspect ratio independently of whether the timeline is vertical or horizontal. That helps you inspect source media accurately, but it does not mean the destination timeline will show every source without scaling. [Blackmagic Design describes the Source Viewer aspect-ratio behavior in the 21.1 announcement](https://www.blackmagicdesign.com/media/partial/release/20260908-03).

For a mixed-format selects reel, name the timeline with its intended orientation, such as “Vertical Social Selects” or “16x9 Client Review.” If you need two deliverables, create separate timelines or make deliberate reframing changes.

## What happens to audio when I create a new timeline from selected clips?

DaVinci Resolve assembles the selected source clips with their available audio according to the project's and timeline's audio setup, but you should inspect track layout after creation. The number of initial audio tracks in the dialog is not a substitute for checking source channels.

For a simple talking-head selects reel, one video track and an appropriate audio track may be enough. For dual-system sound, multiple channels, or production audio, inspect the timeline's audio area and confirm that dialogue is audible and routed as expected.

If you create a timeline from audio-only clips, the available commands and dialog behavior can differ from a video selection. The DaVinci Resolve 18 Fairlight guide shows the selected-clip timeline command in an audio workflow and describes a New Timeline dialog with audio track settings and the selected-mark option disabled in that particular setup. That example is a reminder to treat media type as part of the decision. [Blackmagic Design's Fairlight guide shows a selected-clip timeline in an audio context](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-18-Fairlight-Audio-Post.pdf).

Use a deliberate audio check:

1. Play the first assembled clip.
2. Play a clip from the middle of the timeline.
3. Watch the meters while dialogue or production sound is present.
4. Solo or mute tracks only if you understand the track layout.
5. Confirm that the selected audio channels are the channels you want.

If the audio is out of sync, the selected-clip command is probably not the root cause. Check source sync, clip attributes, sample-rate handling, and whether the source clips were already synchronized before the assembly. A new timeline references the selected clips; it does not magically repair bad source synchronization.

If the assembly is intended for visual review only, you can still keep the original audio in the timeline. That makes later editorial decisions easier and reduces the chance of reviewing silent or incomplete material.

## Should I create a new timeline or add selected clips to an existing timeline?

Create a new timeline when you need an independent assembly, selects reel, stringout, or alternate version. Add clips to an existing timeline when the clips belong inside an edit that already has timing, tracks, transitions, and editorial context.

Use a new timeline for:

- A first-pass stringout of all clips from a bin.
- A client review reel built from a selected subset.
- A separate vertical or horizontal assembly.
- An interview selects timeline that should not disturb the main cut.
- A B-roll timeline that you want to browse while editing elsewhere.
- A before-and-after version you need to compare without changing the original.

Use an existing timeline for:

- Appending newly selected clips to the end of a sequence.
- Inserting a chosen range at the playhead.
- Replacing a shot in a cut that already has music and transitions.
- Continuing an edit whose timing and track structure are already established.

The command's name helps answer the question. **Create Timeline Using Selected Clips** creates a new container. It doesn't say “append selected clips to current timeline.” If you want the latter, choose the relevant edit operation in the Media Pool or use the Edit page's source and timeline workflow.

If you duplicate an existing timeline instead, you preserve the current edit structure, not the bin selection logic. That can be the right choice for alternate endings or deliverables, but it answers a different problem.

For a broader workflow, see [how to edit faster in DaVinci Resolve](https://tryuncle.com/learn/davinci-resolve/how-to-edit-faster-in-davinci-resolve). The selected-clip command is one small part of a faster editorial system: organize first, assemble deliberately, then trim with a clear purpose.

## How do I use selected clips for a rough cut, music sequence, or selects reel?

Use the same command for each format, but change the preparation: sort clips by narrative or metadata order for a rough cut, by performance or song section for a music sequence, and by shot quality or topic for a selects reel.

#
## Rough cut assembly

For a rough cut, select clips for one scene or story beat, sort them into a watchable order, and keep the assembly separate from the main cut until the material earns a place. Use full takes for coverage review and selected marks for logged answers or short B-roll ranges.

#
## Music sequence

For a music sequence, sort by performance, song section, camera, or another field that maps to the song. A sequential source reel is a review order, not a finished music edit. Beat cuts, continuity, speed changes, and transitions still require editorial decisions.

#
## Selects reel and client review

For a selects reel, mark only the sections worth considering and group the clips by topic, shot size, movement, or scene. For a client review, use a descriptive name and check the first frame, order, audio, and framing before sharing. The same source bin can produce all of these assemblies; preparation is what changes the result.

