Colorist’s Reference Manual

DaVinci Resolve DaVinci Resolve
The world’s most powerful color correction now on
Linux and Mac!
DaVinci color correctors have been the standard in
post production since 1984. There are thousands
of colorists worldwide who understand the
performance, quality and workfow of DaVinci.
DaVinci is the name behind more feature flms,
television commercials, documentaries, television
production and music videos than any other
grading system.
When you’re in a room full of demanding clients
with conficting ideas, colorists know that DaVinci
Resolve has the quality, real time performance,
creative features, and powerful control panel you
need to work fast! DaVinci Resolve is now available
for both Mac OS X and the clustered super
computer power of Linux!
Welcome to DaVinci Resolve
CONTENTS USER MANUAL
DAVINCI RESOLVE USER MANUAL
DaVinci Resolve 7.0
Introduction 11
DaVinci Resolve 7.0 Release Notes 12
New 7.0 Features 13
DaVinci Resolve 19
System Setup 20
Media Storage Volumes 21
Video Capture Hardware 22
Control Panel Type 22
Quick Start Guide 23
Quick Start Project 31
Control Panels 32
Getting Started 34
Starting DaVinci Resolve 35
User Login Screen 35
Login To An Existing User 35
Exiting Resolve 35
Creating A New User 36
Deleting An Existing User 36
Changing A User Password 37
Multiple Database Support 37
Selecting the Database 37
Creating a New Database 38
Create a New Database Image 39
Remote Database Server 39
Confguration 40
The User List 42
The Confguration List 43
Modifying and Saving an Existing Confguration 43
Creating a Facility Default System Confguration 44
Projects List 44
Shared Database And Locked Projects 46
Confguration Screen Tabs 47
Project Tab 48
Timeline Format 48
Image Format Scaling 49
Common use of Input Format Preset 50
Deck Capture and Playback 50
PowerMastering – Grading and Formatting Directly To Tape 52
Input Scaling 52
Low Resolution Proxies 53
Timeline Conform Options 54
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
DAVINCI RESOLVE USER MANUAL
Conforming by Reel Number 55
Reel Number Support from Final Cut Pro EDLs 57
Changing the Conform Frame Rates 57
Video Monitoring 58
LUTs Tab 60
Timeline Lookup Tables 60
Generate Soft Clip LUT 61
Generate LUT from Current Grade 61
Apply LUT to Waveform 63
Printer Light Step Calibration 63
Settings 64
Project Settings 65
Dynamic Profles 68
Timeline Ripple Mode 68
Working Folders 69
Control Panel 70
Autosave Tab 71
Source Tab 72
Master Decode Settings 73
Image Decode Settings 74
Project Image Decoder Settings 75
Browse 77
Media Storage 79
Splitting Clips Based on an EDL 80
Add Material into the Media Pool Based on an EDL 81
Offsetting the Source Timecode from a Clip 82
Copy and Paste Function For Clips 82
Disk Speed Benchmarking 83
Clip Details 84
Add as an Offine Clip 85
Add into Proxy Manager 85
Scene Cut Detector 85
Changing the Source Timecode In Header 86
Converting a Clip to another File Format 87
Add as Matte 87
Extract Audio From QuickTime 88
The Media Pool 89
Media Pool Folders 89
Media Pool Clips 90
Remove selected Clips 91
Remove from Master Session 91
Remove all Clips 91
Change Pixel Aspect Ratio 92
Change Input Format Preset 92
Change Parent Directory 93
Chapter 7
CONTENTS USER MANUAL
DAVINCI RESOLVE USER MANUAL
DaVinci Resolve 7.0
Switch Parent Directory 94
The .deleted Folder 94
Clip Replacement and Automatic Proxy Generation 95
Viewer Window 96
Browse Screen Buttons 97
Clip Task Manager 97
Proxy Manager 98
Conform 99
Reel Folders 101
Media Pool Folders and Clip Displays 101
Timeline Management 102
Session Selection 102
Create Default 103
Load AAF/EDL 103
Pre-Conform 105
Delete 105
Offine Clips 106
Creating a Conform with handles 106
EDL Display 108
Viewer Displays 109
Online and Offine Comparison Mode 109
Fixing Offine and Online Offsets 111
Source Clip Editing 111
Timeline Displays 112
Editing 113
Editing An Existing Timeline 114
Building Your Own Timeline 115
Locks 115
Enable Snapping 115
Deleting Clips – Adding Black 116
Speed Changes 116
Audio Conform Tools 116
Re-conform from Reels 118
Saving EDLs 119
Track Marks 119
Export CDL 120
Conficts 121
ColorTrace 123
ColorTrace CDL 125
ColorTrace2K Session 127
Color 128
Viewer 130
Interactive Dirt & Dust Removal Tool 132
Viewer Window Options 133
Chapter 9
Chapter 7 Chapter 8
DAVINCI RESOLVE USER MANUAL
Viewer Stills Display 134
PlayHeads 135
Waveform displays 137
Stills, PowerGrade and Memories 138
Stills 139
Stills Import and Export 142
Sorting Stills 142
Other Still Options 143
Searching For Stills 143
PowerGrade 144
Memories 145
Node Graph 146
Managing Nodes 147
Corrector Node 148
Parallel Mixer Node 149
Layer Mixer Node 150
Key Mixer Node 151
LUT applied within a node 152
External Matte Support 153
Timeline 154
Clip Thumbnails/VSRs 154
Correction Management with the Thumbnail Timeline Display 155
Clip Thumbnail Indicators 155
Local and Remote Versions 158
Group Versions 159
Batch Versions 160
Display Node Graph 160
Wipe Timeline 160
Update All VSRs 160
Edit PAR Value (Pixel Aspect Ratio) 160
Change Input Format Preset for Clips 161
Switch Parent Directory 161
DaVinci Revival 161
Render Cache Clip 162
View Clip Details 163
Audio Timeline 163
RED r3d Clip Decoder Control 164
Master RED Decoder Settings 165
Image Decoder Settings 167
Clip Decoder Settings 168
Primary Tab 170
Primary Slider Controls 170
Input Sizing Controls 171
Primary Tab System Status 172
Primary and Qualifer Control Sensitivity 172
Curves Tab 173
Curves 173
CONTENTS USER MANUAL
DAVINCI RESOLVE USER MANUAL
DaVinci Resolve 7.0
Custom Curves 173
YSFX 174
Clip Tab 174
Secondary Color Correction 174
Hue, Saturation and Luminance Qualifcation 175
RGB Qualifcation 177
Luminance Qualifcation 178
Qualifer Blur 178
Color Picker Mode 178
Power Windows 179
Adjusting PowerWindows 179
Inside and Outside Window Grades 180
Circular Power Window 180
Linear Power Window 181
Polygon Power Window 181
Power Curve Windows 182
Power Window 3D Object Tracking 183
Blur 184
Sharpen 185
Mist 185
Key 185
Dynamics Timeline 186
Dynamics Indicators 187
Adding Dynamics 188
Render Cache Options 189
Other Color Screen Features 190
Switching Between Conforms within the Color Page 190
Scroll Mode 190
Scroll Controls 190
Viewer 191
Full Screen Viewer 193
Interactive Dirt & Dust Removal Tool 194
Viewer Window Options 195
Viewer Stills Display 196
PlayHeads 197
Waveform displays 198
Object Tracking Screen View 199
Interactive Tracking Controls 201
Single Tracking Points 201
Interpolation Between Keyframes 201
Gallery 202
Gallery Database Browser 204
Gallery Database Tabs 205
Stills 205
Memories 205
Chapter 11
Chapter 10
DAVINCI RESOLVE USER MANUAL
PowerGrades 206
Orphan Stills 207
Current Project Stills 208
Switch Wipe Mode 208
Trace Timeline 208
One Still Per Scene 209
Apple Display LUT 209
Sorting Stills 209
Stills Import and Export 210
Still Properties 210
Adding Gallery Pages 210
Format 211
Input 213
Input Transform 213
Presets 213
Input Transform Controls 214
Convergence for Stereoscopic 3D 214
Source Blanking 214
Reference Still Resize and Reposition 214
Output 215
Output Transform 215
Presets 215
Transform Controls 216
Output Blanking 216
Output Format 217
Slate 218
Custom Text 219
Deck 220
Deck Viewer 222
Ingest 223
Source Timecode 224
Clip Name 224
Batch List Settings 224
Audio Options 225
Folder Options 225
Capture 225
Disconnect 225
EDL Ingest 226
Scan list export 226
Record 227
Clip Information 227
Timecode on Tape 228
Audio Options 228
Batch Output Handles 228
Source Selection 228
Chapter 13
Chapter 12
CONTENTS USER MANUAL
DAVINCI RESOLVE USER MANUAL
DaVinci Resolve 7.0
Recording 230
Batch Output 230
Revival 231
Marking clips for Revival restoration 233
Revival Grain Settings 233
Scene 236
Scene Cut Detector 237
Loading Clips for Scene Cut Detection 237
Scene Cut Viewers 238
Scene Cut Detector Controls 239
Automatic Scene Detection 239
Scene Marks 239
Export/Import List 239
Scene Cut Detector Graph 240
Cut List 241
Reviewing the Detected Cuts 242
Splitting and Saving Cut Lists 243
Render 244
Render Timeline 246
Render Properties 248
Output File Formats 248
Recording Mode 248
Commercial Workfow 250
Stereoscopic Render 251
Other Render Properties Settings 252
Render Path Settings 253
Batch Render 254
Render Queue 255
Stereoscopic Grading 256
Creating a Stereoscopic Project 257
Grading Stereoscopic 3D 257
Color Screen Viewer Stereo Display Options 258
Color Screen Status Display 259
Thumbnail Timeline Menu Options 260
Remote Grading 261
Requirements 262
Setup 262
Restrictions 263
DaVinci Resolve Control Surface 264
Shift Key Convention 265
Chapter 19
Chapter 18
Chapter 17
Chapter 16
Chapter 15
Chapter 14
DAVINCI RESOLVE USER MANUAL
T-Bar Panel 266
Mode Control Group 266
Session Management 268
Marking Dynamics 269
Memory Access 269
Menu Navigation and Node Control 271
Reference Confguration 273
Trackball Panel 274
Transport Panel 276
Reference Confguration 276
Transport Control Keys 278
Memory Access Keys 280
Numerical Entry Key Group 281
List Marking 282
Menus, Soft Keys and Soft Pot Controls 283
Soft Key and Soft Pot Control Conventions 283
Menu Layouts 284
Glossary 292 Chapter 20
1
Introduction
CHAPTER INTRODUCTION
INTRODUCTION 12
1
Welcome to the DaVinci Resolve user manual. DaVinci Resolve carries the tradition of DaVinci color
correction into the next generation of color enhancement.
DaVinci Resolve carries the 25 year tradition of DaVinci color correction, combined with DaVinci’s Emmy
award-winning image enhancement expertise along with the latest GPU technology, DaVinci Resolve
provides the most effcient work fow for television long form, TV commercials and feature flm digital
intermediate color grading and fnishing applications.
Color enhancement in DaVinci Resolve centers around clip-based color correction and real time
conforming process. Within each clip, nodes are used to create and control the color correction and
to enhance the image by simply adding a series of nodes together. Within each node, a primary and/
or secondary YRGB correction may be applied and combined with a Circular, Linear, Polygon, or Power
Curve Window. Each node can also have image and matte defocus as well as custom curves.
DaVinci Resolve also includes an automatic image tracking tool for PowerWindows, native fle support
for a number of camera and image formats, powerful EDL and conforming tools, and real time SD and
HD tape ingest and playout.
You can use internal, external direct attached, or even Open File System LAN or SAN storage with
DaVinci Resolve and connection to the control panels is as simple as plugging in the USB connection.
We invite you to read on and discover all the features of this exciting new system. You’ll soon learn that
it’s the most powerful and easy to operate color enhancement system that has ever been introduced.
Introducing DaVinci Resolve
Shown with Blackmagic UltraScope
INTRODUCTION 13
Launch of DaVinci Resolve on Mac
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Updated User Interface
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displays on the second monitor.
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changing to and from the Color and Viewer screens and other screens.
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New Control Surface with USB 2.0
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Third Party Panel Support
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What’s New in DaVinci Resolve 7.0
CHAPTER INTRODUCTION
INTRODUCTION 14
1
Apple ProRes read and write support on Mac
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Uncompressed QuickTime read and write support on Mac
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H.264 read and write support on Mac, read support on Linux
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Avid DNxHD® MXF support update on Mac and Linux
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Cineform read support on Mac and Linux
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DeckLink HD Extreme 3D Enhancements
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RED Rocket support on Mac and Linux
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NVIDIA 12 bit RGB Monitoring Support
INTRODUCTION 15
Database Optimization
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project export, import and also backup.
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databases.
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Stereoscopic 3D Enhancements
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- Includes selectable option of convergence with auto zoom control.
- Now can see and change convergence on Format screen.
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- Now you can display side-by-side or line mesh on your 3D grading monitor.
- Compare left and right eye with checkerboard display. Includes selectable pixel size for
checkerboard.
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- Now you can compare two folders of clips and simultaneously generate an EDL for each
eye. Easily manage all your mismatched clip lengths and start times.
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- When you apply Ripple grade to one eye, this grade will ripple to the other eye automatically.
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- Now you can ColorTrace both eyes simultaneously.
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- Now you can apply the same edit to both left and right eye.
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- 3D stills can now be stored in both Gallery and Memories.
Enhanced GPU processing for image sizing
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CHAPTER INTRODUCTION
INTRODUCTION 16
1
Spatial Interlacing Support
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Gallery Enhancements
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- Stills can be named for quick reference.
- Right click and type to name stills.
- Search for stills based on name.
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- Your PowerGrade Library of stills include the image node graph.
- Save PowerGrades for use in all your projects as they are accessible every time you login.
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- Display flter of either current session stills, or all stills for the entire project.
Conform Enhancements
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- Resolve will now cue to the same source frame when switching sessions.
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- Now can display the offine image when there is a missing clip or a hole in the timeline.
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- Now you can adjust the offine and online sync right from the color page.
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- Multiple offine clips can be used for a timeline with individual offsets.
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- DaVinci Resolve now features and option for automatically fnding the current clip in the
media pool.
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- Now you can display source clip details from the Browse or Color Screen.
INTRODUCTION 17
Color Control Enhancements
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- Jump from any node in the graph to a new node placed at the end of the node graph.
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- Automatically ripple a grade to any number of clips by adding a node to the end of each
clip’s node graph with the ripple grade.
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- Now you can quickly identify clips with tracking, by scanning the timeline thumbnail.
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- Now you can save your LUT for Nuke and Adobe After Effects using the popular .cube
format.
Editing Enhancements
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- Now you can treat EDL holes as black when editing ripple mode.
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- New right-click option to add clips to the current location on the timeline or to append to
the end.
PowerMaster Enhancements
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- PowerMastering will now support source clip with handles. Includes duplicate timecode
protection.
- Generate a Master Session with user defned handles on the Conform screen to include all
source clips and their current grade.
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- A user defned text burn-in can now be applied during PowerMastering. This includes
timecode, fle name and user defned text.
CHAPTER INTRODUCTION
INTRODUCTION 18
1
Render Enhancement
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- Now can automatically manage your render path using tags.
- Enter the desired description, such as Reel Number into render path using appropriate tag.
Tag Description
%T Reel Number
%E Event Number
%V Version Name
%I Clip Index
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- Now you can render stereoscopic projects with side-by-side (left and right eye) in the one fle.
