User Manual

Color
The settings in this panel govern different behaviors in the Color page.
General Settings
Affect a variety of behaviors while working in the Color page.
 Enable HDR Scopes for ST.2084 and HLG: (only available in Studio version) If you’re
doing an HDR grade and monitoring with the built-in video scopes in DaVinci Resolve,
you can turn this checkbox on to replace the 10-bit scale of the video scopes with a
scale based on nit values (or cd/m
2
) instead.
 Master reset maintains RGB balance: Defines how the DaVinci control panel trackball/
ring reset buttons reset primary color adjustments. When this option is turned off (the
default), pressing the ALL Reset button returns the primary correction values to their
default values. When this checkbox is turned on, then pressing the ALL Reset button
(a) resets the YRGB values so that the overall values are kept and the ratio of YRGB to
each other is maintained, and (b) pressing the RGB Reset button sets the three color
channels to the average of what they were previously set to.
 Wipe wraps when viewing reference stills: Turning this on (the default) lets stills wrap
around the edge of the screen while you’re adjusting the wipe using the mouse, rather
than stopping at the screen’s edge. If you find this behavior awkward when trying to
quickly create full-frame comparisons with stills to flip on and off, it can be disabled.
 High-Visibility Power Window Outlines: Turning this on sets Power Window outlines
tobe drawn as green (for the center shape) and yellow (for the softness shapes),
tomake these windows easier to see in certain circumstances, instead of the default
white andgray.
 Mattes display high contrast black and white: When enabled, the HILITE command,
which displays the current key, shows a black and white matte (i.e., high contrast) rather
than the standard gray matte. For more information on this setting, and on use of the
HILITE command, see Chapter 119, “Secondary Qualifiers.”
 Next scene switches to visible track: When grading a project with multiple tracks, you
can use this option to alter the “next scene” command to work better in projects with
multi-clip composites. With this option turned off, pressing NEXT SCENE on the DaVinci
control panel, or using the Down Arrow keyboard shortcut, moves the playhead to the
very next clip in the Thumbnail timeline, regardless of whether it’s in front of or behind
another clip. Turning this option on causes the NEXT SCENE command to move the
playhead to the clip in the highest track if the next clip is part of a multi-clip composite
with multiple clips stacked over one another.
 Previous or Next node navigates only to correctors: Node navigation only selects
corrector nodes and bypasses mixer, splitter and combiner nodes, etc.
 Use Legacy Auto Color: As of DaVinci Resolve 16, the A button in the Color Wheels
palette and the Shot Match command available from the Thumbnail Timeline contextual
menu both now use advanced algorithms, based on the DaVinci Neural Engine, to
provide superior results when automatically adjusting color balance and contrast. This
checkbox lets you set the A button to use the older algorithm instead.
 Use Legacy Shot Match: As of DaVinci Resolve 16, the Shot Match command available
from the Thumbnail Timeline contextual menu uses an advanced algorithm, based on
the DaVinci Neural Engine, to provide superior results when automatically adjusting
color balance and contrast. This checkbox lets you set the Shot Match command to use
the older algorithm instead.
Chapter – 3 System and UserPreferences 133