User Manual
Table Of Contents
- Getting Started with DaVinci Resolve
- PART 1 – Introduction
- Introduction to DaVinci Resolve
- The Project Manager
- Preferences and Project Settings
- Switching Among Pages
- The Media Page
- The Cut Page
- The Edit Page
- Motion Graphics and Visual Effects in DaVinci Resolve
- The Fusion Page
- Media Pool
- The Color Page
- The Fairlight Page
- Mixer
- The Monitoring Panel
- The Deliver Page
- Using the DaVinci Resolve Interface
- Working Full Screen vs. Within a Floating Window
- Panels and Panel Focus
- Showing and Hiding Panels Using the Interface Toolbar
- Showing Which Panel Has Focus
- Adjusting the Size of Different Panels
- Using Single vs. Dual Monitor Layouts
- Video Clean Feed
- Saving Custom Screen Layouts
- Resetting to the Default Layout
- Undocking Specific Panels of the Interface
- DaVinci Resolve User Interface Conventions
- The Three Buttons of a Mouse or Other Input Device
- Keyboard Shortcuts
- Undo and Redo in DaVinci Resolve
- Managing Projects and Databases
- System and User Preferences
- Project Settings
- Camera Raw Settings
- Improving Performance, Proxies, and the Render Cache
- Understanding the GPU Status Display
- Prioritizing Audio or Video Playback in the Edit Page
- Performance Mode Improves Overall Performance
- Proxy Mode Improves Effects Performance
- Reducing Decode Quality Improves Raw Media Performance
- Optimized Media Improves Overall Performance
- Creating Optimized Media
- Seeing Which Clips Have Been Optimized
- Using Smart Bins to Keep Track of Clips Needing Optimizing
- Optimized Media for Raw Source Clips
- Customizing the Type of Optimized Media You Create
- Switching Between Optimized and Original Media
- Rediscovering Lost Optimized Media
- Deleting Optimized Media
- Using Optimized Media for Delivery
- Using the Smart or User Cache Improves Effects Performance
- Manually Controlling the Cache
- Using Optimized Media, Proxies, and Caching Together
- Other Project Settings That Improve Performance
- Data Levels, Color Management, and ACES
- Data Levels Settings and Conversions
- DaVinci Resolve Color Management
- Display Referred vs. Scene Referred Color Management
- Resolve Color Management for Editors
- Resolve Color Management and Camera Raw Formats
- Controlling the Input, Timeline, and Output Color Space
- Single Setting vs. Dual Setting RCM
- 203 Nit Support for SDR to HDR
- Gamut Limiting, Restricting Values Within a Larger Gamut
- Gamut Mapping From Timeline to Output Color Space
- Procedures for Using Resolve Color Management
- Resolve Color Management and the Fusion Page
- Exporting Color Space Information to QuickTime Files
- Color Management Using ACES
- HDR Setup and Grading
- High Dynamic Range (HDR) Grading in DaVinci Resolve
- Dolby Vision™
- Mastering Displays for Dolby Vision
- GPU-Accelerated Dolby Vision™ CMU Built-In (Studio Only)
- Simultaneous Master and Target Display Output for Dolby Vision
- Hardware Setup of Master and Target Display Output for Dolby Vision
- Auto Analysis is Available to All Studio Users
- Authorizing DaVinci Resolve to Expose Advanced Dolby Vision Controls
- Dolby Vision Trim Controls in DaVinci Resolve
- Previewing and Trimming At Different Levels
- Managing Dolby Vision Metadata
- Setting Up Resolve Color Management for Grading HDR
- DaVinci Resolve Grading Workflow For Dolby Vision
- Delivering Dolby Vision
- Playing Dolby Vision at Home
- SMPTE ST.2084 and HDR10
- HDR10+™
- Hybrid Log-Gamma (HLG)
- Image Sizing and Resolution Independence
- Introduction to DaVinci Resolve
- PART 2 – Ingest and Organize Media
- Using the Media Page