2
System Setup
CHAPTER SYSTEM SETUP
SYSTEM SETUP 20
2
DaVinci Resolve on Mac systems require three simple hardware items to be confgured when you start
the application for the very frst time.
Start the application, select the DaVinci Resolve menu, and choose Preferences. The three items to
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panel that will be connected to your system, if any.
Media Storage Volumes
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point to the list of disk storage for your media. The frst location in the storage list will become the
default location for images, all proxies, cached fles and gallery stills. This location should have plenty of
storage capacity and be permanently connected to your Mac. Often this is the internal RAID you have
established, but it can be an external drive too.
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System Setup
DaVinci Resolve Preferences
SYSTEM SETUP 21
Video Capture Hardware
If you have a video capture and playback card, select it from the pulldown list. The options include
supported cards, so if you do not see your card on this list, it has either not been detected by DaVinci
Resolve or it is not currently supported.
Control Panel Type
Finally, select which control panel hardware you have connected to your DaVinci Resolve from the list
provided.
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application.
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3
Quick Start Guide
CHAPTER QUICK START GUIDE
QUICK START GUIDE 23
3
Before getting into the details of grading with DaVinci Resolve let’s have a quick look at each of the
main application screens and their functions.
When you start DaVinci Resolve the launch window opens and each software module reports its
loading status.
When the start-up is complete the User Login screen appears. Double click on a User icon to switch to
the Confguration screen for that user.
Mac Start-Up
User Login
Quick Start Guide
QUICK START GUIDE 24
After you login to Resolve, this navigation bar appears at the bottom of every main screen. Use a left
mouse click on this bar to switch to each screen.
The Confguration screen shown below is used to confgure projects based on the user. With the fve
tabs located on the right half of this screen you can set up new projects, load existing projects, and
select the format and connection type for deck capture and playback.
Confguration Screen
Navigation Bar
CHAPTER QUICK START GUIDE
QUICK START GUIDE 25
3
Use the Browse screen shown below to select and review clips that are in your media storage and to mark
the individual clips you need for your project. On the Browse screen you can create a Master timeline, load
your EDLs and compare the hi-res source clips to your offine video from the edit system.
The Conform screen is used to establish your Master Session/ timeline, organize clips into a numbered
order designated by an edit decision list and to confrm the edit via an offine video.
Conform
Browse
QUICK START GUIDE 26
Most of your grading time will be spent here, at the Color screen. This includes a viewer, gallery of stills, a
project and clip timeline and all the tools you need to create a master grade.
The Viewer screen provides a full screen view of your images with transport controls, and controls for the
automatic image object tracker.
Color
Viewer
CHAPTER QUICK START GUIDE
QUICK START GUIDE 27
3
When you capture or import stills, they are all displayed in the Gallery screen. Here you can move them
between different folders and name them as you like.
The DaVinci Resolve Format screen interface makes it simple to format an image. You can adjust input
and output image formats and size, pan and tilt the image, even zoom and rotate, all while seeing your
changes in the viewer in real time.
Format
Gallery
QUICK START GUIDE 28
Ingest from, or record to videotape all your SD and HD images using the Deck screen. There is also a
batch capture option to speed up those otherwise cumbersome ingests from a long list of clips.
If your DaVinci Resolve is connected to a DaVinci Revival image restoration system you can use the
Revival screen shown below to manage interaction between the systems.
Deck
Revival
CHAPTER QUICK START GUIDE
QUICK START GUIDE 29
3
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Scene Cut Detector to fnd those scene cut points automatically and split the source clip. It works fve
times faster than real time so you can start grading faster.
The Render screen is used to set up the confguration and initiate rendering of the timeline images.
Many systems limit the render of clips to the settings used in the timeline. Resolve is not restricted by
this limitation and this provides you with signifcant workfow advantages unmatched in the industry.
Render
Scene Cut
QUICK START GUIDE 30
Quick Start Project
This Quick Start overview is designed to skip past much of the detail and get you quickly to the Color
screen so you can learn how to login, confgure and load a project, select clips, create a master timeline
and start grading. Once you have these basics understood, you can continue learning the details of
DaVinci Resolve operation as you reference each of the chapters in this User Manual.
Assuming you have installed the DaVinci Resolve application and used the Preferences menu, as
detailed in Chapter 2, to set up your media storage, video capture hardware, and control panel type, the
fnal preparation step is to put some images on your media storage drives.
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Linux Browser to copy this folder and contents to your media storage.
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on the bottom left of the screen in the Project List display. In the window enter the new
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storage at the top left. Expand the folder view, if necessary, and select the folder
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Pool populated with a few fles.
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display list the events, which will show as clips on the Master Session timeline.
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Viewer will show the frst frame of the frst clip. You can jump to clips by selecting them
on the Thumbnail Timeline or use the transport controls under the Viewer.
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Gamma, or Gain display. To the left of these is the Luminance Gain. Click and drag the
Luminance Lift a little lower and the Luminance Gain a little higher.
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it on, and note the window cursors on the Viewer. Select a cyan anchor point and click
and drag to change the size or aspect. Now adjust the primary controls or curves and
note that the grade you apply is inside the window.
Follow the rest of this User Manual to learn the full power of DaVinci Resolve.
4
Control Panels
CHAPTER CONTROL PANELS
CONTROL PANELS 32
4
While DaVinci Resolve can be operated with a mouse and keyboard, the full creative power of the
system is unleashed when used with the DaVinci Resolve Control Surface.
The DaVinci Resolve Control Surface consists of three panels. The center Trackball panel is used for
most grading operations and includes a slide-out keyboard and trackballs. The two side panels are
interchangeable for left- and right-handed operation. The Transport panel includes a jog/shuttle control
and is often placed on the right (for right-handed colorists) with the T-bar panel on the left. The panels
are usually located some distance from the Resolve workstation, however it is very simple to connect
them together with a USB2.0 cable.
Details of the panel operation and menus are found later in this guide.
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panel offers signifcantly improved creative control compared to using a mouse, however there are a
number of features offered with the DaVinci Resolve Control Surface panels that are not possible on the
Wave. Check the Blackmagic Design web site for details of other supported panels.
Control Panels
Tangent Devices Wave
5
Getting Started
CHAPTER GETTING STARTED
GETTING STARTED 34
5
Starting DaVinci Resolve
Click the DaVinci Resolve icon to start the application. As the system is starting the launch window
opens and each of the software modules reports its loading status. When the start-up is complete the
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User Login/Exit page.
User Login Screen
DaVinci Resolve uses a database to store grading information for each project and each user. Each
user’s fle contains stored color corrections and system confgurations for your projects.
Login To An Existing User
The User Login screen displays an icon for Admin, Guest, and all other users. To login without a password,
simply double click on the Guest icon. If you double click a password protected user, just enter the
password and continue. If needed, easily create a new user as indicated below. As all projects require
pre-confguration prior to grading, once the login is successful, DaVinci Resolve will automatically switch
to the Confguration screen.
Exiting Resolve
When you have completed your work, save the project, use the log out button on the Confguration
screen and then Exit on the User screen.
Getting Started
Colorist Login
GETTING STARTED 35
Creating A New User
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The administrator can use password protection to lockout the New User function. When DaVinci Resolve
is frst installed the Admin password is left blank. If the Administrator has protected the operation with
a password please see your Admin to gain access.
You may also change the graphic for each user by right mouse clicking on the icon and selecting
‘·||- ¯:-’
Deleting An Existing User
To delete a user select the user’s icon and then the - button at the bottom of the screen. Confrm the
Admin password and then a prompt will appear asking you to confrm the user deletion. Don’t worry if
you have done this accidentally as DaVinci Resolve stores the old user information in an Inactive User
fle so you can recall the data whenever you need to.
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privileges), the Inactive User List will appear and allow you to either reactivate or permanently delete
the users listed.
This permanent deletion of the user is fnal! Be sure you really want to delete the user and their projects,
stills, confgurations, etc.
Inactive Users List
CHAPTER GETTING STARTED
GETTING STARTED 36
5
Changing A User Password
·||- : s-: ¦ss: | sn¦' s-'-| : 's-: | n|- - | |-| |- ‘·||-
Password’ button. In the Changed User Password window enter your old and new passwords and
confrm.
Multiple Database Support
DaVinci Resolve works from an internal database server so it’s possible to have multiple databases for
maximum fexibility in organizing your projects. You can create a database for each year, or whatever
timeframe you desire. Keeping the database size small makes loading and saving faster.
Facilities with multiple systems can implement a shared Remote Database Server.
Selecting the Database
You don’t need to do or know anything about databases to use DaVinci Resolve. It’s all set up for you
when you install the software.
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screen. Select a database from the list and confrm with the Select button. This database will now
be used for saving all new projects. The other databases that are connected, the internal and also
remote databases, will continue to appear in the list and you can import projects from those databases.
However when you save a project, regardless of its origin, it will save into the active working database
you selected.
Change User Password
GETTING STARTED 37
Creating a New Database
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database list. Enter a label name to help identify the database in DaVinci Resolve and a unique database name,
in lower case. If you are using the database on this workstation leave the other items unchanged and confrm
OK. This new database is now available and you can add your user as detailed above. All of the old projects are
still available. How to import them is found later in this guide.
Database Manager
New Database Popup
CHAPTER GETTING STARTED
GETTING STARTED 38
5
Create a New Database Image
If you are connecting to a Remote Database Server, change the IP address from the local machine address,
which we show as default to your Remote Database Server. Enter the remote database name and select
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databases.
Remote Database Server
Multiple DaVinci Resolve systems can also work on the same project at the same time using the shared
database. For example an assistant could be working with the colorist to prepare fles for the next reel
by conforming shots, managing the VFX replacements or using the system to do dust busting repairs,
etc. Resolve automatically prevents two users working on the exact same item by opening a copy of a
project if one is already in use and will advise you when the other session is closed.
We highly recommend the use of a separate workstation to operate as the Remote Database Server for
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you can enter the information relating to the remote database. Just fll in each item and confrm OK.
6
Confguration
CHAPTER CONFIGURATION
CONFIGURATION 40
6
At the commencement of every project a number of user, project, deck and monitor confgurations
should be set to provide the correct environment for your color-grading project. You can open the
default or an existing project and/or may change the various settings to accommodate the project
needs. You can also assign a name to the project. These tasks are performed on the Confguration
screen which is the frst screen always opened by DaVinci Resolve after you log in.
At the commencement of every project a number of user, project and operational confgurations
should be set to provide the correct environment for your color-grading project. You can open the
default or an existing project and/or may change the various parameters of the confguration in order
to accommodate the project needs. You can also assign a name to the project within this page. These
tasks are performed on the confguration screen which is the frst screen always opened by Resolve.
Confguration
Confguration
CONFIGURATION 41
The User List
This screen lists all available databases with the users and their associated projects and system
confguration fles. Note that you will not see your user ID within the current database. This list allows
you to simply import projects from other database or from other users into the current database and
user.
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Resolve will import that project or confguration and place it in your active database.
User List
CHAPTER CONFIGURATION
CONFIGURATION 42
6
The Confguration List
The Confguration List will show all confgurations saved within the current database for the current user.
As the Admin you can defne a User Default Confg that can be used as a default system confguration
for all new projects.
Modifying and Saving an Existing Confguration
To modify an existing confguration, highlight the confguration and make the changes, or modify the
project confguration. Save these settings to the confguration or cancel to revert to the original.
Further details on the Confguration screen tabs and their operation follow later in this section of the guide.
\|| |- ·|H:| ¦s | |
Add: This allows you add a new confg with the current settings.
Delete: To delete an existing confg, select the confg with your mouse and then the
‘¯-'--’ ||
Load: This will load the selected confguration fle.
Save: Any changes that have been made into the existing (i.e., highlighted)
confguration fle are saved.
Save As: To save confgurations with an alternate name and thus create a new
confguration fle use Save As.
Confguration List
CONFIGURATION 43
Creating a Facility Default Confguration
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To modify a System Confguration and save it as the default confguration for all new users, frst login
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| s-: |H:|s | s-'- ‘-’ /'' |- s-:s | :- - |- ss-n '' n''
inherit these User default settings which can then be modifed by the individual users and saved on a
per project or confguration basis.
Projects List
¯|- '- | s-: |s ¯:- ¦s s| '' ¦:-s ss- | | s-: ·'|| | |- ’±’
located to the left of the User ID will reveal the projects associated with that user. It also shows the date
| || |- ¦:- s nH- | |- ¦:- :-s'| ¯ s-'-| |- ’±’ | s '- |-
left of the project name, the project fle and any associated sessions (EDLs) are also revealed.
There are a number of user controls in this window.
Add: Create new project.
Delete: When you select a project, then delete, that project will be deleted from the
database. Please be sure you wish to delete the project.
Load: The selected project in the project list will be loaded.
Save: Any changes that have been made into the selected project fle are saved.
Save As: To save a project with an alternate name and thus create a new project fle use
Save As.
Project List
CHAPTER CONFIGURATION
CONFIGURATION 44
6
There are also a number of features available via a right mouse click within the Project window. If you
select a project and right click the pop-up display will provide the following options, depending on the
status of the current project.
New: Opens a window to create a new project name for the new
project.
Load: Will recall the project confguration and sessions, but only after
checking if the current project has been saved. If it has not
been saved, it will give you that option.
Load in Read Only Mode: Like Load, this will recall the project and load it into the system.
This feature is used for loading a locked project when in a
shared database environment. You are not permitted to save
any changes to the project in this mode.
Save As: You can save a project with a new name. Often ideal for
creating multiple versions of projects or versions for export.
Delete: Allows you to delete a project.
Rename: Use this to rename an existing project.
Import +: DaVinci Resolve allows you to Import and Export projects and
will package all the project metadata, EDLs, LUTs and audio
material into a compressed fle which may be easily imported
or exported between systems. If the project images are not
on a shared SAN, you must manually manage the required
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Export +: If you wish to create a backup of this project with the grading
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Load confg to current project: Uses the confguration selected in the confguration list to
replace the current project’s confguration. A simple way to
make sure your project uses the correct settings.
Refresh: To refresh the display simply right click and select Refresh.
Project List Options (Right Click)
CONFIGURATION 45
Shared Database and Locked Projects
If you are using a shared database with other DaVinci Resolve systems some of the projects will have
a lock icon to the left of the project name. A locked project is loaded in read-only mode and changes
must be saved to a new fle name. Once a shared project is loaded, it is automatically locked in order
to prevent multiple users from accessing the project at the same time. To unlock the project, login as
/n| | |-| '| | |- ‘'|'|’ ||
For large projects that are being worked on in parallel, often the project is split into logical segments
so users can work simultaneously in different suites. For example, a feature flm may be split into reels,
or the flm separated from the trailer and video press kit. Each segment can use grades from the other
segments as required to keep the shots in balance.
Read-Only Confrmation Dialog
CHAPTER CONFIGURATION
CONFIGURATION 46
6
Confguration Screen Tabs
Using the fve tabs on the Confg screen you can make changes to the confguration to suit your
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cancel any changes made.
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Project: Provides the main confguration settings for DaVinci Resolve to process your
images. The frst step in setting up the confguration for any project is to
determine which resolution you will use. You may also choose to change the
standard for monitoring as well as Deck standards for importing and exporting
material.
LUT’s: Select, trim and generate look up tables and defne where they are used.
Settings: Selections for many user and project variables, including the default dynamic
profle and automatic dynamic ripple features, are made in the Settings tab.
