User Manual

Organizing Stereo 3D Media
When working with stereo media in DaVinci Resolve, one of the first tasks you must perform is
that of syncing each stereo pair of clips to act as a single clip. This is easily accomplished so
long as you’re careful about how you organize your media in the Media Pool.
Each set of right- and left-eye media should always be organized into separate left-eye bins
and right-eye bins, to facilitate later syncing of these clips using the Stereo 3D Sync
command in the Media Pool contextual menu. For more information about setting up media
for stereo workflows, see the “Stereoscopic Workflows” section of Chapter 172,
“Stereoscopic Workflows.”
Camera Raw Decoding
Camera raw media formats are so named because they capture raw color space data directly
from the sensor of whatever digital cinema camera did the recording. Raw image data is not
human readable, and must be debayered or demosaiced to convert the original raw data into
image data that can be handed off to DaVinci Resolve’s image processing pipeline.
There are four ways you can control how camera raw media is debayered into a useful,
“normalized” image for adjustment or output:
 The Camera Raw panel of the Project Settings contain groups of parameters that
correspond to every camera raw media format that’s supported by DaVinci Resolve.
Using these parameters in the Camera Raw panel, you can override the original camera
metadata that was written at the time of recording, and make simultaneous adjustments
to all camera raw media throughout your project.
 The Camera Raw palette in the Color page lets you individually adjust Camera Raw
parameters for individual clips in the Timeline.
 When you use Resolve Color Management (RCM) in a project that uses Camera Raw
formats, color science data from each camera manufacturer is used to debayer or
demosaic each camera raw file to specific color primaries with linear gamma, so that all
image data from the source is preserved and made available to DaVinci Resolve’s color
managed image processing pipeline. As a result, the Camera Raw project settings and
Camera Raw palette of the Color page are disabled, because RCM is controlling the
debayering of all camera raw clips, and all image data from the raw file is available for
conversion to the Timeline Color Space you choose to work with as you grade.
For more information about each of the Camera Raw formats that can be adjusted in
DaVinci Resolve, see Chapter 5, “Camera Raw Settings.”
Chapter – 14 Modifying Clips and Clip Attributes 355