- Understanding the Media Page User Interface
- The Media Storage Browser
- Viewer
- Media Pool
- The Bin List
- Showing Bins in Separate Windows
- Bins, Power Bins, and Smart Bins
- Filtering Bins Using Color Tags
- Sorting the Bin List
- Thumbnail View and List View in the Media Pool
- Display Audio Clip Waveforms in Media Pool and Media Storage
- Searching for Content in the Media Pool
- Taking Advantage of the Media Pool’s Usage Column
- Metadata Editor
- Audio Panel
- Dual Monitor Layout
- Customizing the Media Page
- Undo and Redo in DaVinci Resolve
- Adding and Organizing Media with the Media Pool
- Copying Media Using the Clone Tool
- Adding Media to the Media Pool
- Adding Media to the Cut, Edit, Fusion, and Fairlight Pages
- Removing Media From the Media Pool
- Adding and Removing External Mattes
- Adding Offline Reference Movies
- Extracting Audio in Media Storage
- Manually Organizing the Media Pool
- Sharing Media Among Projects Using Power Bins
- Automated Organization Using Smart Bins
- Duplicating Clips in the Media Pool
- Choosing How to Display Bins
- Finding Clips, Timelines, and Media
- Tracking Media Usage
- Relinking Media Simply
- Using Clip Metadata
- Syncing Audio and Video
- Modifying Clips and Clip Attributes
- Using Scene Detection
- Ingesting From Tape
- Capturing from the Cintel Film Scanner
- Using the Media Page
- PART 3 – The Cut Page
- Introducing the Cut Page
- Importing and Organizing Media in the Cut Page
- Fast Editing in the Cut Page
- Trimming in the Cut Page
- Video and Audio Effects in the Cut Page
- Quick Export
- Using the DaVinci Resolve Editor Keyboard with the Cut Page
- PART 4 – Edit
- Using the Edit Page
- The Edit Page User Interface
- The Interface Toolbar
- Navigating the Edit Page
- The Media Pool
- More About Timelines and Grading
- Using the Effects Library
- Edit Index
- Source and Timeline Viewers
- How Each Clip’s Grade Looks in Each Viewer
- Source and Timeline Viewers vs. Single Viewer Mode
- Viewer Controls
- Simultaneous Audio Waveform Display in the Source Viewer
- Cinema Viewer Mode
- Viewer Indicators
- Other Viewer Options
- Opening Clips in the Source Viewer
- Timeline Viewer Edit Overlays
- Copy and Paste Timecode in Viewer Timecode Fields
- Metadata Editor
- Inspector
- Timeline
- Toolbar
- The Mixer and Meters
- Using Video Scopes
- Floating Timecode Window
- Dual Monitor Layout
- Customizing the Edit Page
- Undo and Redo in DaVinci Resolve
- Creating and Working with Timelines
- Keyboard Shortcuts in This Chapter
- Creating and Duplicating Timelines
- Timeline View Options
- Modifying Timeline Tracks
- Naming Timeline Tracks
- Using Timeline Snapping and Zooming
- Scrolling Through the Timeline
- Resizing the Timeline’s Video and Audio Track Regions
- Tabbed and Stacked Timelines
- Duplicate Frame Detection
- Comparing Timelines
- Preparing Clips for Editing and Viewer Playback
- Keyboard Shortcuts in This Chapter
- Browsing Clips in the Media Pool
- Selecting Clips in the Media Pool to Edit
- Duplicating Clips in the Media Pool
- Viewer Playback and Navigation
- Source and Timeline Viewers vs. Single Viewer Mode
- Opening Clips Into the Source Viewer to Prepare for Editing
- Viewer Transport Controls
- Simple Keyboard Shortcuts for Playback and Navigation
- Using JKL to Control Playback
- Special-Purpose Playback Commands
- Option to “Stop and Go to Last Position”
- Enabling and Disabling Audio Scrubbing
- Playback Post-Roll
- Moving the Playhead Using Timecode
- Gang Viewers (Playhead Ganging)
- Adding Markers
- Setting In and Out Points
- Turning In and Out Points into Markers with Duration and Back Again
- Organizing Media by Creating Subclips