Autosave: Displays the auto project backup information.
Source: While DaVinci Resolve’s default fle format is the SMPTE standard dpx fle, many
other formats are processed natively within Resolve. This tab provides system based
confguration and adjustments for the RED camera r3d fles.
Other formats will be added in the future.
Confg page tabs
CONFIGURATION 47
Timeline Format
The Timeline Format section defnes the parameters used for image processing during grading.
For example, if you use a HD grading monitor, setting the system resolution to 1920x1080 provides
automatic up or down sampling of the source images on the grading display. When you render the
fles, the render resolution can be set to any other parameter so this system resolution is just to set the
working specifcation for the system while grading and it does not limit the settings for deliverables.
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Timeline Resolution selects from a preset list and then displays the resolution selected for image
processing while grading. You can change the setting for resolutions not found in the presets. The
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|n:¦| ¦-' s¦- =¯ : ¯ n-s : ·|-ns¦- :
Playback framerate is often based on the setting of the grading monitor so a 50Hz monitor will need
a 25 fps playback speed for a synchronous display without dropping frames. If you want to see the
playback at a slower rate set it here and DaVinci Resolve will make the appropriate calculations and
drop or repeat frames as necessary. This can be handy to see how images look in slow motion.
DaVinci Resolve uses 32 bit foating point processing for all grading calculations and this currently is
the only option available as is the legendary and unique DaVinci YRGB color science.
Resolve is a frame based system but it can process interlace video material. If your source format and
record format are the same, for example HD in and HD out, you may use Resolve in its native frame
based confguration, even for projects that have 100% interlace material. If however you use the image
resizing engine to change the image size, including resize a HD to SD image, or to make signifcant
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interlace image processing consumes signifcantly more GPU power to maintain the high picture
quality so enabling this checkbox will result in a slower playback speed or a reduced number of nodes
at real time.
Project Tab
Project Tab
CHAPTER CONFIGURATION
CONFIGURATION 48
6
Image Format Scaling
You can set Input and Output Format Presets that can be used with session clips or for a complete
timeline. These presets may be applied as Global presets from the Confguration screen or a Clip
preset within the Media Pool which you will fnd on the Browse screen. Presets may also be applied
from within the Format screen or even by right mouse clicking on a thumbnail within the Color or
Format screens. There are more details on presets later in this guide.
These user-defned presets are settings for various image sizes and are very useful, for example, when
a flm has been over scanned. Instead of having to resize every clip independently you can resize a
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option, the programmed settings will be overwritten with the newly selected presets.
Format Preset Selection
CONFIGURATION 49
Common use of Input Format Preset
If your project originated on flm it will have been scanned at some time prior to editing and grading,
and often to make sure all the image area is captured the image is slightly over-scanned. This means
you will see the full open gate image and depending on the scanner, some of the edges around the
image, or even sometimes the round corners or distortion in the corners of the image.
To avoid the time prohibitive process of manually resizing every shot so that it matches every other,
simply create a resize of a reference image. Save this new image size as an Input Format Preset and
select this preset. The optical quality zoom and positioning controls will produce outstanding results,
on the fy, so you don’t need to pre-render and you can always make further adjustments during your
grading session. To create an Image Format Preset, simply make a size change with the formatter on
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Deck Capture and Playback
The deck window is used to select the format of video that will be either imported or exported from
the system when using a video tape recorder. You should set these parameters before selecting the
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Deck Capture and Playback
CHAPTER CONFIGURATION
CONFIGURATION 50
6
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Video capture & playback: Selects video standard from the pulldown list.
Video connection: -'-s |---| |- '|'- ||-|s `' =.. ¯ ¯¯
444 Dual Link and 444 single link using 3 Gb/s. Note these options
depend on which video capture card you are using and are all
available with the Blackmagic Design DeckLink HD Extreme 3 and
3D.
Colorspace Conversion: DaVinci Resolve normally uses computer RGB levels internally
and so the normally scaled legal video option will perform a color
mapping conversion to and from the SMPTE video levels when
ingesting from or recording to tape. By selecting the Unscaled full
range data no scaling will be performed in either ingest or playout.
Video Bit Depth: 10 bit is the current option.
Edit mode for recording: Select whether to record the material to tape in Insert, Assemble, or
Crash record edit mode.
Auto Edit: If your deck supports it, this is the best method to record video to
the deck. If deselected, a basic the Edit On/Off mode can be used.
Non Auto Edit timing: Adjusts the edit synchronization for the deck when auto edit is not
selected.
Deck Preroll: Set the number of seconds for preroll depending on the
performance of your deck.
Add and remove 3:2 pulldown: Enable for working with NTSC/59.94i-based material. This will
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Video output sync source: With the Decklink this is set to Auto, but with some other capture
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| ‘|¦’ : |-s
CONFIGURATION 51
PowerMastering – Grading and Formatting Directly To Tape
PowerMastering is intended for creating tape deliverables quickly without the need to render. It
can also be used for dailies operations. To output a color corrected and resized timeline or clip
directly to tape you must be in the PowerMastering mode which is selected in the Settings tab.
PowerMastering can be enabled at the beginning of a new project or for existing projects. You will
see a message alerting you that the output sizing will be disabled in this mode. Resizing requires
signifcant GPU processing and for a system with just a single GPU it’s common to inhibit output sizing
to PowerMaster. If you have a number of GPUs or if you need output sizing and PowerMastering, frst
preselect the option to use the high quality GPU for output sizing on the Settings tab. Then apply to
save the confguration.
After enabling Power Mastering some thumbnails on the Color screen timeline will have a small red
square icon to the left-hand side of the timecode indicating that this clip may need caching prior to
PowerMastering. This is because the clip has a complex grade or a high resolution, or both, and your
hardware confguration is not likely to be able to process the clip in real time for the tape output.
You should check the playback of each of these clips and select the clip for render cache, right click
option, if it needs caching.
A key feature of PowerMastering is the ability to work on 2K fles or mixed resolution and then output
an HD and SD master without the need to render saving not only valuable time but also a lot of disk
space. There is more information about PowerMastering in the Deck screen section of this guide.
Input Scaling
When your source images are of a different size or aspect ratio to the grading timeline you need to
select how DaVinci Resolve will scale the images so they all match.
Input Scaling
CHAPTER CONFIGURATION
CONFIGURATION 52
6
¯|- ¦|s '|'- :-
Centre crop with no resizing This option makes no attempt to resize the image to ft the
aspect ratio selected. A simple crop is used from the center of
the source image if it’s larger than the timeline format.
Scale to full frame with crop Automatically inserts blanking within the image area to
compensate for a difference in the source to timeline aspect
ratio.
Scale entire image to ft The image will be resized in order to completely fll the frame.
In some cases, a part of the image will be cut from the left and
right sides of the source image or the top and bottom. You can
reposition the image using the Input Format sizing controls
within the Format screen.
Stretch frame to all corners When you select this option, DaVinci Resolve will ft the frame
to the output aspect ratio. In this mode, the frame edges will
be stretched to the corners and no information will be lost.
However, this option can also result in squeezing or stretching
of the image in order to ft the output format.
Low Resolution Proxies
The proxy mode can be enabled from the Project tab or on the DaVinci Resolve control surface.
When using the Low Resolution Proxies section of the Project tab, select the resolution for the
proxy, which is often exactly half the system resolution. Proxies on DaVinci Resolve are made with
our optical-quality resizing engine and have been used for major-budget flm outs. There are two
types of proxies. The traditional pre-generated proxies which are managed from the Browse screen
and often used for 4K projects where the system hardware only permits real time 2K performance
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Proxies are generally used when a complex color correction is created and the system begins to run
a little slower than real time. When this occurs, the proxy mode can be activated in order to see the
results running in real time. Alternatively, you can cache the clip to gain real time performance again.
The Low Resolution Proxies display shows the resolution of the generated proxy and the ’Use real
time proxies’ checkbox allows the operator to activate the Proxy mode.
Low Resolution Proxies
CONFIGURATION 53
Timeline Conform Options
DaVinci Resolve will make a conformed timeline of the selected clips using a number of parameters
to make it easy to deal with missing timecodes or conficting reel names. It is important to select
the conformed frame rate of the clips and how the header or fle metadata will be used. These
parameters must be set PRIOR to selecting source clips in the Browse screen as they impact speed
and frame rate calculations used in DaVinci Resolve when establishing metadata for the grades.
SMPTE-standard DPX fles contain both image and metadata for every frame independent to
every other frame. This permits DaVinci Resolve to generate complex metadata and reference the
source clips via the timecode in the DPX header. Many other formats have options for timecode and
other metadata to be recorded with each frame and DaVinci Resolve uses these on a number of
occasions.
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so that conforming and applying grades to the material will be automatic. You can re-conform shots,
or even completely change the image material, and as long as DaVinci Resolve can reference the
header metadata (i.e., the timecode) for that clip, the grading metadata will automatically re-align
to the new and correct position in the timeline. If the source clips frame count is all that is available,
s-'- |- ‘¯:n |- s:- '¦ :n- |’ ¦|
The ’conform partial clips with black gaps’ option will allow you to conform a clip that may not
contain all the required frames. When this option is selected you will be alerted in the Conform
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frames .
Sometimes you will also need assistance in conforming using reel numbers. When this checkbox is
enabled DaVinci Resolve offers a number of options. To obtain reel number information from the
Clip’s Path name, Media pool Folder Name, or from the DPX Header select the appropriate option.
This is particularly helpful when working with projects that have a large number of source reels or
when the source clip fle path is complex.
Low Resolution Proxies
CHAPTER CONFIGURATION
CONFIGURATION 54
6
Conforming by Reel Number
DaVinci Resolve can conform clips by reel identifcation. There are three options for this operation.
1) Use reel number from the source clip fle pathname: The reel number is derived from the
information in the directory path or the name of the fle.
2) Use reel number from the Media Pool’s folder name: The conform operation will use the
folder identifcation within the Media Pool.
3) Use reel number embedded in source clip fle: When this option is selected the system
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It is important to note that the reel numbers retrieved from the header should match the reel
numbers within the EDL.
If you use the source clip fle pathname for extracting the reel number, be sure to defne the search
pattern that enables DaVinci Resolve to extract the reel name. This pattern consists of a series of text
characters and “wild cards” that are unique to your facility. The extraction pattern is interpreted from
right to left.
Here are a series of search characters that may be used.
? This will look for matches of any single character.
* This wildcard will create matches for any sequence of zero or more characters.
%R Use this option in order to specify the reel number’s location. It is important to note that reel
numbers may contain any character, but should not contain any directory separators.
%D This will match any directory name or fle name. It will not include a forward slash.
To test the extraction path select the pulldown arrow next to the current path and a dialog will open.
Enter your test patten using the search characters and then the path to a clip you wish to extract.
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display.
Examples of Reel Number Path Extractions
In order to better understand how this process works, there are several examples showing the various
methods of reel number extractions. The / is used as the separator between control parameters.
CONFIGURATION 55
Example 1: This example shows the reel number stored within the parent folder name of the clip.
Pattern: */%R/%D
Clip Name: vol0/MyMovie/Scans/004B/Frame[1000-2000].dpx
Reel number: 004B
Parsing takes place from right to left so to analyze this pattern start at the right end. In this case the
%D matches to the fle name “FrameNNNN.dpx” where NNNN is the frame number in each fle of the
clip. Moving left of the fle name, the /%R/ section of the string is next. This specifes that the reel
number will be the entire name of the parent directory immediately above the fle. Then the * at the
beginning of the string says match any pathname in front of the directory name that has the reel
number. This string would fnd the parent directory regardless of how many levels deep it is nested
on the directory path.
Example 2 =-:- - s-- |- :--' |n|-: s:- | |- ¦:-| '-: |n- |- '¦ '| | |-|
prefxed by reel number.
Pattern: */????%R/%D or alternatively */Reel%R/%D
Clip Name: /vol0/MyMovie/Scans/Reel1234/Frame[1000-2000].dpx
Reel number: 1234
In this example both of these extractions patterns produce the same result. They are also similar to the
frst example. The reel number is still in the parent directory name but in this case it will have the fxed
characters “Reel” prefxed in front of the reel number. The frst pattern with ???? would actually match
with any 4 character in front of the reel number. The second pattern is more specifc and would only
match the word “Reel” in the directory name.
Example 3: This example will show the reel number stored within the parent folder name two directory
levels up.
Pattern: */%R/%D/%D
Clip Name: /vol0/MyMovie/Scans/004B/134500-135000/Frame[1000-2000].dpx
Reel number: 004B
This example is again similar to example 1. The difference is that the reel number is the directory name
two levels above the clip. In the example 1, the reel number was in the directory name only one level
up.
Example 4: Finally, we see the reel number that is embedded within the clip name of the material.
Pattern: */Reel%R_*
Clip Name: /vol0/MyMovie/Scans/Reel004B_[1000-2000].dpx
Reel number: 004B
This example shows a method for extracting the reel number for the fle name of the clip. Again,
starting at the right the two pattern characters “_*” match any series of characters up to the frst
underscore character. Which in this case will pick up the fle extension (.dpx) and the frame number
portion of the fle name. Next, the “/Reel%R” characters indicate the reel number is the characters
|---| |- ‘¯--'” | |:-: ¯|- |- |-||| |- ¦-:| '' n| H'- ¦| |
number of directories deep in front of the fle name.
CHAPTER CONFIGURATION
CONFIGURATION 56
6
Reel Number Support from Final Cut Pro EDLs
To be able to handle larger than 8 character reel numbers from Final Cut Pro EDLs, DaVinci Resolve
supports extraction of the reel name using the comments.
On the settings tab of the confg screen, select the option called “Extract Reel Names from EDL
comments”.
e.g. Consider the following event in the CMX EDL
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DaVinci Resolve will read the reel name as REEL02_TEST
This option is especially useful for conforming CMX EDLs generated with reference to RED r3d clips,
which have longer than 8 character reel numbers.
Changing the Conform Frame Rates
As mentioned, it is important that you apply the correct frame rate for the material within the Conform
Options display prior to adding material into the Media Pool or creating a Master Session within the
Conform page.
If you enter an incorrect frame rate in the Timeline Conform Options display, the resulting source
timecodes that are calculated will be incorrect. Once information is added into the Media Pool or a
Master Session is created, this control within the Confguration screen will become unavailable.
To change the value within the Timeline Conform Options display you must delete the Master Session
and remove any information in the Media Pool.
CONFIGURATION 57
Video Monitoring
The Video Monitoring display should be adjusted to refect the monitor you use for color correction.
The settings here have frame rate and screen refresh implications, so making the correct selection is
important.
For example, if you are working with 2K fles in a 2K environment but color correcting using a high
defnition monitor, you should select the appropriate HD standard for that monitor.
There are many options for the video monitoring format, so frst select one from the pulldown list.
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option.
The Colorspace conversion selection will perform a color mapping conversion to work with data to
video level translations. Remember your images are often stored in full 0-1023 data but the monitor is
generally expecting, and can process, the 64-940/960 video levels as specifed by SMPTE. If you wish
to monitor the full 10-bit data range (0- 1023) of the monitoring output, simply change the colorspace
conversion to unscaled full range data. If the Colorspace conversion is set to the normally scaled legal
video then the data range is scaled down to video range (64-940/960).
With some video I/O and monitoring cards there is an option for 12-bit monitoring. If applicable to
your system, you may select the 12-bit option. This is often used when monitoring through a projector
capable of accepting a 12-bit HD-SDI input.