## How do I verify the new timeline before I start editing?

Verify the timeline name, first and last clips, a middle clip, source ranges, frame rate, framing, audio, and track state before you begin detailed edits. A two-minute check can prevent an hour of trimming the wrong assembly.

Use this inspection pass:

1. Read the timeline name at the top of the timeline and in the Media Pool.
2. Check the first clip against the first intended source clip.
3. Check a clip near the middle of the assembly.
4. Check the last clip against the intended final source clip.
5. Compare durations if selected marks were enabled.
6. Watch at least one clip from each source format or frame-rate group.
7. Listen to a clip with important dialogue or production sound.
8. Confirm that tracks are visible and enabled.
9. Save the project after the result is correct.

The middle check matters because order errors often hide inside an otherwise plausible sequence. The mark check matters because a timeline can contain every selected source clip but still use the wrong ranges. The audio check matters because an assembly that looks right can still be useless for editorial review if its important sound is missing.

If you plan to create multiple timelines, organize them in a Timelines bin. The DaVinci Resolve 20 Editor's Guide uses a dedicated TIMELINES bin as part of its project organization workflow. Keeping timelines together makes it easier to distinguish source bins from edit containers and reduces accidental edits to the wrong timeline. [See Blackmagic Design's timeline-bin organization example](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000).

After verification, save the project using its normal backup workflow. A useful naming pattern is `[purpose] - [source group] - [pass]`, such as `Interview Selects - Product Launch - Pass 01`. Use the convention your collaborators already understand.

## Why did my clips become stretched, cropped, or letterboxed?

The new timeline is applying its timeline format and image-scaling behavior to source clips with different dimensions or aspect ratios. Check the timeline settings and a representative clip before changing every shot by hand.

If only phone footage or screen captures look wrong, compare the source viewer with the timeline viewer to separate unusual source media from timeline reframing. The selected-clip command gets media into sequence; it doesn't make creative decisions about crops, repositioning, or safe areas.

## What changed in DaVinci Resolve 21.1 for this workflow?

DaVinci Resolve 21.1 is the current version context for this guide, but the release announcement does not present the selected-clip timeline command as a new feature. The core workflow remains a Media Pool selection followed by a selected-clip timeline command and a properties dialog.

The September 8, 2026 Blackmagic Design announcement identifies Resolve 21.1 as a major update. It highlights AI assistant integration, expanded camera support, improved multicam workflows, more Krokodove graphics tools, and additional editing and color controls. It also says that 21.1 is available as a free download. [Read the official Resolve 21.1 release announcement](https://www.blackmagicdesign.com/media/partial/release/20260908-03).

For this specific task, the useful version advice is simple:

- Follow the current menu wording in your installed build.
- Expect the selected-clip command to live in the Media Pool clip context menu.
- Check the New Timeline Properties dialog rather than relying on a tutorial's old defaults.
- Be cautious with tutorials that show older interface images or different labels.
- Recheck frame rate, source marks, and media types when a result differs.

The current Resolve 21 page also lists Mac, Windows, and Linux support for the software, so the command is not a Mac-only workflow. [Blackmagic Design's Resolve product page describes the supported desktop platforms](https://www.blackmagicdesign.com/uk/products/davinciresolve/whatsnew).

One more 21.1 detail matters for the broader learning question. Blackmagic says the release supports integration with AI assistants for tasks such as organizing media, analyzing projects, creating highlight edits, and batch rendering. Grant Petty, Blackmagic Design's CEO, said, “With AI assistant support, our customers can now ask Claude or ChatGPT to handle repetitive tasks.” [Read the attributed statement in Blackmagic Design's announcement](https://www.blackmagicdesign.com/media/partial/release/20260908-03).

That quote describes a product capability, not a reason to skip the manual workflow. If you need a predictable timeline from a known set of clips, the selected-clip command remains easy to audit. If you need large-scale organization or repetitive processing, current assistant integrations may deserve a separate evaluation. Keep the distinction clear.

## What is the best way to learn DaVinci Resolve while using this workflow?

The best way to learn DaVinci Resolve is to combine a structured foundation with small tasks performed inside a real project. Use Blackmagic's free official training for concepts, focused videos for a specific obstacle, and guided help when the exact control on your screen is the problem.

Blackmagic's official training is the consensus foundation because it teaches the application's pages, vocabulary, and intended workflows. The Beginner's Guide and Editor's Guide provide structured exercises, including project setup, Media Pool organization, timeline creation, and editing fundamentals. That material is free and authoritative for the product's own terminology.