- Editing Basics
- Keyboard Shortcuts in This Chapter
- Drag and Drop Editing
- Audio Track Creation While Editing
- Using Keyboard Shortcuts and Three-Point Editing to Assemble a Program
- Making Selections in the Timeline
- Using Auto Select Controls to Define Selections
- Locking Tracks You Don’t Want to Change
- Position Lock for Finishing
- Disabling and Re-Enabling Clips in the Timeline
- Deleting Clips and Gaps from the Timeline
- Audio/Video Linking
- Modifying Clips in the Timeline
- Keyboard Shortcuts in This Chapter
- Moving, Resizing, and Rolling Clips in Selection Mode
- Trimming Gaps
- Modifying Clip Duration Via Timecode
- Resizing or Trimming Clips in the Source Viewer
- Shuffle/Swap Insert Edits
- Splitting and Joining Clips
- Enabling and Disabling Clips and Tracks
- Copying and Pasting Clips in the Timeline
- Duplicating Clips and Transitions in the Timeline
- Clean Up Video Tracks
- Three- and Four‑Point Editing
- Keyboard Shortcuts in This Chapter
- Introduction to Three-Point Editing
- Choosing a Track to Edit to Using Destination Controls
- Setting In and Out Points in the Timeline
- Mark Clip and Mark Current Selection
- Preview Marks During Three‑Point Editing
- The Rules of Three-Point Editing
- Switch Focus to Timeline After Edit
- Different Types of Three‑ and Four‑Point Edits
- Three-Point Editing From the Media Pool
- Marking and Finding Clips in the Timeline
- Using Flags
- Using Markers
- Drawn Annotations on the Viewer
- Frame.io Timeline Markers
- Reading Marker Information
- Using Markers in the Media Pool
- Hiding Markers By Color
- Deleting Markers By Color
- Color Labeling Clips in the Timeline
- Track Colors
- Finding Clips, Media, Markers, Gaps, and Timelines
- Finding Media Using Match Frame Operations
- Finding a Clip in the Media Pool Using a Timeline Clip
- Tracking Media Usage
- Multicam Editing
- Introduction to Multicam Editing
- Creating and Modifying Multicam Clips
- Logging and Editing Multicam Clips
- Setting up a Timeline for Multicam Editing
- Opening and Altering Multicam Clips
- Performing a Multicam Edit
- Multicam Controls in the Source Viewer
- Editing Multicam Clips in the Timeline
- Grading Multicam Clips
- Take Selectors, Compound Clips, and Nested Timelines
- Trimming
- Keyboard Shortcuts in This Chapter
- Summarizing Trim Operations
- Selection-Based Trimming Using the Trim Tool
- Using the Trim Tool With the Mouse
- Trim Tool Operations With the Keyboard
- Trimming Using Timecode Entry
- Commands to Make Selections and Trim
- Trimming Clips in the Source Viewer
- Ripple Editing Rules
- Using Auto Select Controls to Control Trimming
- Trimming Multiple Edits or Clips at Once
- Keyboard Trimming During Looped Playback
- Dynamic JKL Trimming
- Trim Operations that are Targeted Using the Playhead
- Using Transitions
- Working With Transitions
- Adding and Editing Transitions
- Adding Transitions When There’s Not Enough Handles
- Adding Transitions By Dragging to Create Overlap
- Transition Properties in the Inspector
- Favorite Transitions
- Changing the Standard Transition
- Creating Transition Presets
- Video Transitions
- Audio Transitions
- OpenFX Transitions
- Working with Audio in the Edit Page
- Audio in the Edit vs. Fairlight Pages
- Compatible Audio Formats
- Assigning Audio Channels in the Media Pool
- Editing Audio Into the Timeline
- Editing Audio In the Timeline Using In and Out Points
- Resizing Audio Clips in Subframe Increments
- Audio Settings in the Inspector
- Setting Clip Volume
- Clip Pan
- Clip Pitch Controls
- Clip EQ
- Keyframing Audio
- Audio Fade Handles
- Audio Crossfades
- The Audio Mixer