The output video sync source control is used with some video I/O cards but not required with all. It
will select between internal and external bi-level or tri-level synchronization. This is particularly relevant
when two NVidia SDI optional cards are installed for Stereoscopic 3D grading as they both must have
the same physical input sync, as the 3D processor and display device.
Video Monitoring
CHAPTER CONFIGURATION
CONFIGURATION 58
6
The flter selection for monitor scaling is usually set to basic and only enabled to smooth edges when
viewing with a video projector and a very large screen. These settings minimize any high frequency
artifacts that may be seen. This may also be noticeable if you have a 2K or HD project but are
monitoring on a SD monitor. Normally this should be in the basic mode. The other options, Bilinear,
Bicubic and Bspline will have different impact depending on your display device so you may need to
test each to verify which is best for your facility.
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you have selected NTSC, 59.94i or a playback rate of 24fps will automatically activate this option.
CONFIGURATION 59
From the LUTs tab on the Confguration screen you may select various Input, Output, or Display look-
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selected LUT to the DaVinci Resolve Waveform display. This can be useful when working in Video
grading mode when a 3D LUT has been applied.
Timeline Lookup Tables
Within the Timeline Lookup Tables display are the factory preset lookup tables along with those that have
been generated or imported into DaVinci Resolve. If new lookup tables are imported into the system, the
Update lists button should be clicked to refresh the contents of the pull down menus. Resolve uses both
1D and 3D LUTs.
3D LUTs that are generated in DaVinci Resolve are in the .cube format and are confgured as 33x33x33
cubes in 32 bit foating point. DaVinci Resolve can also read and use LUTs in the Cinespace format.
LUTs Tab
LUT Tab
LUT Table
CHAPTER CONFIGURATION
CONFIGURATION 60
6
Generate Soft Clip LUT
To edit an existing LUT by adding soft clipping to it, select either the 1D LUT or 3D LUT option then the
original LUT from the pulldown list. You can then scale the new LUT to a clipping range (i.e., 940) for the
maximum 10-bit video level as well as the minimum clipping level. The clipping softness controls allow
you to apply soft ramps to the high and low clip level. Type in a name for the new LUT, and generate by
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Generate LUT from Current Grade
DaVinci Resolve offers a LUT generation and trimmer tool that you can use to tweak existing LUTs or
build new LUTs. These LUTs can be used internally or for other LUT management products as “Looks”.
The 3D LUT generated is in the .cube format, which is readable by the Blackmagic Design HDLinkPro.
Before you can use this feature, you need access to a unique DaVinci Resolve Trim LUT DPX image,
which is available from your application DVD.
Generate Soft Clip LUT
Save LUT as
CONFIGURATION 61
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Workfow A. Using the color correction controls and the Trim LUT DPX image within
Resolve to generate the LUT.
Workfow B. Using an external software/product capable of applying a color correction
effect which you want to capture as a LUT.
\:|H /
1. Set your resolution to High Defnition within the Confg screen.
2. Load the trim lut0.dpx fle into the Browse screen’s media pool. Within the Color screen you
will now see the Trim LUT fle within the thumbnails.
3. Select a normal image clip on the timeline and color grade the desired offset or effect. You
can grade this image like any other. Once done, select the Trim LUT clip on the thumbnail
timeline with your mouse to make it the current clip.
4. With the Trim LUT fle as the current clip, using the center mouse button, click on the clip you
just graded with the desired offset grade. This offset grading will now be applied to the Trim
LUT fle. (This is a standard DaVinci Resolve copy grade operation).
5. Then, within the Confg screen LUT tab, assign a name to the new LUT to be generated using
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6. Clicking on the Generate LUT button will create the new LUT that is an offset grade. It’s the
grade you made to the original image. This LUT can now be selected like any other.
7. Update the LUT list that’s at the top of the LUT tab and select as an input, output or display
LUT as required. You can also use the LUT on the color page in any node.
The new LUT will appear in the 3D LUT options and can be used in any of the places DaVinci Resolve
normally uses 3D LUTs. It is also possible to capture an external Trim LUT or generate one with the
Resolve LUT confguration and resolution by placing this Trim LUT Clip into an external device that
applies a LUT.
Trim LUT Clip (One Frame)
CHAPTER CONFIGURATION
CONFIGURATION 62
6
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1. Load the provided trim lut0.dpx image into the external device or feed the external device
the image via an HD-SDI connection.
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3. Connect the output video from the external device to the input video of DaVinci Resolve.
4. Using the deck Input interface on DaVinci Resolve, crash record or capture a few frames. You
only need a few.
5. Use the captured frames as the test pattern in Workfow A above to generate the new LUT.
Apply LUT to Waveform
Often when grading feature flms you will use a LUT in the grading monitor path to emulate the flm
recorder, flm lab and print stock used for a flm out to ensure the print shown in the cinema will appear
the same as the image on your grading monitor. Physical and hardware exceptions apply, but the
principle is that with the flm out 3D LUT in the Display path, what you see is what you get.
Of course often you don’t want this LUT to infuence the waveform monitor displays as these are
providing an accurate indication of the levels and phase, etc. of the image and are not subjected to
the limitations of the grading monitor calibration or the flm out/flm lab/print stock limits. With DaVinci
Resolve, you can select to apply or not apply the LUT to the waveform displays by using the checkbox.
Printer Light Step Calibration
For flm projects, when you have a tight integration with a flm lab, it is possible to adjust the printer
light calibration sets to match the lab you are using. You should work with your lab technician to
set up the Lab Aim settings, the Steps adjustments, which is an incremental value, and the Density
Increment adjustment, which is the amount of correction applied within each step. Generally the Step
and Density values will be identical, but this will be up to your lab and your preference.
Printer Light Step Calibration
CONFIGURATION 63
The Settings tab displays a number of checkboxes used to customize the operations within DaVinci
Resolve for the current project.
Project Settings
Settings Tab
CHAPTER CONFIGURATION
CONFIGURATION 64
6
Project Settings
The frst section within the Settings tab is for Project options.
Allow power mastering for RT processing to tape:
DaVinci Resolve is unique because of its PowerMastering
feature, offering real time play out and recording to tape of
grading material without the need to render cache, pre render
or even render the fnal grades. The operation is dependent
on the hardware being used and the image resolution a well
as the grades applied to each clip.
Reload last working project when logging in:
With this box checked, the next time DaVinci Resolve opens
and you log in, it will automatically launch the last project.
Resize image in viewer for correct aspect ratio:
This control will select between using a square or non-square
pixel aspect ratio within the viewer. This is important when
working with SD images which do not have a square pixel
aspect ratio.
Output felds when paused: This setting will reduce ficker when grading using a computer
monitor or when working with interlaced material. When
viewing interlaced material in stop or pause mode, feld one is
displayed followed by feld two. Depending on the image, this
can result in a ficker on the display. When enabled, feld one
will only be shown on the monitor in still mode, however both
felds will be shown when the clips are played.
Mattes display high contrast black and white:
This option will show a black and white display (i.e., high
contrast) rather than the standard grey matte when
highlighting a secondary color correction isolation.
Use dual outputs for 3D monitoring:
All DaVinci Resolve systems can generate a side by side
display that can be sent to a Stereoscopic monitor via the
DeckLink HD Extreme HD-SDI card. This provides you with a
way to display a Stereoscopic 3D project without the expense
of a full 3D system. In this mode there are no wipes or cursors
available on the grading monitor, nor can you use output
resizing.
Dont update interface icons in playback:
Selecting this option forces a priority to update the playback
image at the selected frame rate by reducing UI updates.
This mode is helpful when complex grades are used on low
processing power systems or when working with higher
resolutions.
CONFIGURATION 65
Wipe wrap when viewing reference stills:
With this option the stills wipe mode will wrap around rather
than stop at each side of the screen.
Split source clips for Pre-conform: Select to split the source clip in the Media Pool and the
master session when using the “Preconform” operation.
Master reset maintains RGB Balance:
This control defnes how the panel reset buttons reset the
primary color correction. Normally, a reset will return the
primary correction values to their default values. When this
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1) Clicking the master reset key will reset the YRGB values so
that the overall values are kept and the ratio of YRGB to each
other is maintained.
2) Clicking the RGB reset button will fnd the average value
of RGB, and set the RGB to that value.
Luminance mixer defaults to zero: Selecting this option sets the Y of the YRGB value for all
grades to zero. This is needed for export of an ASC-CDL
and will have an impact on all your grades if you have used
the Lum Mix control.
High quality GPU output resizing when grading:
With this deselected the graphics card is used for output sizing
during the grade preview with occasionally noticeable artifacts.
However when the images are rendered, high quality GPU
processing is used to maintain maximum quality. When this
option is selected, the GPU is used during grading preview and
also rendering for output processing.
Show offine clips through conform gaps:
Normally, if there is a missing clip in a conformed timeline the
position of the clip is shown on the thumbnail and viewer as
black. This option permits the offine clip, with the appropriate
timecode synchronization, to be displayed in place of the
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Extract reel names from EDL comments:
Some fle formats have reel names longer than eight
characters, and also complex fle name structures. The RED
r3d fle is an example. This option allows DaVinci Resolve to
extract the reel names from the EDL comments, as often used
in an FCP EDL.
CHAPTER CONFIGURATION
CONFIGURATION 66
6
Automatically cue number of frames into timeline clips:
Use this control to change from the default cue point
operation, the frst frame of the clip, to some number of
frames after the frst. This is handy if the source material has
black or camera rollup fashes at the beginning of each clip.
Always highlight the current clip in the media pool:
If you select this option, any clips that are current on the
Color or Conform screen will be automatically identifed in
the media pool within the Browse screen.
Show the current frame in the master session:
When selected, the current frame for the current session
will automatically be identifed on the master session. If
you are in the Color screen with an EDL/timeline open and
you switch to the master session, DaVinci Resolve will auto
cue to the same frame within the master session. This is
particularly helpful when working with multiple sessions and
local versions of grades.
Use color picker: The Color Picker Style setting changes the manner of
selecting colors within the Secondary color correction
controls. DaVinci Resolve is the normal and modern mode,
however some colorists who are familiar with the legacy 2K
prefer the DaVinci 2K mode.
Switching clips selects: When switching clips, DaVinci Resolve can switch to the
same or another node in the node graph. The four options
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Last Adjusted Node: Each clip retains its node
settings. This is the normal
setting.
First Node: The frst node is selected as the
current node.
Last Node: The last node is selected as the
current node.
Same Node: The same node will be selected,
if available.
Resize scaling uses: When resizing images with DaVinci Resolve, particularly
with SD images, you may want to change the resizing flter
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Remember, if you have HD images and are making an SD
playout to tape, that this is a resize of the image to SD. We
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settings to select your preference.
CONFIGURATION 67
Render cache frame limit: Many storage supervisors manage the impact on the
shared storage so that all users have good speed and
capacity for their work. The Render Cache Limit setting is
normally set at 10000 and the function of this is to limit the
amount of images (frames) cached. If you need to make
this setting higher be sure to leave room on your storage for
these cached frames.
Save timeline thumbnails with project:
To minimize project size and maximize speed of your
project Save and Load operations, you should leave this
checkbox un-checked. If you select the checkbox, all of
your timeline thumbnails will be stored with every project
(Save and Auto Save). This provides a good history of the
project, but takes much longer to complete and uses more
hard disk space.
Dynamic Profles
Using the slide controls you can adjust the default curve for the start and end parameters of for all
dynamics. Individual adjustments for clips can be made in the dynamic timeline on the Color screen.
Timeline Ripple Mode
This section determines the default setting for a correction ripple, i.e., how to copy grades or ripple
them from one clip to another.
Dynamic Profles
Timeline Ripple Mode
CHAPTER CONFIGURATION
CONFIGURATION 68
6
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Exact values changed: Changes made to the current scene are rippled to the
additional scene(s) using the exact control setting changes.
For example, if Master Gain in the current scene is changed
and set to 75 percent of its range, each scene rippled will
then have a Master Gain setting of 75 percent. This is useful
for setting consistent levels throughout the entire list.
Percent value changed: Any change made to the current scene is rippled to the
additional scene(s) by the same percentage of change.
For example, if the current scene has a Master Gain level
of a hundred units and is changed to ninety units, then
each rippled scene will have a relative reduction of 10
percent in its Master Gain level. This modifcation is based
on the Master Gain level in the rippled scene(s) before
the change. So if a particular rippled scene originally had
a Master Gain level of ffty units, the relative change of 10
percent would reduce the rippled scene’s video gain level
to forty-fve units.
Unit value changed: Any changes made to the current scene are rippled to the
additional scene(s) by the same number of units of change.
For example, if the current scene has a Master Gain level of
eighty units and is increased to ninety units, each rippled
scene’s master gain level increases by ten units.
All values are copied: The current scene grade is rippled, or copied, to other
events. No comparison is made with the original scene
memory, and all memory parameters are rippled.
Working Folders
These controls are used to change the fle path for Proxy, Cache and Gallery storage data.
It is important that these settings are not set to the computer’s system disk as it will quickly fll up with
proxies/cache. If this happens it’s likely your computer will not boot the next time you start.
Resolve Working Folders
CONFIGURATION 69
Control Panel
These controls set the sensitivity of the primary grading controls for Lift, Gamma and Gain balance
and master, the Cursor trackball offset and master, and also the Hue, Saturation, and Luminance
qualifers.
There are two options for the trackball Grading style, labeled DaVinci and Rank. Most users will be
familiar with the standard DaVinci controls as this mimics the Vectorscope. If you move the trackball to
|- :| | '-: ''- |- n- '' |-n- n:- |'- n- |- ¦ : n:- :- | |-
lower left for more green. The Rank settings are somewhat different, so this option is for users who are
familiar with color controls that the Rank control system offered.
There are also settings on this screen for the DaVinci Resolve Control Surface LCD brightness and the
color of the key backlighting.
Control Panel Layout
CHAPTER CONFIGURATION
CONFIGURATION 70
6
Your project database is extremely valuable, so DaVinci Resolve has an Autosave feature that will make
copies of your active database while you work. On the Autosave tab you will see the list of fles that
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a project from this list.
Autosave Tab
Autosave tab
CONFIGURATION 71
DaVinci Resolve natively supports a number of fle formats, some of which require you to set decoder
parameters. When processing r3D fles from the RED camera you can set the control variables from the
RED sub tab within the DaVinci Resolve Source tab. Individual controls are also available for each r3d
clip on the Color screen. You may also select a clip or number of clips in the Media Pool and access the
settings that way. In the Media Pool you can select clips by various criteria and assign settings specifc
to a given camera, shoot day, etc. The same settings found on the Confg page are available per clip on
the timeline pop-up, and you can select the DaVinci Resolve confg settings as well.
Source Tab
RED File Decode Settings
CHAPTER CONFIGURATION
CONFIGURATION 72
6
Master Decode Settings
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|- --: : |- -|:- ¦:- s| |-s- |:'s
Decode Quality: The decode quality will have a direct impact on the performance of the
system, so you may want to grade in a resolution which provides real-time
playback, then use the confg settings to switch to a higher quality/resolution
for rendering. Performance will depend entirely on the hardware capabilities
of your system.
DaVinci Resolve offers RED decoding on all of its systems using the onboard
CPUs and can also decode in 4K Premium quality on a suitably equipped
system using the RED Rocket card.
Bit Depth: Resolve will decode the r3d fles and generate an 8, 10 or 16-bit image fle.
Using 16-bit for maximum quality may impact playback performance on
some hardware.