YouTube can be faster for a narrow question, but check the Resolve version, page, and selection context. Courses on Udemy or similar platforms provide a linear path and exercises, but they can take longer than a focused answer. Search engines, forums, and Reddit can surface useful edge cases, but version-sensitive advice should be checked against Blackmagic documentation.

For this exact problem, practice beats passive watching. Create three small timelines from the same source bin:

1. A full-take assembly with selected marks off.
2. A marked-selects assembly with selected marks on.
3. A differently sorted assembly with the same source group.

Compare the results. You'll learn what the command does, what marks do, and what sort order does in one controlled exercise.

We run a professional video-editing community of more than 100,000 members, and questions about missing controls often come down to a mismatch between the tutorial's screen and the learner's screen. Name the context first: Media Pool clip, timeline clip, bin, source viewer, or timeline viewer.

If your goal is to learn DaVinci Resolve fast, ask one precise question and test one variable at a time. “Why is Create Timeline Using Selected Clips missing?” points to selection context. “Why are these clips too short?” points to source marks. “Why is the order wrong?” points to bin sorting.

## Is an app that helps you while using DaVinci Resolve useful here?

An app that helps you while using DaVinci Resolve is most useful when you know the result you want but can't locate the control in your current layout or version. It should shorten the search for the command, not replace your judgment about clip order, source ranges, and timeline settings.

This workflow has several context questions that a generic answer can miss:

- Are you selecting Media Pool clips or timeline clips?
- Is the enclosing bin sorted in the intended order?
- Are source In and Out points supposed to be used?
- Is the new timeline intended to be empty or assembled?
- Should the timeline inherit project settings?

Those decisions belong to the editor. A helper can point you to the menu or explain the distinction, but it can't choose the editorial purpose for you.

TryUncle is designed for the moment when a tutorial doesn't match your Resolve layout. If you want the on-screen assistant to point at the relevant control while you work, [check TryUncle for the current details](https://tryuncle.com/). The product is paid, and the landing page is the source for current platform and pricing information.

The neutral alternatives are worth understanding. Blackmagic's manuals and training are the authority for Resolve's workflow. YouTube is broad and often free. Courses provide a linear path. A screen-aware assistant serves a different moment: you are already in the project and need the next control.

That is why the honest answer to “AI tool to learn DaVinci Resolve” depends on the task. For a full foundation, start with official training or a well-structured course. For a current stuck point, use focused documentation, a targeted tutorial, or an on-screen assistant. For creative decisions, rely on your own judgment and review.

## What should I do if a tutorial's menu does not match my Resolve screen?

Check the Resolve version, page, panel, selection context, and menu wording before assuming the command was removed. Many apparent feature changes are context mismatches.

Use this comparison:

| What you see | What it may mean | Next check |
| --- | --- | --- |
| Create Timeline Using Selected Clips | You are in the right Media Pool clip context | Open the properties dialog and review options |
| Create New Timeline Using Selected Clips | Older or alternate menu wording | Use it for the same selected-clip assembly workflow |
| Only Create New Timeline | You may have selected a bin, timeline item, or unsupported context | Select a source clip in the Media Pool |
| Create New Multicam Clip Using Selected Clips | You are looking at a related command | Choose the normal timeline command for a flat assembly |
| No timeline command at all | Selection or project context is wrong | Test one ordinary Media Pool video clip |

Then check the tutorial's date and version. Resolve 21.1 is current for this guide. A tutorial built around Resolve 17, 18, or 20 may still teach the same concept, but its labels, defaults, and surrounding controls can differ.

Don't copy a tutorial's settings blindly. The correct setting for the instructor's project may be wrong for yours. Copy the decision logic instead: select source media, control order, choose source ranges, name the timeline, and inspect the result.

## How do I repeat this workflow for multiple timelines?

Repeat the workflow from the same source bin after changing one deliberate input: the selection, sort order, marks, or intended timeline format. Give every result a distinct name and keep the timelines together in a dedicated bin.

For a repeatable batch of assemblies, write the plan before clicking:

| Timeline | Selection | Sort order | Mark behavior | Purpose |
| --- | --- | --- | --- | --- |
| Interview Answers | Clips with usable answers | Topic order | Use selected marks | Edit from concise answers |
| Interview Full Takes | Same interview group | Recording order | Use full ranges | Reference and context |
| B-Roll Selects | Chosen visual clips | Category order | Use selected marks | Browse coverage |
| Client Review | Approved clips only | Delivery order | Usually use full ranges | Watch-through and notes |

The point of the table is not bureaucracy. It prevents two common mistakes: creating four timelines that are actually the same, and creating four different timelines without recording why they differ.