- Audio Compound Clips
- Audio Playback for Variable Speed Clips
- Using Audio Filters
- The Fairlight Page
- Pro Tools Export
- Media Management
- Using the DaVinci Editor Keyboard with the Edit Page
- Using the Edit Page
- PART 5 – Edit Page Effects
- Editing, Adding, and Copying Effects and Filters
- Titles, Generators, and Stills
- Compositing and Transforms in the Timeline
- Speed Effects
- Subtitles and Closed Captioning
- Keyframing Effects in the Edit Page
- VFX Connect
- PART 6 – Import and Conform Projects
- Preparing Timelines for Import and Comparison
- Preparing to Move Your Project to DaVinci Resolve
- Importing Effects when Conforming Edits
- About Supported Color Corrections
- About Supported Transitions
- Transition Names
- About Supported Opacity, Position, Scale, and Rotation Settings
- About Flip and Flop Support
- Pitch and Yaw
- About “Ken Burns Effect” and Dynamic Zoom
- About Speed Effects
- About Nested Sequences and Compound Clips
- About Supported Composite Modes
- About Supported Still Image Formats
- About Supported Alpha Channels
- About Imported Text Effects
- About Imported Audio in AAF Projects
- Verifying Imported Timelines Using Offline References
- Conforming and Relinking Clips
- Conforming and Relinking Media
- The Difference Between Unlinked and Missing Clips
- Duplicate Clips are Considered Separate Sources
- Summary of Methods for Conforming and Relinking
- Unlinking Clips
- Conforming Clips During XML and AAF Import
- Importing Clips Before Importing an EDL, AAF, or XML
- Conform Missing Clips by Importing Their Source Media
- Using the Import Additional Clips Command
- Using Conform Lock As a Command
- Relinking Clips to Media Files on Disk
- Using “Change Source Folder” to Relink Clips
- Using the “Reconform From Bins” Command
- Using Reconform From Media Storage
- Understanding, Fixing, and Using Reel Conflicts
- Re-editing Media Directly to the Timeline
- How Grades Are Linked to Multiple Timelines
- Creating Digital Dailies for Round Trip Workflows
- Conforming XML Files
- Conforming AAF Files
- Supported Media Types in AAF Workflows
- Logged Errors When Importing AAF
- Simple AAF Import
- Performing an AAF Avid Round Trip
- Step 1–Create a Project in Media Composer
- Step 2–Exporting an AAF for DaVinci Resolve
- Step 3–Conforming Your AAF in DaVinci Resolve
- Step 4–Continue Editing, Grading, and Finishing the Project
- Step 5–Render Graded Media and Export a New AAF
- Step 6–Copy the Graded Media to Avid MediaFiles
- Step 7–Import the Graded AAF
- Relinking Transcoded Media to AMA Media
- Audio AAF Import from ProTools
- Conforming EDL Files
- Preparing Timelines for Import and Comparison
- PART 7 – Fusion Fundamentals
- Introduction to Compositing in Fusion
- Exploring the Fusion Interface
- The Fusion User Interface
- Interface Toolbar
- Viewers
- Time Ruler and Transport Controls
- Time Ruler Controls in the Fusion Page
- Time Ruler Controls in Fusion Studio
- The Playhead
- Zoom and Scroll Bar
- Transport Controls in the Fusion Page
- Transport Controls in Fusion Studio
- Changing the Time Display Format
- Keyframe Display in the Time Ruler
- The Fusion RAM Cache for Playback
- Displaying Cached Frames
- Toolbar
- Node Editor
- Status Bar
- Effects Library
- The Inspector
- Keyframes Editor
- Spline Editor
- Thumbnail Timeline in the Fusion Page
- The Media Pool in the Fusion Page
- Bins in Fusion Studio
- The Console
- Customizing Fusion
- Fusion Studio Keyboard Remapping
- Undo and Redo
- Getting Clips into the Fusion
- Rendering Using Saver Nodes
- Rendering Overview
- Rendering with the Saver Node
- Using the Render Settings Dialog