Timecode: You may set DaVinci Resolve to use either the Camera timecode, the
Absolute code, which is the time of day timecode, or Edge code which is the
timecode that defnes each frame. Edge timecode is particularly valuable for
off-speed recordings.
Audio: Enable or Disable audio playback. (This feature is to be implemented in a
future release.)
Decode Clips Using: This is a key parameter to defne. Decode the RED images using the project-
|s- s-|s | | |s s:--| n- - | |s| ‘¯:-’
here), or the metadata recorded by the camera when making the clip, or use
the RED default settings.
Master Red Decoder Settings
CONFIGURATION 73
Image Decode Settings
|s- n |- -| ¦:n--:s : : ¯¯¯ H'-s | |s| |- ‘¯:-’ ¦| |
the Decode Clips Using setting, the following controls become active.
Color Science: The original REDone camera builds used a different color science to the
more recent builds. Select here as appropriate.
Color Space: Red offers a number of color space options when decoding the RAW
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sRGB, which is a color space used for monitors, printers and the Internet and
REC.709, which is the standard for HDTV.
Gamma Curve: ¯|- nn s-'-|s |'- Linear, where no gamma adjustment is
¦¦'- ¯¯·/3 || s |- s|: =¯¯ nn sRGB which has
|- ¯¯·/3 ': s¦- | s'|' -:-| nn REDSpace, which
s ||-: |:s ': s¦- || ¯¯·/3 REDlog, which maps the
native 12-bit RAW image data into a standard 10-bit Log curve and Custom
PDLog, which offers users an alternative LOG curve, similar to Cineon, and
also provides for custom adjustments as described below. The PDLog 685
and 985 offer alternative white points for the gamma curve. The default is
REDgamma, which is a log gamma with a smooth highlight roll off.
OLPF Comp: The OLPF compensation sets a low pass flter to reduce color moiré. There
are four options with Off being the default.
Image Detail: Select from the low, medium or high sensor detail extraction options.
Denoise: There are seven settings from mild to maximum to adjust for the best noise
reduction without image degradation.
Image Decoder Settings
CHAPTER CONFIGURATION
CONFIGURATION 74
6
Project Image Decoder Settings
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following controls become active. The RED default values are shown on the right hand column for
your reference and each control is adjustable to establish the project-based decoder values. Just like
the other project settings these can be set for each clip in the Color screen and also in the Media Pool.
Project Image Decoder Settings for RED Files
CONFIGURATION 75
ISO: Similar to exposure, this control adjusts gain from the black point to white in
a linear manner. 320 is the default.
FLUT: The Floating Point Look-Up Table controls operate within the new color
space to give cleaner and fner ISO and mid grey variation without
introducing clipping. Use in conjunction with ISO.
DRX: DRX is a dynamic range control that takes into account Color Temp (degrees
Kelvin) and Tint.
Shadow: Provides adjustments at the toe of the FLUT.
Exposure: Calibrated to replicate industry standard f-stops, Exposure increases or
decreases the image lightness and clips the data levels at each end.
Brightness: This also adjusts the image brightness by changing the black level, but unlike
Exposure, this control will compress the image at each end of its range.
Contrast: With the midtones maintained, the Contrast control adjusts the number of
discreet steps in the grey scale by changing the slope of the response curve.
Color Temp: Sometimes referred to as Kelvin, the color temperature adjusts the RGB
matrix to consider the blue/red ratio. Common values are 3200 for Tungsten
lighting and 5600 for daylight.
Tint: Use the tint control to adjust the yellow parameters of the RGB matrix. Ideal
to correct fuorescent or sodium vapor lamp problems.
Saturation: Color Saturation is varied from monochrome at 0 value, to the default (or
unity) of 1, up to very over saturated at 5.
Custom PDLog: The Custom PDLog parameter, Black Point, White Point and Gamma are
adjustable from their respective default values of 95, 685 and 0.6 gamma.
Gain: The Red, Green and Blue Gain controls adjust each color channels gain with
0 being the reference point. One (1) is unity gain and the maximum 10 is ten
times greater amplitude than unity.
7
Browse
CHAPTER BROWSE
BROWSE 77
7
One of the fantastic features of DaVinci Resolve is that clips can be in any folder or volume that is
connected to the system.
Simply identify each clip (or folder of clips) and place it via a smart link into the active image storage
area called the media pool. The fles are not physically moved or copied into the media pool. A virtual
path to each clip is created so it’s easy to identify all the clips needed for the project.
All clips that are to be graded must be in the Media Pool as they are used to form the Master Session
that is used to associate all color grading decisions within the DaVinci Resolve database. The Browse
screen gives you a number of ways to manage what clips are placed in the media pool and then to
confgure them for grading, if required.
Browse
Browse
BROWSE 78
The upper left of the Browse screen displays all the media storage drives and folders within the storage
that you selected using the Preferences window. You can expand the folder structure to display folders
within folders. The sub folders or clips within folders will be visible on the Clip Details window directly to
the right of Media Storage display. Click on each folder to expand and view the clip metadata and the
actual content in the Viewer display. Or simply double click and the clip is then placed into the media
pool that will make it available for grading.
Media Storage
Folder Tree Expanded
CHAPTER BROWSE
BROWSE 79
7
A right mouse click within the Media Storage display reveals a number of options.
Splitting Clips Based on an EDL
To split a clip based upon an EDL so that only the required material is placed within the Media Pool,
:| ns- '| | |- -s:- '¦ : '-: | s-'- ‘¦' | / ¯'-:s | |¯'-:s |
`- ¯'’ : ‘¦' | / | `- ¯'’ :n |- ¦¦¦ n-| ¯|-| :n ¯'- ¯:s-: |
s-'- | ¯¯¦ s- : s¦'| |- s:- n-:' | '| | ‘·¦-|’ \|-| ¦:n¦- s-'- |-
||'- s.- |-- |- - |- '¦s ¯ :n-s : ¯ : ¯ | ’·|H:n’ s¦' |- '¦s `
will now see them in the Media Pool.
Browse Right Click over Folder Window
BROWSE 80
Add Material into the Media Pool Based on an EDL
n': |- ‘¦' | /’ || |- | n'' n-:' | |- `- ¯'
based upon an EDL, however with this selection you can use multiple EDLs and many source folders.
·'| | |- :-: |-:- |- :-:- n-:' s '- | :| '| s-'- ‘/ ¯'-: |
SubFolders Based on EDLs’. Specify one or more EDLs. DaVinci Resolve searches the entire directory
tree starting from the selected directory for any clips referenced by source timecode and the reel ID in
the EDLs. Reel number sourcing is controlled in the same manner as Reel number conforming.
¯|s n| -s | || n|'' H| | '¦s |- `- ¯' '|:s
task for large conforms.
The EDLs will reference clips via their timecode and sometimes Reel name and path. It is these settings
and the conform frame rate that you made in the Confguration screen previously that are now utilized
to place images correctly into the Media Pool.
Close up view of Browse screen right mouse click over the folder window
CHAPTER BROWSE
BROWSE 81
7
Offsetting the Source Timecode from a Clip
Sometimes source clips have an offset timecode due to a mistake made prior to introducing the images
¯| ¯-s'- ` | s-'- ‘/ ¯'-: | :- ·s-’ | |-| s- |- ¦¦¦ '
to enter the required frame count/timecode to offset the clips prior to loading into the Medial Pool.
=|'| |- -s:- '¦ || |- `- ¯' | :| ns- '| -'- ‘·s- :- ¯n--’
| |-| |- -s:- s- n-- '- || |- s¦' ·'| | ‘/¦¦'’ |H:n
Copy and Paste Function For Clips
You can create new folders, rename them, move folders and their clips to the deleted bin or permanently
delete the fles with the Browse screen using the Clip Task Manager.
¯ ·¦ '¦ :| ns- '| | |- '¦ : '-: | s-'- |- ‘·¦’ || ¦- |- -s||
'-: :| ns- '| s-'- ‘¯s-’ ¯|- ·'¦ ¯s| `|-: '' ¦-| | '' s: : ¦::.-
|- ·¦ ¦:-:- ` n s: |- ¦:-ss | '|| | |- ‘: ¯:-ss|’ || : ·|-'
Remove or Move items within the display by using the editing tools on the right hand side of the display.
If changes are made in the folder structure, or fles and folders are added to the storage you may need
:| '| | |- `- :- s¦' ‘¯-:-s|’ |- 's
Clip Task Manager Dialog
BROWSE 82
Disk Speed Benchmarking
·| ¦| ss-ns :| '| || |- `- :- s¦' | s-'- |- ‘¯-||n:|
Folder’ tool that will benchmark the speed of the storage/SAN for either new or existing clips. This tool
may be used to ascertain whether fragmentation may be causing playback problems or if the storage
s s -|| ¯|- ‘'s- ¯:- ·’ |-| | s|' |- |-|- : ·`¯`¯¦¯ H'- ss-ns |
should not be checked for ADIC fle systems.

The I/O Benchmark Dialog Display
CHAPTER BROWSE
BROWSE 83
7
When you select any folder within the Media Storage window the folders and clips within that folder will
be visible in the Clip Details window. Clips will be identifed by the flm icon on the left-hand side of the
fle name. When an individual clip is displayed in the Clip window you will also see metadata extracted
from the clip relating to timecode, the starting frame number and count, resolution, bit depth and the
date the fle was modifed. The fle name will also include the post-fx identifcation of the fle type. (DPX,
MOV, r3D, etc.).
The purpose of the Browse screen is to identify clips to place into the Media Pool. At any time a double
click on a clip will put it in the Media Pool. You may select multiple clips by holding down the shift key on
the keyboard and selecting the desired clips. While some of the options here are the same as the right
click over the Media Storage display, there are some extra functions found in Clip Details.
Clip Details
Clip Window
Clip Window Options
BROWSE 84
Add as an Offine Clip
Selecting a clip to add to the Media Pool as an offine clip makes an important distinction to these clips.
A DPX or MOV clip can be added to the Media Pool as an Offine clip and it will be designated by a
Magnifying Glass icon.
Identifying an Offine Clip, will allow DaVinci Resolve to treat this clip differently in the Conform screen
where you want to compare the high-resolution Online clips with the Offine, to establish that the EDL
matches the Offine clip.
Add into Proxy Manager
¯|- ¯: `|-: | 's |- -ss- :n |- `- ¯' | |- ¯: `|-: || || s
at the top of the Browse screen. As this functionality is considerable, please review the operation details
later in this chapter.
Scene Cut Detector
All color corrections in the DaVinci Resolve database are related to individual source clips and their
timecode (and as selected fle name and path). If you have imported a clip with numerous scene
changes and it does not have an EDL, the fastest way to split the clip is with the Scene Cut Detector.
By selecting this option the clip will be loaded into the Scene Cut Detector screen and be ready for
processing. Please review the Scene Cut Detector feature details in the Scene chapter.
Clip Window – right mouse click
CHAPTER BROWSE
BROWSE 85
7
Changing the Source Timecode in Header
Previously, we discussed the option to add clips to the Media Pool with a frame offset. While that is
a commonly used feature, quite often you will fnd that your clips have no timecode or the wrong
timecode. DaVinci Resolve is capable of changing or assigning a different timecode to a clip. If there is
no timecode present in the clip header you can insert the timecode of your choice, or you can alter the
existing timecode to whatever number may be required.
¯:s s-'- |- H'- |-| :| ns- '| | |s- |- ‘·||- ¯n--’ ¦| | |- ‘·||-
Timecode’ window select the new timecode for the frst frame of the clip and also the frame rate, then
'| ‘'¦-’
Change Timecode In Header
BROWSE 86
Converting a Clip to another File Format
You may fnd that clips come in a fle format that DaVinci Resolve does not play natively in the timeline.
The Format Conversion pop-up allows you to change the fle type. Simply select the clip within the Clip
Details display, right mouse click and select Format Conversion. In the new window select the Target
:n : |- '¦ | ‘: ·|-:s|’
Add as Matte
|- '¦ :n ¯` ss-n |-:- s s|'' | ss- n- H'- ¯ s| |- ‘/ s
Matte’ you place the fle in the Media Pool with the correct identifcation, shown as a Mask icon so that
DaVinci Resolve can use the fle as a Matte. After you have placed the main image clip into the Media
Pool, highlight the clip. Then fnd the matte in the Clip Details display, right click on that matte and select
‘/ s `-’ | |- `- ¯' |- n| '¦ '' |- | | s |-:- |- '¦ |n- |
|'- '| |- n| '¦ |- ss- n- '' |- s|| | |- `s| | s '||- |- n|
clip.
Format Conversion
CHAPTER BROWSE
BROWSE 87
7
Extract Audio from QuickTime
DaVinci Resolve is a color correction and enhancement system, but it also offers synced audio playback
of .wav or AIFF audio fles. To extract audio from a QuickTime fle into a separate .wav fle for synced
¦'|| :| '| | | ·|¯n- H'- | |- |:s- s:--| | s-'- ‘¯: /’ |:| ¦
the Audio Extraction window.
¦- |-:- |- -:- H'- s|' |- s:- | |-| s-'- |- ‘¯:’ || s:
audio extraction. If the QuickTime audio track is encoded with incompatible audio codec, an error
message box will be displayed to notify the user. After audio extraction is complete, you can attach the
extracted .wav to a session in the Conform screen.
Clip window – right mouse click over QT fle
Audio Extraction from QT fles.
BROWSE 88
Media Pool Folders
As previously noted, all clips that are destined for color grading must be in the Media Pool, so all grading
metadata can be associated to the clips with clip timecode on the frame reference. The Media Pool
s¦' s | ¦:s ¯'-:s || '' s |- ¦ '--' |- `- ¯' s::- | ·'¦s
The Media Pool Folders display allows you to place clips into the Media Pool in one or many layers of
virtual folders. These virtual folders could be associated with the clip’s reel names or numbers, segmented
by images for the trailer, feature or video press kit, used to manage the workfow transition from VFX
wireframes to VFX shaded and then fully rendered VFX images, or in the case of a Stereoscopic project,
separated into left and right eyes.
/| '-:s s -s ¯| ns- '| || |- s¦' | s-'- ‘/ ¦- ¯'-:’ : ‘¯-|n-
Folder’ to change the name of an existing folder. When you have your folders set up, just select the
specifc folder to which you wish to add clips.
Another key beneft of separating source fles into virtual folders within the Media Pool will be seen later
when we are on the Conform screen. We can apply an EDL to all clips in the Media Pool to create a new
timeline (Session) or to only those clips in one of the virtual folders.
The Media Pool
Media Pool Folder Display
CHAPTER BROWSE
BROWSE 89
7
Media Pool Clips
The Media Pool Clips display shows each clip with its name, start and end timecode, start and end frame
number, actual number of frames, the date the fle was modifed, its resolution and bit depth, and the
fle name itself, identifes the type of fle. The last two columns are PAR (Pixel Aspect Ratio) and Start
KeyKode. Not all fles are from flm scans, and even then not all have KeyKode, so this column may be
blank.
You will also notice a column labeled Usage. This column will display how many times a clip is used
within the EDL. After you have loaded the EDL on the Conform screen, you must right click over this
| | s-'- ‘'¦- |:n|’ : |- 's- |:n| |- ' \|'- |s n s--n
redundant, it does allow you to verify that all the clips in the Media Pool, and thus, the master Session
timeline, actually need to be there and can therefore, reduce the render and playout time if you are
rendering all the source clips. Just as there are right-click pop-ups on the other windows, the Media Pool
has its own, shown on the next page.
