User Manual

For example, you may begin the process of building and refining a grade for a particular scene
during an unrecorded run-through. Then, once shooting starts, you may take snapshots of each
shot’s slate, and then of significant takes that follow, tweaking where necessary and in
conjunction with the DP’s feedback once things get going. New camera setups may require
further tweaks, which you’ll save as snapshots for those shots, and as you work in this way you’ll
find yourself building up a timeline of snapshots that correspond to that day’s shoot.
As you work, keep in mind that you must temporarily turn Resolve Live off in order to open a
grade from a previous snapshot in the Timeline, in order to use it as a starting point for another
shot. You can also save grades into the Gallery.
Using Resolve Live Grades Later
Since each Snapshot you capture during a Resolve Live session contains timecode that was
captured from the camera, grades from snapshots with timecode that overlaps recorded
camera original media can be synced using ColorTrace when the time comes to start
making dailies.
Keep in mind that snapshot grades correspond to the monitored output of the camera during
the shoot. If you shot using a raw format, you’ll need to use whatever in-camera debayering
settings were used for monitoring during the shoot if you want the grades from your snapshots
to produce the same result.
For more information on using ColorTrace, see Chapter 129, “Copying and Importing Grades
Using ColorTrace.”
Using LUTs in Resolve Live Workflows
Many on-set workflows use Lookup Tables (LUTs) to calibrate displays, normalize log-encoded
media for monitoring, and preview looks in the video village to test how the current lighting
scheme will work with the intended grade. You can apply LUTs using the Lookup Tables section
of the Project Setting’s Color Management panel, or within a grade as part of a node tree.
However, you can also export LUTs, if necessary for monitor previewing, that you can apply by
loading them into a compatible LUT box of some kind, connected in-between the camera’s
video output and a display, or using a display capable of loading LUTs internally.
If you’re exporting LUTs using the Generate 3D LUT command of the Thumbnail timeline’s
contextual menu, you should limit yourself to using only Primaries palette and Custom Curves
palette controls within a single node. These are the only grading controls that can be
mathematically converted into a LUT.
When exporting a LUT, any nodes that use Windows or OpenFX will be ignored along with all
corrections made within these nodes. All other nodes with Primaries palette and Custom
Curves palette adjustments that can be translated into a LUT will have their combined result
translated into a LUT. For any nodes that mix supported and unsupported adjustments for LUT
export (such as sharpening or blur filtering operations), the unsupported adjustments will simply
be ignored. For more information on exporting LUTs, see “Exporting Grades and LUTs” in
Chapter 123, “Grade Management.”
NOTE: DaVinci Resolve exports LUTs in the .cube format, which is a DaVinci-
developed LUT format, with no relation to the Adobe SpeedGrade.cube format.
Chapter – 171 Resolve Live 3504