- Setting Up Network Rendering in Fusion Studio
- Submitting Comps to Network Render
- Preparing Compositions for Network Rendering
- Other Uses of Network Rendering
- When Renders Fail
- Managing Memory Use
- Limitations of Render Nodes
- Troubleshooting
- Working in the Node Editor
- Learning to Use the Node Editor
- Navigating within the Node Editor
- Adding Nodes to a Composition
- Selecting and Deselecting Nodes
- Loading Nodes into Viewers
- Connecting and Disconnecting Nodes
- Connecting Merge Nodes
- Connection Options and Routers
- Swapping Node Inputs
- Extracting and Inserting Nodes
- Cut, Copy, and Paste Nodes
- Instancing Nodes
- Keeping Node Trees Organized
- Node Thumbnails
- Finding Nodes
- Custom Node Settings
- Node Modes Including Disable and Lock
- Node Editor Options
- Node Tooltips and the Status Bar
- Node Groups, Macros, and Fusion Templates
- Groups
- Macros
- Creating Fusion Templates
- Getting Started with a Fusion Title Template
- Saving a Title Macro
- Using Your New Title Template
- Getting Started with a Fusion Transition Template
- Creating a Fusion Transition Template
- Using Your New Transition Template
- Getting Started with a Fusion Generator Template
- Creating a Fusion Generator Template
- Using Your New Generator Template
- Using Viewers
- Viewer Overview
- Loading Nodes into Viewers
- Position and Layout
- Zooming and Panning into Viewers
- Flipbook Previews
- Onscreen Controls
- Toolbars
- A/B Buffers
- Subviews
- Viewing Selective Channels
- The 3D Viewer
- Quad View
- Guides
- Domain of Definition and Region of Interest
- Managing Viewer Lookup Tables (LUTs)
- Viewer Preferences and Settings
- The Viewer Options Menu
- Locking the Viewer (Command-L)
- Additional Viewer Options
- Status Bar Information
- Editing Parameters in the Inspector
- Overview of the Inspector
- Customizing the Inspector
- Opening Nodes in the Inspector
- Pinning Multiple Nodes in the Inspector
- Hiding Inspector Controls
- Using the Inspector Header
- Versioning Nodes
- Parameter Tabs
- Inspector Controls Explained
- Animating Parameters in the Inspector
- Connecting Parameters
- Contextual Menus
- Customizing Node Parameters with User Controls
- Animating in Fusion’s Keyframes Editor
- Animating in Fusion’s Spline Editor
- Animating with Motion Paths
- Using Modifiers, Expressions, and Custom Controls
- Bins
- Fusion Connect
- Preferences
- Controlling Image Processing and Resolution
- Managing Color for Visual Effects
- Understanding Image Channels
- Compositing Layers in Fusion
- Rotoscoping with Masks
- Paint
- Using the Tracker Node
- Introduction to Tracking
- Tracker Node Overview
- Basic Tracker Node Operation
- Viewing Tracking Data in the Spline Editor
- Tracker Inspector Controls
- Motion Tracking Workflow In Depth
- Dealing with Obscured Patterns
- Stabilizing with the Tracker Node
- Using the Tracker Node for Match Moving
- Connecting to Trackers’ Operations
- Using the Tracker as a Modifier
- Match Moving Text Example
- Planar Tracking
- Using OpenFX, ResolveFX, and Fuse Plug-Ins
- 3D Compositing Basics
- An Overview of 3D Compositing
- 3D Compositing Fundamentals
- The Elements of a 3D Scene
- Software vs. GPU Rendering
- Loading 3D Nodes into the Viewer
- Transparency Sorting
- Material Viewer
- Transformations
- Parenting
- Cameras
- Lighting and Shadows
- Materials and Textures
- Projection Mapping
- Geometry
- Fog 3D and Soft Clipping
- Material and Object IDs
- World Position Pass
- Point Clouds
- 3D Camera Tracking
- Particle Systems
- Optical Flow and Stereoscopic Nodes
- PART 8 – Fusion Page Effects
- 3D Nodes
- Alembic Mesh 3D [ABC]