After each creation, verify one property before moving to the next. For the first timeline, focus on marks. For the second, focus on order. For the third, focus on aspect ratio or audio. This isolates mistakes while the source context is still fresh.

If you are making many deliverable timelines, see [how to render multiple timelines at once in DaVinci Resolve](https://tryuncle.com/learn/davinci-resolve/how-to-render-multiple-timelines-at-once-in-davinci-resolve). Creating multiple timelines and rendering multiple timelines solve different stages of the same larger workflow, but the naming discipline carries across both.

## What is the final checklist for a selected-clip timeline?

Before you trust the new timeline, confirm the source selection, bin order, marks, name, settings, audio, framing, and saved project state. The command is quick; the verification is what makes it dependable.

Use this final checklist:

- The source clips were selected in the Media Pool.
- The enclosing bin was sorted intentionally.
- The selection contains only the clips you want.
- The command came from a selected source clip's context menu.
- The timeline has a descriptive name.
- Empty Timeline is off for an assembled timeline.
- Use Selected Mark In/Out matches the purpose of the assembly.
- Use Project Settings matches the project decision.
- The first, middle, and last clips are correct.
- Audio plays and meters respond where expected.
- Mixed frame rates and formats have been reviewed.
- The timeline is in the intended Timelines bin.
- The project is saved using its normal backup workflow.

If one item fails, fix that item before starting detailed edits. A wrong sort order is easiest to repair before trimming. A wrong mark setting is easiest to repair before grading. A wrong timeline format is easiest to repair before building graphics and transitions.

If you want to compare the source and timeline contexts while checking a result, see [DaVinci Resolve Source Viewer vs Timeline Viewer](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-source-viewer-vs-timeline-viewer). Understanding which viewer is active prevents a large class of “the clip is not there” mistakes.

The answer to the original question is still simple: select the clips in the Media Pool, sort the bin first, right-click one selected clip, choose **Create Timeline Using Selected Clips**, set the name and source-range option, and click Create. The extra steps protect the result.

Uncle can point at the exact selected-clip control in your own Resolve project while you work. Create one small test with marks off, then repeat it with marks and a different sort order.

## FAQ

### How do I create a new timeline from selected clips in DaVinci Resolve?

Select the clips in the Media Pool, right-click one selected clip, choose Create Timeline Using Selected Clips, name the timeline, set the available options, and click Create.

### Why is Create Timeline Using Selected Clips missing in DaVinci Resolve?

The command appears when you select clips in the Media Pool, not when you select a timeline clip or an entire bin. Return to the Media Pool, select one or more media clips, and right-click one of those selected clips.

### Does DaVinci Resolve use the clips' In and Out points when creating the timeline?

Yes, when Use Selected Mark In/Out is enabled in the New Timeline Properties dialog. If it is disabled, Resolve uses the clips' full source ranges.

### How does DaVinci Resolve order selected clips in a new timeline?

Resolve uses the order of the selected clips in their enclosing bin, so sort the bin before opening the command if the assembly order matters.

### Can I create a new timeline from selected clips with mixed frame rates?

Yes. Choose a deliberate timeline frame rate in the project or timeline settings, then review clips that do not match it because Resolve must conform them to the timeline timebase.

## Sources

- [DaVinci Resolve 21.1 announcement](https://www.blackmagicdesign.com/media/partial/release/20260908-03)
- [DaVinci Resolve 21 What's New](https://www.blackmagicdesign.com/uk/products/davinciresolve/whatsnew)
- [DaVinci Resolve 20 Editor's Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000)
- [DaVinci Resolve 20 Beginner's Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Beginners-Guide.pdf)
- [DaVinci Resolve 11 Reference Manual, Creating Timelines From Bins and Selection](https://documents.blackmagicdesign.com/UserManuals/DaVinci_Resolve_11_Reference_Manual.pdf?_v=1427701531000)
- [DaVinci Resolve 17 Colorist Guide](https://documents.blackmagicdesign.com/mx/UserManuals/DaVinci-Resolve-17-Colorist-Guide.pdf?_v=1623808249000)
- [DaVinci Resolve 17 Editor's Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-17-Editors-Guide.pdf?_v=1624410089000)
- [DaVinci Resolve 18 Fairlight Audio Post Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-18-Fairlight-Audio-Post.pdf)
- [DaVinci Resolve 15 Definitive Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-15-Definitive-Guide.pdf)