Media Pool
BROWSE 90
Remove selected Clips
This action will remove these clips from the Media Pool. The Master Session Timeline will display the clip
position and duration, but with a blue cross over the clip indicating that the clip is no longer in the Media
Pool. This can be helpful when changing source images with the same timecode.
Remove from Master Session
This operation will remove the clips from the Media Pool and also remove them from the Master Session.
Remove all Clips
This operation will remove all of the clips from the Media Pool but not from the Master Session.
Media Pool – right click options
CHAPTER BROWSE
BROWSE 91
7
Change Pixel Aspect Ratio
You can change this for any clip with the right-click option, then select the appropriate PAR.
Change Input Format Preset
The Media Pool right-click allows the selection of the Input Format Preset to be changed. On the Confg
screen tab you can set the default Input and Output format presets. Within the Media Pool you can set
the Input format for each specifc clip. Place your mouse over the clip and right click to show the options
| |-| s-'- ‘·||- |¦ ¯:n ¯:-s- : ·'¦s’ | s-'- :n |- ¦:-s- :ns n- |
the Format Screen.
Change Pixel Aspect Ratio
Change Input Format Preset
BROWSE 92
Change Parent Directory
\|-| |- '| |- s:- '¦s |s ||- s- |- ‘·||- ¯:-| ¯:-:’ ¦| :-'||
to the new clip location. This will automatically search for the new parent location of the clips that have
been placed into the Media Pool. Highlight one or more clips within the Media Pool and right click to
s-'- ‘·||- ¯:-| ¯:-: ·'¦s’ / | '' s¦' |- :|' ¦| : |- n-:' | '-
you enter or browse to the new path. Select the Change button to start the relink. If there is no match
found, no change will occur.
The Change Parent Directory Dialog
CHAPTER BROWSE
BROWSE 93
7
Switch Parent Directory
With a pre-conform workfow, there are often different versions of edits that are in separate folders.
DaVinci Resolve allows easy toggling of different versions of conform using switchable parent directories
from the right-click menu in the Media Pool. In the Parent Directory window, browse to the pre-conform
directory folder and click the right arrow button to add the selected directory into the Parent Directory
List. Click the left arrow button to remove the selected directories from the directory list. Confrm your
s-'-| | |- ‘·¦’ ||
The .deleted Folder
¯ n- '¦ |- -'-- '-: :| ns- '| | |- H'- | s-'- |- ¦| ‘`- -'--’
from the File Administration menu. A prompt will ask you to confrm or to Cancel the operation.
If you wish to remove a fle or fles from the .deleted folder, open the .deleted folder and highlight the
'¦ ¯| ns- '| | s-'- ‘¯-s:- ·'¦’
¯ ¦-:n|-|' -'-- '¦ : '-: s-'- ‘¯-'-- ¯-:n|-|'’ |-| :| ns- '|| ¦| |-
clip within the .deleted folder or within any of the other fles or folders.
You may select the option of deleting material in the background without the user interface being locked
during the delete process. During this operation the clips or folders will be deleted in the background
and a prompt will appear to inform you when the process is complete.
File Administration within the Media Pool
BROWSE 94
Clip Replacement and Automatic Proxy Generation
To replace sections of a master clip with frames from another location or to automatically generate
proxies for the selected frames, use the Replace Shots tool. This option comes in handy when you
modify a subset of a clip using different tools and want to merge their modifcations in the current clip.
¯:s :| ns- '| | |- ns-: '¦ || |- `- ¯' | s-'- ‘-'- : ·'¦ ¯-¦'-n-|’
¦- |' :-¦'-n-| s| 's | :| ns- '|| | |- :-:- '¦s | s-'- |- ‘/
¯-¦'- ¦s’ ¦| ¯|-| -|-: s-'- |- ‘¯-¦'- `s-:’ || : |- ‘¯-¦'- `s-: | ¯:’
button.
The Replace Shot Display
CHAPTER BROWSE
BROWSE 95
7
The Viewer window is used to preview clips located either in the storage area or within the Media
Pool. The bottom of the window has transport controls for Stop, Forward, Reverse, Fast Forward and
Fast Reverse. Below the transport controls is a slider bar that can be dragged with the mouse to scroll
through the clip area. This slider will display the relative position of the frame within the full clip.
The clip’s timecode is also displayed. If you right mouse click on the image you can superimpose
KeyKode information if it is in the fle.
Viewer Window
Viewer Window
BROWSE 96
Located at the top of the Browse display are two buttons used to select either the Clip Task Manager
or the Proxy Manager.
Clip Task Manager
The Clip Task Manager can be selected from the Browse screen buttons, or via the Proxy generation
confg, or if a clip Copy and Paste operation is initiated. To close the Clip Task Manager display, simply
'| | |- ‘·'s- ¯'’ ||
Browse Screen Buttons
Clip task manager
CHAPTER BROWSE
BROWSE 97
7
Proxy Manager
The Proxy Manager lets you control the proxy generation process. To send a clip to the Proxy Manager
:| '| | |- s-'-| :n |- ¯'-: | ·'¦ \|s : `- ¯' |-| s-'- ‘/ | ¯:
Manager.’ To add the entire contents of a folder into the Proxy Manager, right click within the Media
s:- s-| | s-'- ‘/ ¯'-: | ¯: `|-:’ :n |- ¦|s
If you prefer, proxies may be pre-generated before a session. If generating proxies, a half or quarter of
the resolution is recommended for maximum speed.
¯|- ¯: n- n |- - | |-|| |- ‘'s- ¯-' ¯n- ¯:-s’ ¦| | s '- | |-
·|H:| s:--| : | ¦:-ss| |- ‘¯:’ || | |- ¯-s'- |:' ¦|-' ¯|- s- ¦:-s
is generally required when a highly complex color correction causes the system to run slightly slower
than real time. If there are pre-generated proxies, DaVinci Resolve will use them automatically, otherwise,
DaVinci Resolve will generate them on the fy.
¯|- ¯: `|-: s¦' |s H- ||s n|- |- -|-:| ¦:-s ‘·|-| ¯:-s’ '|s
: |- -s-|- |- -|-:- ¦:-s ‘·|-| -'-- ¯:-s’ '' |-| : |- -s-|-
|' |- s-'-- H'-s ‘-|-:- /'' ¯:-s’ '' -|-:- ¦:-s : '' H'-s || |- ¯s| `|-:
| | ‘-|-:- ¯:-s’ '' -|-:- ¦:-s : |- H'-s || |- ¯s| `|-: | |- |--|
||'|- ¯|- ‘·|-' ¯s|s’ || '' |-' '' ¦:-|-:| ¦:-ss-s | ‘·|-' -'--
¯s|s’ '' |-' |' |- s-'-- ¦: -|-:| ‘¯-n- ¯s|s’ '' '-: '' '¦s | :- ¦:-s-|
within the Task Manager window.
Just as DaVinci Resolve allows throttling of render speed, you can throttle proxy generation speeds.
This enables you to control SAN bandwidth utilization and select the speed of proxy generation your
storage system can manage. Located at the top of the Proxy Manager window, the Proxy Status shows
the name of the selected clip. Also shown, is the current proxy width and height.
Proxy Manager Display
8
Conform
CHAPTER CONFORM
CONFORM 99
8
The Conform screen is used to establish your Master Session or master timeline, to organize clips into a
numbered order designated by an edit decision list (EDL), and to confrm the edit via an offine video.
With DaVinci Resolve, you may load as many EDLs as required for the project and also load offine clips
that may be used for comparison. All clips required for your timeline must be in the Media Pool and
there are various ways to conform the clips to suit different EDLs.
The Conform screen has a number of windows and each have multiple operations, some of which
reference the Browse and Confguration screens. In this chapter we will be referring to those screen
settings with the understanding that you are familiar with them. Also, note that the conform frame rate
set for the Project in the Confguration screen is used for calculations in the Browse and this Conform
s:--|s s -|s:- s s- ::-' : : ::-| ¦:-
Conform
Conform
CONFORM 100
Media Pool Folders and Clip Displays
The top left of the Conform screen displays the Media Pool Folders tree and the list of Clips as per the
Media Pool Clip folder.
The display and functionality found on this screen, including right-click menus, are the same as for the
Media Pool on the Browse screen. You can also select a clip to preview in the viewer.
One additional operation of the Media Pool Clip Folder is a fast way to add new clips or replacement clips
to a session. Simply. select a clip by highlighting it and drag it to the Conform timeline. This operation
| |' |- ¦-::n- |-| ‘¯|’ s -||'- : |- n-'|- ` | 's :-- :' '-:s |
the Reel Folders section and add new clips there to make fnding the new clips easy.
Reel Folders
The Media Pool Reel and Clip Folder
CHAPTER CONFORM
CONFORM 101
8
Session Selection
Directly below the Media Pool display, you will see the Timeline Management display, which includes
four buttons and a list of the Sessions that are open and active for the current project. DaVinci Resolve’s
¦-:| s |s- | s| '¦ n- | |s- ¯|- |-::| : |:n| s ¯|s-
the top, then the User login, Project Name, Session, Clip, Timecode, Version, and then metadata relating
|- ¯¯¯¯ | ': ::-| ` |- ':- ||-- |- ¯|s- '- | s 's-: |
opened or started a Project. You will now use this window to create a Master Session. Subsequently you
can load EDLs to create any number of new Sessions.
After creating a Master Session, the Viewer window will display the frst clip in the timeline. (More details
on this window later in this manual when we review the Viewer operation.) A green outline surrounds
the Master Session in the Timeline window. indicating that this is the Current Session. DaVinci Resolve
-||'-s |- n| ¦-| s-ss|s s |s | '|- |-s || s ::-| s- ‘·:--
Default’ to open a new session, the green box will automatically switch to the new session and display
the frst clip in the viewer. To reselect the Master Session, just click on it in the timeline, or in the Timeline
Management window.
Timeline Management
New Session Dialog
Timeline Management
CONFORM 102
Create Default
\|-| s-'- |- ‘·:-- ¯-'’ || : | |- ¯:- '' |- '¦s || |- `- ¯' :-
conformed or sorted in an ascending order of timecode. The exception is the offine and matte clips you
may have added to the Media Pool. These clips are displayed as an EDL in the display directly below
and as a timeline in the Timeline window at the bottom right of the Conform screen. EDL and Timeline
displays will be detailed later in this chapter.
The frst session you create using these Media Pool clips is called the Master Session. It is key to the
operation of DaVinci Resolve as the grading metadata always relates to this Master Session. When you
s|s--|' s-'- ‘·:-- ¯-'’ ¯| ¯-s'- :-|.-s | ':- |s `s-: -ss|
so it then opens a new default session. In each case, you can name the session and enter the starting
timecode, which will default at one hour if you do not alter the window. After the Master Session has
been created you can also create a default timeline and select the checkbox to open an Empty Session,
which will allow you to click and drag clips manually from the Media Pool into the session timeline.
Load AAF/EDL
Many grading projects start without an EDL. DaVinci Resolve permits color grading to begin as soon as
you have the source images. Grading metadata is associated to the source clip timecode, so you can
bring in an EDL later and move all the clips ,and DaVinci Resolve will move all the grades to match. If you
have one long clip, but do not have an EDL, you can manually split the clip or send it to the Scene Cut
Detector. This operation is covered in the Scene chapter later in this manual.
s nn| |--: |- | ¯¯¦ : : ¦:- | |- ‘¦ //¯¯¯¦’ || '-s s-
|- ¯¯¦ s: |- '¦s ‘·|:n’ |- s:- '¦s :| | ¦s| | |- n-'|- |- ¯¯¦
\|-| s-'- |- ‘¦ //¯¯¯¦’ || || |- ¯n-'|- `|-n-| s¦' ' '' s|
for confrmation that the conform parameters are as you expect. If the parameters are not as you need,
|| | ||- |- s-|s | |- ·|H s:--| |-:- ¦:--| :-s¦| ‘·¦’ |- |-
prompt is to locate an edit decision list (EDL) or, alternatively, an AAF fle. Select the appropriate fle by
s| |- ‘¯:s-’ || s-:| : n¦-: \|-| H| |- ¯¯¦ |H:n |- :n- :- :
| ¯¯¦ | s-'- ‘n¦:’
Conform Settings Dialog
CHAPTER CONFORM
CONFORM 103
8
When loading an EDL you can convert the EDL frame rate from 30 to 24fps if you have set the system
frame rate to 24fps and if the EDL frame rate is chosen as 30. This is useful when the offine/edit was
|- ¯¦s | ¯. - ¯'-s- |- | .¯¦s .=¦s s | ::-|' s¦¦:-
Next, enter a Session name. The EDL fle name will be shown as a default, but it can be changed by
typing a new name. The EDL will be used to cross-reference the clips in the Media Pool and generate
the new timeline. This EDL is also loaded into the EDL viewer at the bottom left of the Conform screen
(more details follow later in this manual). If you have no more EDLs to load, close the Import Session
window. The Session name has been loaded into the Timeline Manager and the conformed clips are at
the top of the Timeline Viewer window. There will be a green box surrounding the timeline indicating it’s
the current Session and the Viewer will display the frst clip in the timeline.

Selecting an EDL and Importing a Session
Session Name Dialog
CONFORM 104
Pre-Conform
As mentioned earlier, you may have a single long clip - a fnished project or maybe just the offine. With
DaVinci Resolve you can still grade this material. If you have an EDL you can use the Pre-Conform
feature to split and load the clip automatically into the Master Session.
-'- |- ‘¯:-·|:n’ || || |- ¯n-'|- `|-n-| s¦' | '' |- ¦:n¦- :
an EDL associated with the project. Browse, select, and load the EDL.
Delete
¯|- ‘¯-'--’ || 's || |- ¯n-'|- `|-n-| :- '' -'-- |- s-'-- -ss| ''
remove the Session from the timeline, but before doing so will prompt you to either Save or Not Save
the stills for the Session. Often you want to delete the Session but maintain the stills for later reference.
You also have the opportunity to save any Session changes.
CHAPTER CONFORM
CONFORM 105
8
Offine Clips
The Timeline Management window also provides the option to associate an Offine Clip for comparison
to the EDL and Online images. Using your mouse, select the Session you wish to compare to the Offine.
Then select the Offine Clip label, pulldown arrow, and select the correct clip to associate. When you
select the Offine clip, it displays the frst frame within the right side Viewer window. Please refer to the
Viewer Display section later in this chapter for details on reviewing the Offine Clips.
Creating a Conform with handles
You can create a version of a timeline with handles. This is particularly helpful if you plan to record the
timeline to tape and need pre-roll time.
First, right mouse click on the Conform Session to which handles should be added (it can be the Master
-ss| '` ¯:n |- 's ¦|s s-'- ‘·:-- -ss| | =|'-s’ -'- |- '-|| ||'-s
|- - -|-: '- : |- ¯:- | ¯s =|'- s.- :n-s` | '| ‘·¦’ |H:n \||
|s | n 's s-'- ‘:- `-’ ¦¦' ||'-s |- '¦s | |-| s: |-n |
source timecode order. You can also ’Force Black Handles’ rather than use the clips images.