- Bender 3D [3BN]
- Camera 3D [3CM]
- Cube 3D [3CB]
- Custom Vertex 3D [3CV]
- Displace 3D [3DI]
- Duplicate 3D [3DP]
- FBX Exporter 3D [FBX]
- FBX Mesh 3D [FBX]
- Fog 3D [3FO]
- Image Plane 3D [3IM]
- Locator 3D [3LO]
- Merge 3D [3MG]
- Override 3D [3OV]
- Point Cloud 3D [3PC]
- Projector 3D [3PJ]
- Renderer 3D [3RN]
- Replace Material 3D [3RPL]
- Replace Normals 3D [3RPN]
- Replicate 3D [3REP]
- Ribbon 3D [3RI]
- Shape 3D [3SH]
- Soft Clip [3SC]
- Spherical Camera [3SC]
- Text 3D [3TXT]
- Transform 3D [3XF]
- Triangulate 3D [3TRI]
- UV Map 3D [3UV]
- Weld 3D [3WE]
- Modifier
- The Common Controls
- 3D Light Nodes
- 3D Material Nodes
- 3D Texture Nodes
- Blur Nodes
- Color Nodes
- Auto Gain [AG]
- Brightness Contrast [BC]
- Channel Booleans [BOL]
- Color Corrector [CC]
- Color Curves [CCV]
- Color Gain [CLR]
- Color Matrix [CMX]
- Color Space [CS]
- Copy Aux [CPA]
- Gamut [GMT]
- Hue Curves [HCV]
- OCIO CDL Transform [OCD]
- OCIO Color Space [OCC]
- OCIO File Transform [OCF]
- Set Canvas Color [SCV]
- White Balance [WB]
- The Common Controls
- Composite Nodes
- Deep Pixel Nodes
- Effect Nodes
- Generator Nodes
- Film Nodes
- Filter Nodes
- Flow Nodes
- Flow Organizational Nodes
- Fuses
- I/O Nodes
- LUT Nodes
- Mask Nodes
- Matte Nodes
- Metadata Nodes
- Miscellaneous Nodes
- Optical Flow
- Paint Node
- Particle Nodes
- Particle Nodes
- pAvoid [pAv]
- pBounce [PBN]
- pChangeStyle [pCS]
- pCustom [pCu]
- pCustomForce [pCF]
- pDirectionalForce [pDF]
- pEmitter [pEm]
- pFlock [pFl]
- pFollow [pFo]
- pFriction [pFr]
- pGradientForce [pGF]
- pImage Emitter [PIe]
- pKill [pKI]
- pMerge [pMg]
- pPoint Force [pPF]
- pRender [pRn]
- pSpawn [pSp]
- pTangent Force [pTF]
- pTurbulence [pTr]
- pVortex [pVt]
- The Common Controls
- Position Nodes
- Resolve Connect
- Stereo Nodes
- Tracker Nodes
- Transform Nodes
- VR Nodes
- Warp Nodes
- Modifiers
- 3D Nodes
- PART 9 – Color
- Introduction to Color Grading
- Using the Color Page
- Viewers, Monitoring, and Video Scopes
- Using the Viewer
- The Viewer Title Bar
- Turning Grades and/or Fusion Effects Off
- Viewing Isolated Channels
- The Viewer Toolbar
- The Onscreen Control (OSC) Menu
- Zooming into the Viewer
- Using the Jog Bar and Transport Controls
- Viewer and Transport Timecode Displays
- Enhanced, Full, and Cinema Viewing
- Safe Area Overlays in the Viewer
- Use Gray Background
- Monitor Calibration
- Viewing Broadcast Safe Exceptions
- Comparing Clips in the Viewer
- Marker Overlays and Navigation
- Using Video Scopes
- Color Page Timeline and Lightbox
- Automated Grading Commands and Imported Grades
- Primary Grading Controls
- Color Controls Covered in This Chapter
- Camera Raw
- Color Wheels Palette
- Opening the Color Wheels Palette Using the DaVinci Control Panel
- HDR Grading Using Color Wheels Palette Controls
- How to Use Color Balance Controls and Master Wheels
- Understanding the Primaries Wheels Controls
- Shared Adjustment Controls
- The Log Mode of the Color Wheels Palette
- The Primaries Bars Mode of the Color Wheels Palette
- RGB Lift/Gamma/Gain Sliders
- Offset Sliders, Offset Wheel, and Printer Points
- RGB Mixer Palette
- Curves
- Secondary Qualifiers
- Secondary Qualifiers
- Basic Qualification Using the 3D Keyer
- Basic Qualification Using the HSL Keyer
- HSL Qualifier Presets
- Using Highlight to See What You’re Isolating
- Showing Picker RGB Values
- Qualifier Parameters
- Matte Finesse Controls
- The Many Ways to Invert a Key
- Combining Qualifiers and Windows
- Manipulating Keys Using Additional Nodes
- Secondary Windows and Tracking
- Motion Tracking Windows
- Using the Gallery
- Using the Gallery
- Where are Stills Saved?
