User Manual

Saturation
Recombines two layers using HSL image components, by combining the Luma and Hue of the
bottom layer, with the Saturation of the top layer.
Screen
The pixel values of each layer are inverted, then multiplied, and the result is itself inverted.
Layer order does not matter. Screen is the inverse of Multiply, as it preserves the lightest parts
of both images, and is useful when compositing lighter elements in a field of black into an
image, and can be used to emphasize the lightest parts of a noise, grain, or damage layer
you’re blending with an image.
Softlight
A less intense method of applying the Hardlight composite mode that results in a more even
blend between the two layers.
Subtract
Within each pair of pixels, those of the bottom layer are subtracted from those of the top.
Thiscan result in dark areas of the image that hit flat black, but image data going below 0 is
preserved and may be retrieved by later color correction operations.
Vivid Light
All regions where the bottom layer is above 50% are Color Dodged so as to lighten these parts
of the final result, while all regions where the bottom layer is below 50% are Color Burned so as
to darken these parts of the final result. This composite mode vastly intensifies both image
contrast and saturation in the final result, for an extreme effect.
Unknown
When importing XML or AAF project files with composite modes that aren’t available in
DaVinci Resolve, the Composite Mode pop-up menu is set to Unknown; practically, this is the
same as Normal.
Opacity
Each clip has an Opacity parameter, available in the Inspector, that lets you make it more
transparent, in a range from 0 (totally transparent) to 100 (totally opaque). When set to a value
less than 100, the selected clip is mixed with whatever clip is underneath it on the Timeline,
according to the composite mode that’s currently used. If no clip appears underneath the
Timeline, then the clip is mixed with black.
By keyframing this parameter, you can create more complicated fade to black effects or
cross dissolves. Keyframing is covered in more detail in Chapter 44, “Keyframing Effects
in the Edit Page.”
To change a clip’s opacity:
Open the Inspector, then select the clip you want to adjust, and set the Opacity slider
to create the desired amount of transparency.
Chapter – 41 Compositing and Transforms in the Timeline 824