Offine Clip Selection
Session with Handles Setup display
CONFORM 106
After you confrm the handle size, a Conform Settings window will ask you to confrm the conform
s-|s :- ::- s s-'- ‘·¦’ ¦:-- : ‘·|-'’ |:
Conform Settings Confrmation Dialog
CHAPTER CONFORM
CONFORM 107
8
EDL Display
The EDL display, located at the bottom left of the Conform screen displays the conformed EDL in a
sn¦'- 'n|s-¦:- :n ¯|- 'n|s :- ¯-| ¦n|-: :- ¯--' ¦n|-: -/
-s|: |-:- ‘’ |-s - :|s| ¯-| ¯¦- · ¯ss'- -` |- ¯ss'- ¦-||
if there is a Dissolve. SRC In is the source image in-point timecode and SRC Out is the source image
out-point timecode. REC In is the record timeline in-point timecode and REC Out is the record timeline
out-point timecode. The fnal column, Comments, is useful for conforming when Reel Names are longer
than 8 characters (e.g., from RED).
:|'| | |s --| | s-'- ‘¦- | `s-: -ss|’ : ‘¦- | `- ¯'’ |
cross reference source clips all the way from the Storage volume and folder and fle name, to the Master
Session, EDL session and the actual EDL event that uses the clip.
Editing features will be covered later in this chapter, but if you decide to use the Edit functions to modify
the Conform, those changes will also be refected within this EDL display. When you are in any Session
other than the Master Session, the material may be re-conformed from information contained in other
Reel folders. This can be done by right mouse clicking within the Conform Timeline display and selecting
‘¯-|:n :n ¯--'s’

EDL Display above and raw EDL text below
CONFORM 108
The Viewer display at the top of the Conform screen has two main modes. One compares the Offine
and Online images to make sure the EDL that was used to generate the conformed timeline matches the
Offine video. The second mode, Source Clip View, is for selecting and reviewing clips and subsequent
marking of In and Out points.
Under the Viewer images in the display is the control panel with timecode indications, clip transport
controls with Step Reverse, Play Reverse, Stop, Play Forward and Step Forward buttons. There is also
a scroll bar which you can operate with a mouse or use as feedback indicating the position of the
s¦'- :n- || |- '' '¦ /'s |-' |- --:s |-:- s ‘`:| |’ | ‘`:| ’ ||
for selecting clip In and Out points. These buttons are used in the second mode of the Viewer Display.
Online and Offine Comparison Mode
The standard setting will show the two images side by side, however if you right click within the Viewer
you can select one of the options. Most times the Offine comparisons are shown in Side-by-Side mode
| |- ·|'|- | |- '- | ·H|- | |- :| /|' n-s :- =:.|' \¦- -:' \¦-
Mixed Wipe with Align by width, height or automatic alignment for the best comparison. You can fnd
these selections by placing your mouse over the Viewer display and right-clicking. Sometimes the other
wipe comparison modes show errors more apparently.
Viewer Displays
The Conform Page Viewer Display
CHAPTER CONFORM
CONFORM 109
8
¦- |- ·H|- -s | s¦' ' |- |-s- |- n-- s n¦'--' |n|- |-
EDL. Refer to the instructions later in this section as to how to fx Offine mismatches.
Side-by-side comparison
Horizontal Wipe Comparison
CONFORM 110
Fixing Offine and Online Offsets
Occasionally, you may receive an Offine recording which may have a timecode offset. This traditionally
happens when the Offine clip is recorded to tape and the tape operator did not accurately set the VTR
timecode. When this occurs, frst play the conformed material to fnd an easy scene change, then inch
forward to the frst frame of that scene change. Adjusting the frame slip indicator below the Offine
display will compensate for the timecode offset to get to the same scene change. You can use the arrow
up and down buttons below the offine window or type in a value in the display to the left of the up and
down arrow indicators to fnd the frst frame of the scene which matches the scene in the conformed
material viewer display on the left.
|- n-- s n¦'--' | -::: || |- ¯:s- s:--| '¦ | | |- ‘·||-
Source Timecode in Header’ to make the timecode correct.
Source Clip Editing
Instead of showing your Online and Offine side-by-side, you can select the right Viewer to display
s-'-- '¦s :n |- `- ¯' 's- |- :|'| ¦| '|-'- ‘¯'- ·H|-:- ·'¦’ ¯|-
source clip that will be displayed, is the one selected in the Media Pool and selecting any clip there
will update the Viewer. You may also edit or select the In and Out points of a clip in this mode. Use the
¯:|s¦: |:'s n- |- '¦ |- | ¦| | s-'- ‘`:| |’ |- :'' ¯: s¦' '' s|
a white mark indicating that a Mark has been selected. Play the clip to the desired Out point and press
|- ‘`:| ·’ || /||-: |- n:| '' ¦¦-: | |- ss '|- s|| |- · ¦| ¯|
ns- '| || |- --: s¦' | s-'- ‘/ ¯n-'|-’ :n |- ¦|s '|'-
Viewer Display – Right Click Options
CHAPTER CONFORM
CONFORM 111
8
The Master Session is located at the bottom of the Timeline display, and as previously mentioned, it
shows the clips that are in the Media Pool in ascending timecode order. A green outline on the timeline
indicates the current Session and it will be displayed in the Viewer window and have the EDL listing to
match. If you click once with the mouse on another thumbnail timeline, the green outline will move to
that timeline and that version will be seen in the Viewer window. It’s this active timeline that is also used
in the Color screen.
The white vertical line in the thumbnail timeline shows you the position displayed in the Viewer. The
mouse, keyboard short cuts, or the control panels may also jump from one clip to another within the
·|:n s¦' ·| |- |:' ¦|-'s s ¦:-ss |- ‘¯:-s’ | ‘¦-’ |-s ||- '¦s
You can change the timeline scale by selecting the scroll bar at the bottom of the timeline and, while
holding, scrub to the right or left. Alternatively, the scroll wheel on the mouse can be used. This permits
you to identify a single frame with great accuracy even if the Session is hours in length.
There are also a number of right-click options for the Timeline display. Most are applicable for both the
Master Session and the Default and EDL sessions.
Timeline Displays
Conform Timeline
Conform Timeline Right Click Options
CONFORM 112
DaVinci Resolve is a color correction and enhancement system, but sometimes you just need to replace
or trim a shot and it is easier to do that here than generate a new EDL. When you right click on a timeline
in the Conform screen, other than the Master timeline, a pull-down menu will appear which will allow you
s-'- |- ‘¯||'- ¯|’ ¦|
The Edit mode you select via the radio buttons will manage how your editing operations are performed.
‘¦:n'’ s-'-s |- -' -| ¦-:| : n| '¦s -'- '¦ | : ns- | s'-
'- : :| || s ¦s| | |- n-'|- ‘¯¦¦'-’ '' 's ¦-:n '¦s |- s' '| |- n-'|-
but will also slip all clips on the right along with the controlled clip. Under the normal Ripple function
moving a clip to the right will join the out point to the next clips in point and then ripple all the clips
'| |- n-'|- `| |- '- :¦¦'-s '' |- '¦s |- '- ¯|- --¦| s |-| ‘¯¦¦'- |
Holes’ is selected from the options and in this case the Ripple still occurs for all clips but instead of the
respective out and in points joining the black hole that is between shots will remain.
To Roll an In or Out point, select the transition point and when you see the white dotted outlines on the
timeline you can roll the edit point within that outline. This will change the Out point of the preceding
clip and the In point of this clip without changing the clip’s position on the timeline. You can also slip a
'¦ :: : ||: || |- sn- - ||:-s | ‘'¦’ \|-| |- n-'|- |s '¦ |
has in and/or out points that are not the extent of the clip (i.e. handles), a white dotted box will appear
to indicate the available slip parameter while maintaining the image within the handles. Just select the
clip and slip it along.
Editing
Conform With Editing Controls Exposed
CHAPTER CONFORM
CONFORM 113
8
Once you begin to edit a clip length or position, the cursor will change refecting the operation being
carried out. In each case the EDL will be updated to refect the changes made.
¯|-:- :- 's |:-- ||s | |- -| ¦|-' '| ¯- | =s: ‘'|’ | ‘¯-’ '' :--:s-
an editing decision or redo an editing decision, and the ’History’ button will open a dialog to show all
editing history so you can quickly see changes that have been made.
Editing An Existing Timeline
Editing and/or adding a new clip to a conformed Session is simply done with the mouse. How the other
clips within the timeline are changed depends upon which edit mode has been selected.
To edit an existing EDL, load the EDL and enable editing. Choose edit mode – Normal, Ripple, Roll, or
Slide, and make your edits. Speed changes can be introduced or changed by right-clicking on a clip,
| |s| |- ‘·||- ¦--’ ¦| /-: -| |- -- ¯¯¦ | |- s- |- s| s|
‘- ¯¯¦’ || '' H| | |- :| '| 's
Timeline Editing - The dotted line around the clip identifes the total clip length
for the selected clip.
CONFORM 114
Building Your Own Timeline
It is easy to make your own timeline. If the timeline was created as a Default and Empty Session then
all clips selected in the Media Pool can be added to create your own EDL. Dissolves may be added by
overlapping the transitions from one clip to another. To start building a timeline without a supplied EDL,
:-- | -n¦ n-'|- | s| |- ‘·:-- ¯-'’ || |-| |- ¯n¦ -ss| |-||
then enable editing. Drag and drop clips from the Media Pool into the timeline as you wish. If a sub-
selection of the clip needs to be added to the timeline, the Offine Viewer can be toggled to a Source
--: |- `:| | | `:| · ||s s- |s- s|s-| | |- ‘/ n-'|-’
function chosen.
Locks
When editing you may wish to lock the position of a clip so other editing operations will not change key
'¦s ¯|- ‘¦|’ | ‘'|'|’ | ‘·'-: '' ¦|s’ ¦|s :- | |- ¯n-'|- :|'| 's
Enable Snapping
¯|- ‘¯||'- |¦¦|’ ¦| '' sss | || '¦s | s|¦¦| |- '¦s -|-: |-| |-
boundaries are close. You can push the clip past the snap to make a dissolve with equal ease.
Empty Session Check Box
CHAPTER CONFORM
CONFORM 115
8
Deleting Clips – Adding Black
¯ -'-- s-'-- '¦ | '-- |'- | |- n-'|- :| '| | s-'- ‘¯-'--’ ¯|-:- s 's |-
¦| |'| | :| ns- '|| | s-'-| ‘/ ¯'| ·'¦’ :n |- ¦|s '|'-
this is overlapped with another clip, a fade to black will result.
Speed Changes
DaVinci Resolve will handle speed changes from EDLs, but sometimes you may just want to add your
| \|-| s-'- ‘·||- ¦-- ·'¦’ ' | '' ¦¦-: :-¦:| |- ::-| s¦-- |
letting you change the frame rate for this clip.
Audio Conform Tools
Within the Conform screen you can play an audio fle and also set the audio synchronization. The Audio
can be on a separate audio playback device, like a DAT machine, or can come from the internal hard
:- ¯| ns- '| | |- ¯n-'|- s¦' | s-'- ‘/ ·¦|s’
When working with external devices such as a DAT machine, select the LTC tab and enter the timecode
| |- ‘: ¯n--’ | ¯|-| s-'- | ||:|.| ¯-' | |- ¦:¦-: :n- :- ·|-|
|- ‘¯||'-’ | |-| :- |- | |H:n |- s-|s | ‘·¦’
LTC is available from the video I/O card to lock and synchronize the external machine. Be careful that
the audio frame rate is set correctly or there will be a video/audio sync slippage.
Audio Sync Setting Popup
CONFORM 116
If you are using On-Disk Audio, select the On-Disk Audio tab and load an audio fle with which to
s| ¯|- H'- ¦-s s¦¦:- :- .=| =· ¦=. /¯ /¯¯ | \/ ·|- |- H'- : ‘: ¯n--’
s-'-| s n¦'-- |-| |- ‘¯||'-’ | s-'- ‘·¦’ ¦¦' | 's- |- |
Audio Synchronizing Popup
CHAPTER CONFORM
CONFORM 117
8
Re-conform from Reels
If you have been grading a project with changing source shots, one of the ways to manage which shots
:- s- s ¦'- |-n | -:-| '-:s ‘¯-|:n :n ¯'-:s’ s ||-: :|'| s-'-|
that will open a dialog allowing you to select and deselect different source clip folders.
If the VFX shots were just wireframes to begin and you used these shots to keep the timeline in context,
you can simply put the new shaded shots into a new folder. Then, when the fnished VFX shots are ready,
put them in another folder, each time re-conforming with the appropriate selection to automatically
change the source images. Of course the timecodes need to match for the replacement to drop right
in, but otherwise this is a very fast and simple way to update shots.
Reel Selection
CONFORM 118
Saving EDLs
·|- : -| s n¦'-- :| ns- '| '' :--' |- n-| ¦| ‘- ¯¯¦’ s-'--
prompt will appear asking you to assign a name for the EDL.
This EDL can be exported to other systems so if you trimmed the edit in the grading suite you can now
supply this to the editors and VFX guys so they too can conform and see the new timeline.
Track Marks
Sometimes there are Track grades that you need to copy from one Session to another. See the Track
section in the Color chapter for a detailed explanation of Track Marks and their use.
¯ ¦ :| :-s s- |- :|'| ‘·¦ ¯:|’ | |-| s-'- |- |- -ss| n|- ::-|
Simply right-click on the new Session timeline and the Paste Grading dialog will appear. Select the
- n¦|-|s |-- | |- ‘¯s-’ ||
Paste Grading Selection
CHAPTER CONFORM
CONFORM 119
8
Export CDL
The industry standard, Color Decision List (CDL), permits grading information, like EDLs, to be passed
from one system to another. DaVinci Resolve saves standard CDLs for export and can also import
sessions with CDLs.
Grades to be saved for Export into other tools supporting ASC CDLs must conform to the industry
s|: ¯|-:- :- - ||s |- |'- s| |s -:-
• ·|' |- ¦:n: :-s | |- H:s |- --: '¦ :- -¦:- n:|s :- ¦:-s-|
only the parameter values at the beginning of the clip are used. Track nodes are not used
during the export.
• |-:- s 'H-: : | | |- H:s |- |- :- s -¦:- s |- | :
qualifer was not present.
• ¯|- ‘`|- ¦'`’ ¦:n--: s|' |- s- : |- -¦: '' | |- :- ¯:
|-|-|- |-:- s ‘¦n||- `-: -'s .-:’ ¦| | |- ·|H:| s:--|
settings tab which can be enabled when creating the Project.
• ¯|- ·¯¦ s -¦:- | |- :n | ¯¯¦ | -n|-- ·¯ '-s /| -n¦'-
|s s s|| |-:-
. · ¯.=3¯ ¯.¯¯ .· ¯..
*ASC_SOP (1.109563 1.717648 0.866061)(-0.238880 -0.390357 0.353743)(0.672948 1.384022
0.889876)
*ASC_SAT 1.000000
¯ -¦: |- ·¯¦ :| '| | |- - n-'|- | |- ·|:n ¦- | s-'- ‘¯¦: ·¯¦’ ''
the prompts to name the fle and choose the Export path.
CDL Export Prompt
CONFORM 120
Sometimes when an EDL is used to create a new Session there is a confict in timecodes. This occasionally
occurs when shots are added to the Media Pool incorrectly or when replacement shots are added but
the original shot still exists. As DaVinci Resolve uses the clip timecode for reference when generating
the grading metadata, it’s not valid to have two clips with the same timecode within the same folder. It’s
the same concept that prevents you having two fles in the one computer folder with the same name. Of
course the same timecode often occurs in the normal course of our work, but this should be managed
by having these clips in a different folder or with a different Reel name.
|- |H '' s| ¦ | |- -ss| n-'|- | ‘·’ || |- '¦ ¯ :-s'- |-
|H :| ns- '| | |- ‘·’ |: || |- |n||'
Conficts
Timeline with four clips indicating Conficts in Timecode
C Indicates Conficting Timecodes Between Two Source Clips
CHAPTER CONFORM
CONFORM 121
8
s-'- |- `s-: -ss| n-'|- | :| ns- '| | |- ‘·’ |: '' s| |-
conficting information within a Confict window and you have the opportunity to copy the correction
from the Master Session clip to the conficting clip in the other timeline.