- Live Previews of Gallery Stills
- Playing Stills and Setting Up Image Wipes
- Timeline Wipes
- Labeling and Searching for Stills and Sources
- Gallery Options
- Organizing Stills Using Albums
- Browse all Grades from the Current Timeline
- The Gallery Management Window
- Importing and Exporting Stills
- Using and Organizing Memories
- Grade Management
- Using Versions to Manage Grades
- Copying Grades
- Protecting Adjustments with the Copy Grade Options
- Clip Grades and Timeline Grades in Saved Stills
- Choosing Which Aspect of a Grade to Copy with All/Color/Sizing
- Choosing How to Copy Keyframes
- Copying Grades Using the Mouse
- Copy Forward Commands
- Copying Using Memories
- Copying Using Preview Memory
- Copying from Stills in the Gallery
- Append Node Graph
- Aligning Keyframes to a Specific Frame While Copying Grades
- Copying Individual Nodes and Settings
- Rippling Adjustments Among Multiple Clips
- Appending a Node to Multiple Clips
- Scroll Copy Grades Using the DaVinci Control Panel
- Rippling Changes Using the DaVinci Control Panel
- Using Shared Nodes
- Using Adjustment Clips
- Using Groups
- Exporting Grades and LUTs
- Node Editing Basics
- Node Editor Basics
- Turning Grades and/or Fusion Effects Off
- Resetting Nodes
- Previewing and Restoring Node Trees
- Caching Specific Nodes to Improve Performance
- Editing Node Trees
- Keeping Node Trees Organized
- Using Compound Nodes
- Identifying Nodes
- Putting Nodes into HDR Mode
- Clip vs. Timeline Grading
- Grading Order of Operations
- Serial, Parallel, and Layer Nodes
- Combining Keys and Using Mattes
- Channel Splitting and Image Compositing
- Isolating, Splitting, and Converting Color Channels
- Enabling, Disabling, and Converting Node Channels
- Splitting Channels with the Splitter/Combiner Nodes
- Multi-Channel RED HDRx Support
- Introduction to Compositing Using the Alpha Output
- Using a Qualifier Key to Create Transparency
- Using a Matte to Create Transparency
- Use an OFX Plug-in to Create Transparency
- Keyframing in the Color Page
- Copying and Importing Grades Using ColorTrace
- Using LUTs
- PART 10 – Color Page Effects
- DaVinci Resolve Control Panels
- Using OpenFX and ResolveFX
- Sizing and Image Stabilization
- The Motion Effects and Blur Palettes
- Dust Removal
- Data Burn
- PART 11 – ResolveFX
- ResolveFX
- ResolveFX Blur
- ResolveFX Color
- ResolveFX Generate
- ResolveFX Light
- ResolveFX Refine
- ResolveFX Revival
- ResolveFX Sharpen
- ResolveFX Stylize
- ResolveFX Texture
- ResolveFX Transform
- ResolveFX Warp
- PART 12 – Fairlight
- Using the Fairlight Page
- The Fairlight Page User Interface
- The Interface Toolbar
- Showing Which Panel Has Focus
- The Audio Timeline
- Toolbar
- Customizing Clip Display in the Timeline
- Customizing the Timeline’s Display
- Mixer
- The Monitoring Panel
- The Media Pool
- Importing Media Into the Media Pool on the Fairlight Page
- Media Pool Preview Player
- Bins, Power Bins, and Smart Bins
- Showing Bins in Separate Windows
- Filtering Bins Using Color Tags
- Sorting the Bin List
- Filtering Clips With Audio in the Fairlight Page
- Searching for Content in the Media Pool
- Taking Advantage of the Media Pool’s Usage Column
- Effects Library
- ADR
- Sound Library Browser
- Index
- Inspector
- Metadata Editor
- Test Tone Settings for Generating Tone, Noise, and Beeps
- Pro Tools AAF Import
- Dual Monitor Layout
- Customizing the Fairlight Page
- Undo and Redo in DaVinci Resolve
- Setting Up Tracks, Buses, and Patching
- Transport Controls, Timeline Navigation, and Markers
- Recording
- ADR (Automated Dialog Replacement)
- Editing Basics in the Fairlight Page
- Compatible Audio Formats
- Editing Audio Clips Into the Timeline
- Making Audio Clip Selections in the Timeline
- Locking Audio Tracks You Don’t Want to Change
- Splitting Clips
- Trimming Clips Without Rippling the Timeline
- Disabling and Re-Enabling Clips in the Timeline
