User Manual

Adding a Secondary Operation to the Node Editor
Any node can be switched between functioning as a primary correction, where the adjustments
you make affect the entire image, and a secondary correction, where you’re adjusting a specific
element in the scene. The only difference is that nodes being used for secondary corrections
are limited using a qualifier, Power Windows, or an external matte.
If you’re planning to add a secondary operation to the current grade, you’ll need to first add
another node in the Node Editor. When pulling a key to qualify part of the image, it’s important
to understand that you’ll be sampling the YRGB values being fed to that node from any previous
nodes in the tree. That means that the state of the image being fed to a node you’re qualifying
affects the key you’re pulling.
For example, if the image coming out of Node 1 is well saturated and has a neutral color balance
with a wide range of colors, but the image coming out of Node 2 applies a low saturation,
monochromatically orange color wash, you may find it more difficult to pull a detailed key from
Node 2 than you would from Node 1.
Choosing your battles–the image coming out of Node 1 will be
easier to key than the highly stylized image coming out of Node 2
This is important because you have the flexibility of determining from what image you want to
try pulling a qualified key. By connecting the node that’s outputting the best YRGB image for
the key you’re trying to create to the node you’re qualifying, you can control what you’re keying.
For more information about choosing which node to use for setting up a qualifier, see Chapter
126, “Combining Keys and Using Mattes.”
The Qualifier Interfaces
The DaVinci Resolve Qualifier palette interface is straightforward. To the left, graphical controls
above numeric parameters let you manually adjust what ranges of each color component
contributes to the key you’re creating. To the right, Selection Range tools below let you define a
key by sampling pixels of the image, either using the pointer, or by using the fourth trackball of
a DaVinci control panel, while below a set of Matte Finesse parameters let you alter the shape
of the key that’s been pulled.
Qualifier palette with HSL controls selected
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