- Deleting Audio Clips and Regions
- Cut, Copy, and Paste
- Paste and Remove Attributes
- Audio Clip Layering
- Audio Compound Clips
- Audio Crossfades
- Fades and Crossfades
- Finding Clips in the Media Pool
- Changing Clip Color in the Timeline
- Editing Audio Clips in External Editors
- Bouncing Audio Clips to External Files
- Sample Editing
- Audio Clip Specific Inspector Adjustments
- Mixing in the Fairlight Page
- Introduction to Mixing
- The Mixer
- Customizing the Onscreen Mixer Controls
- Selecting Channel Strips and Tracks
- Track Organization
- Input
- Effects
- Insert
- EQ
- Dynamics
- Aux
- Pan
- Bus Assignment Buttons
- Fader Groups (VCA Groups)
- Arm, Solo, and Mute Buttons
- Fader Controls
- Bouncing Audio
- Third-Party Control Panel Support for Mixing
- Automation Recording
- Audio Effects
- FairlightFX
- Audio Meters and Audio Monitoring
- Signal Flow Diagrams
- Using the Fairlight Audio Editor
- Fairlight Consoles
- Using the Fairlight Page
- PART 13 – Deliver
- Delivery Effects Processing
- Delivery Effects Processing
- When Rendering a Single Clip or When Outputting to Tape
- When Rendering Individual Source Clips for Round-Trip Workflows
- More About Rendering Speed Effects
- Determining the Rendered Output Resolution of Clips in Mixed Timelines
- Rendering Edit and Input Sizing Adjustments
- Rendering Mixed Frame Rate Timelines
- Export Alpha Channels
- Delivery Effects Processing
- Using the Deliver Page
- Rendering Media
- Using Presets for Fast Rendering
- Choosing a Location to Render
- Single Clip vs. Individual Clips
- All Other Render Settings for Output
- Additional Outputs
- How to Avoid Overwriting Clips When Rendering Output Media
- Defining a Range of Clips and Versions to Render
- Using the Render Queue
- Rendering Jobs from Multiple Projects at Once
- Remote Rendering
- Delivering DCP and IMF
- Delivering to Tape
- Exporting Timelines and Metadata
- Exporting to AAF/XML
- More About Exporting to AAF
- Exporting an EDL
- Exporting a Missing Clips EDL
- Exporting Timeline Markers to EDL
- Exporting to CDL
- Exporting the Edit Index as a CSV or TXT File
- Exporting to ALE
- Exporting to ALE with CDL
- Exporting Timeline Markers to EDL
- Exporting and Importing Media Pool Metadata
- Delivery Effects Processing
- PART 14 – Advanced Workflows
- Frame.io Integration
- Resolve Live
- Stereoscopic Workflows
- Stereoscopic Workflows
- Hardware Requirements for Working in Stereo 3D
- Supported Stereo 3D Media
- Creating Stereo 3D Clips From Separate Files
- Converting Clips Between Stereo and Mono
- Attaching Mattes to Stereo 3D Clips
- Organizing and Grading Stereo 3D Dailies
- Conforming Projects to Stereo 3D Media
- Adjusting Clips using the Stereo 3D Palette
- Outputting Stereo 3D Media in the Deliver Page
- Using Variables and Keywords
- Creating DCTL LUTs
- TCP Protocol for DaVinci Resolve Transport Control
- Immersive Audio Workflows
- PART 15 – Project Databases, Collaborative, and Remote Workflows
- Managing Databases and Project Servers
- Collaborative Workflow
- Remote Grading
- PART 16 – Other Information
Using ARRI Looks
Only available in DaVinci Resolve Studio.
If you’ve ingested ARRIRAW media or QuickTime-wrapped Apple ProRes from an Amira, Alexa
SXT or Alexa LF, or MXF-wrapped Apple ProRes from Alexa Mini LF with embedded ARRI Look
metadata (CDL + LUT), the embedded look can be copied to the currently selected node in the
Color page.
To copy an ARRI look from the source media to the current node:
1 Select a node in the Node Editor to which you want to apply the look data.
2 Right-click that clip’s thumbnail and choose Apply ARRI CDL and LUT. A LUT and
ColorWheels adjustment will be applied to the selected node.
Using the Apply ARRI CDL and LUT
command copies a look from the source
media to a node in the Node Editor
Chapter – 116 Automated Grading Commands and Imported Grades 2642