If you perform the same action on the other conformed timeline, the same Confict window will open
except that it will allow you to choose the clip within this Conform Timeline to act as the Master by
clicking on the thumbnail.
'¦| s-ss'' n¦'-| |s ¦-:| |- ‘·’ |: '' |- :-¦'- | | ‘¯’ || |
the confict has been resolved.
Resolving Conficts
R Indicates the Confict has been Resolved
CONFORM 122
ColorTrace is one of the leading features of DaVinci Resolve. It allows you to copy color corrections
quickly and easily from one Project or Session to another based upon a source timecode, or even the
name of the clip when in Automatic mode.
To use ColorTrace, right mouse click on any timeline within the Conform screen and select the ColorTrace
option. Within the ColorTrace Setup window, select the Project or Session that will be used with the
::-| -ss| |-| |- ‘·||-’ || ¦-| |- ·':¯:- | : ‘·|-'’ |:
At this point, you may select to work in either Manual or Automatic mode. When in Manual mode, the
corrections can be moved by the Copy and Paste procedure or by dragging and dropping with the
mouse. The source and target projects must have the same number of clips in order to successfully
perform the Copy and Paste functions. The range of clips selected to be copied or pasted may be
selected either with the mouse or by using the Range controls. Once the grades have been copied they
n |- ¦s- | '|| | |- ‘¯s-’ || ¯|- ‘¯|s|-’ || '' n¦'-- |- ¦-:|
¯|- ‘'| ¦s’ || ''s | |- 's | | |- ‘'| /''’ || '' | '' |s
|| |- |--| |- | `|' n- ¯|- ‘·¦’ || '' - |- ·':¯:- n- | 's- |-
display.
ColorTrace
ColorTrace Setup
CHAPTER CONFORM
CONFORM 123
8
If you decide to use Automatic mode, ColorTrace will automatically search for matches between the
selected Project and the current Project. It will then outline the clip with a color depending on the
information available.
Three color-coded outlines surround clips. A green outline indicates that a perfect match has been
found. Yellow indicates that multiple choices have been found and the user must select the appropriate
one, and the Red outline indicates that no match was found.
|- |- ‘=- `|| ·'¦s’ ¦| |-|- |s '' |- '' '¦s || |- |--| s-ss''
matched and only show the clips with multiple or no matches. Once the desired matches have been
| '| | ‘·¦ :-s : ¯|s|’ n¦'-- |- ·':¯:- ¦-:|
ColorTrace Manual
ColorTrace Automatic
CONFORM 124
ColorTrace CDL
When you right mouse click within the Conform timeline, three ColorTrace options will appear. The
‘·':¯:- ·¯¦’ ¦| '' '' |- n¦:| /· ·¯¦ H'- :ns
=-:- :- |- s¦¦:- H'- :ns
CMX EDL: This has comments with CCC/CDL XML fles or even
Slope, Power and Offset information within the comment
area.
CCC and CDL XML: A fle that can contain various color correction looks, or
even references.
| :-: s- |s ¦| s-'- ‘·':¯:- ·¯¦’ :n |- n-| || '' ¦¦-: |-| :| ns-
clicking within the Conform timeline display.
ColorTrace will operate as mentioned in the previous ColorTrace section, except that the user will be
prompted for an EDL and then to select the corresponding CDL and CCC fles. If there are no CDL or
CCC fles, as may be the case if there are comments inline within the EDL, this prompt may be cancelled.
| :-: n¦: |- ·¯¦··· ``¦ ::-| '|s s-'- |- ‘n¦: ''s’ ¦| |-| :| ns-
clicking within the Gallery section of the Color page. Then, import the CDL/CCC fles. When these are
imported into the Gallery, an ASC logo will appear along with them.
For formatting reference, here are examples of CMX, CCC and CDL fles.
Example CMX EDL fle:
¯¯¦¯ ¯|' ¯¯¦
¯·` ¦·¦¯¯·¯ ¯¯/`¯
· 3.·c 3.·c =· =.·
*ASC_CC_XML test_cc.102
· 3.·c =.· =¯·
*ASC_SOP (0.9 1.2 0.5)(0.4 -0.5 0.6)(1.0 0.8 1.5)
CHAPTER CONFORM
CONFORM 125
8
Example CCC fle:
´·':·::-|·''-| n'|s”:|/··¯¦¯”
´|¦¯-s:¦|
test corrections for ref_input_image.1920
´|¦¯-s:¦|
´-|¯-s:¦|
for mathematical analysis only
´-|¯-s:¦|
´·':·::-| ”-s”
´·¯¦-
´¯-s:¦| : :-¦n- ´¯-s:¦|
´'¦- ´'¦-
´·s- ´·s-
´¯-: ´¯-:
´·¯¦-
´·':·::-|
´·':·::-| ”-s”
´·¯¦-
´¯-s:¦| : :-¦n- ´¯-s:¦|
´'¦- ¯ c ´'¦-
´·s- ´·s-
´¯-: ¯ ¯ ´¯-:
´·¯¦-
´·':·::-|
´·':·::-|·''-|
Example CDL fle:
´·':¯-s|¦s n'|s´3=:|/··¯¦¯´3=
´|¦¯-s:¦| -|-:'¯:s ` s |: ¯ ` ¦'¯= ´|¦¯-s:¦|
´-|¯-s:¦| ¯ ¯ ¯· ¯¯ ¯|- ': -n' ´-|¯-s:¦|
´·':¯-s|
´`-¯- :-´3=sn-¯:-:n-/.¯33¯=/¯¯¦´3=
´·':·::-| ”¯¯=”
´·¯¦-
´¯-s:¦|||- ± :- |:s |s´¯-s:¦|
´'¦-. ¯ =´'¦-
´·s-¯ ´·s-
´¯-: ´¯-:
´·¯¦-
´·':·::-|
´·':¯-s|
´·':¯-s|¦s
CONFORM 126
ColorTrace 2K Session
With the appropriate version of DaVinci 2K Plus software, it is possible to export primary color correction
grades from the DaVinci 2K Plus and import them into DaVinci Resolve. When you export the fle
from the 2K Plus, the resulting fle will contain a “.2kg” extension. The fle contains thumbnails, source
timecodes, Reel number information and the grades. To import this fle, right mouse click within the
·|:n n-'|- | s-'- |- ‘·':¯:- .¦ -ss|’ ¦|
As with other ColorTrace modes, you will have the opportunity to use ColorTrace in either Automatic or
Manual mode. It is important to note that the input for DaVinci Resolve and the 2K Plus should be the
same. If there are differences, a LUT may need to be applied.
Color
9
CHAPTER COLOR
COLOR 128
9
The Color screen is essentially the heart of the DaVinci Resolve system.
In addition to basic color correction you also have the option of applying a PowerWindow or even Blur,
Pro-Mist and Aperture Correction Effects to each clip. The color enhancement process is clip based and
centers on the usage of nodes. Each corrector node can be considered a full featured color corrector
and multiple nodes can be applied in either Parallel or Serial, depending upon the desired correction.
The Color Enhancement screen has a number of areas of display that all work together. From left to right
|- :- |- --: | ¯:|s¦: ·|:'s ''s s¦' | ¦- :¦| '|-: |-s- s¦'s s |-
track timeline and the thumbnails timeline. Below that are the primary controls, secondary controls, and
the dynamics timeline.
Most of the controls are active by both mouse and control panel operation. For example, clicking and
dragging the controls with the mouse within the Primary Color Correction window will carry out color
enhancement adjustments. The DaVinci Resolve control surface provides concurrent control over many
functions.
Color
Color screen
COLOR 129
Located at the upper left of the Color screen, the Viewer displays the current clip and the current frame.
At the top of the Viewer in the center of the window bar, the Project and Session names are shown. To
the left of this is a GPU status display and the Playback Speed display in frames per second. DaVinci
Resolve uses GPUs for image processing, so the GPU status indicates the percentage of use that the
current color correction demands of the GPU. A full green indication shows there is plenty of GPU
headroom. As the GPU processing resources are used by additional color correction the green bars will
reduce. A fashing red indication means that the GPU is unable to consistently process the correction in
real time. Ultimately, as you add a larger number of corrections, you will reach the real time limit of the
GPU and DaVinci Resolve will then play back at a slower than selected playback speed.
` | ||- | |- s'-: || :-' n- ¦-:| s-'- ‘·| |- ¯' ¯:’ s ¯| ¯-s'-
can generate proxy source images in real time, or, you can select Render Cache to cache the clip.
In cache mode, once the clip has been played once it will be cached for real time playback. More
information on Render Cache options appears later in this chapter.
On the bottom right of the Viewer window is the primary timecode display for the clip being played.
Just like with the top display, you can change the information shown in the timecode section of the
Viewer area by clicking on the timecode display with the mouse to toggle the display between the fve
options as described above. To the right of the primary timecode display is the ’Clip Loop’ selection
button. Enable this for looped clip playback. Click again to disable. You can also select ’Loop’ from the
DaVinci Resolve control surface.
Viewer
CHAPTER COLOR
COLOR 130
9
Located at the bottom of the Viewer display are controls for playing the clip Forward, Reverse, Fast
Forward, Fast Reverse, Step Forward, and Step Reverse. These are accessed by clicking on the
appropriate control with the mouse or by using the Transport Controls on the DaVinci Resolve control
surface, or a standard keyboard. Below the transport controls, is a scroll bar for scrolling through a clip
by dragging the bar back and forth using a mouse.
At the bottom left of the Transport Controls there are four buttons. These viewing options alter what
is being displayed on the Viewer. The button on the left will select and deselect the PowerWindows
overlay. The next button will change the cursor into the Color Picker mode for selecting a specifc color
from the viewer image. When the third button is activated the Gallery Wipe will be visible to show Stills.
The right button is used to activate the interactive Dirt and Dust tool.
Viewer
COLOR 131
Interactive Dirt & Dust Removal Tool
DaVinci Resolve provides an interactive Dirt and Dust Removal tool which may be accessed from either
the Viewer or Color screens by clicking on the Dirt Removal Tool icon, located at the left of the Viewer
display. A right mouse click on the button will open the setup window.
Within the Dirt Settings section you can adjust the Algorithm section to select the fltration being used
for the correction and also the Aggression and Blend sliders depending on the degree of correction to
be applied. The ROI Settings allows you to select the correction method. If you choose the Click and
Clean mode, this will apply the correction once you click on the object. If you select the Draw and Clean
mode, you can highlight the dirty area with the mouse and then the correction will be applied. If you are
unhappy with your correction select, undo to return to the original image.
Dirt and dust set up widget
Dirt and dust set up widget
CHAPTER COLOR
COLOR 132
9
Viewer Window Options
There are a number of center and right click mouse options for the viewer.
` n ¯n | | · |- n- || |- --: | s| :: |:' || |- -|-:
ns- || ` n 's ¯n | | · |- n- || |- --: s¦' | s| |- ±
and – keys on the computer keyboard. If you hold down the center mouse button and drag the mouse,
it will move the image position within the Viewer display. To reset the Viewer display to the original size
| ¦s| :| ns- '| || |- --: | | s-'- ‘¯-s-’ :n |- n-| | ¦¦-:s
A right-click on the mouse while it’s over the Viewer will pop-up an options window.
Color screen right-click options
COLOR 133
Viewer Stills Display
¯|- H:s - |- ¦¦¦ ¦|s :-'-s s''s ‘:| ''’ '' sn¦' :| |- ::-| :n- n|-
a still and place it in the Gallery Stills display. This still can then be used as a reference for comparison in
|-: s-|-s ‘:| '' s''s :n H:s :n-’ '' :| s'' :n --: '¦ | |- n-'|- s| |- H:s
frame of each clip.
‘:| '' s''s :n `'- ¯:n-’ '' ¦-::n |- sn- || --¦ s- |- n'- :n- -|
clip as the source of the still. Once this procedure has started, it will continue until completed, which
could take some time.
¯|- ‘¯'- \¦-’ s-'-| '' :| |- ¦- | | ¯|s || | |- ¯| ¯-s'- |:'
s:- s ''- ‘¯' ''’ ¯|- ¯'- \¦- n- '' s-'- n¦:- |- ::-| n-'|- '¦ -|-:
the Gallery Still, the matching Offine frame or another clip on the timeline. To use, select a clip on the
timeline, toggle the mode to Timeline and then use the mouse to select the thumbnail of the reference
'¦ ¯| '| | |- |n||' s-'- ‘\¦- ¯n-'|-’ | |- :--:-|- '¦ '' |- ||'|- |
yellow when you move to the clip to compare.
/'-:|-' n¦:- |- ::-| '¦ |- ·H|- s-'- |- ‘''¯n-'|-’ || | |- ¯|
Resolve control surface until the Offine label is seen on the status display. (More on the Status display
later in this chapter.) You will then be able to perform a wipe with the offine recording in conjunction
with the clip.
The Toggle Wipe Shape option switches between Vertical Wipe, Horizontal Wipe, Mix, or a Key or Alpha
control. (More on this later when we look at green screen keying and display.) Toggle Invert Wipe will
swap the reference and current images in the Wipe display so you can see the other side of the images.
Wipe between the current clip and the still
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The Reset option will set the image to the normal display for the viewer. The original setting will display
the image pixel for pixel so it is usually used for getting quick zooms to the source image size to look for
imperfections in the original image.
PlayHeads
The PlayHeads selection is most commonly used to compare a reference clip with others playheads and
allow you to play up to four clips and display them at the same time.
Once the PlayHeads window appears, you may establish which playhead is attached to which clip.
-'-| |- '¦s | ‘¯'-’ '' '|| |- '¦ |- ¦¦:¦:- ¦'|- | |-n -|-: :
synced playback. The ’Show’ checkbox will turn the display of the clip Off and On. On the DaVinci
¯-s'- |:' s:- ¦'|- | ¯¯ '||| s ¦-::n- :-' | |- ¦|-'s 's- |- ‘`-s’
button and then select ’PlayHeads’ to display the VTRs or use the VTR buttons on the Transport panel.
Playheads control
COLOR 135
\|-| |- ¦'|-s :- | s- '' s-- |- '--:s ‘/¯·’ |- |n |- --: s¦' ¯|-s-
': - ||s :- : :- ¯¯ / ¯¯ ¯ | ¯¯ · ¯|- ': |s :- ¯- : |-
::-| ¦'|- || |s '' ': ::-|s | :n| :--| : ¦'|- | | ss|-
'|| ¯'- || ¦'|- | | ss|- '|| | s 's |- | ¯:| :- : | '||
assigned to this playhead.
The Timeline display within the Color screen will also show the position of each linked VTR that has been
created by the user. It is possible to switch between playheads by using either the PlayHeads window or
by using the Job/Shuttle control panel. The currently selected playhead will receive all color correction
and formatting you apply.
Color screen viewer with four playheads active
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Waveform displays
DaVinci Resolve offers a number of built in waveform displays, all of which work at the native resolution
of the system rather than at the video standard selected for clip playout. This means you can see the
full data range of the source image with the correction applied, regardless of which video standard you
wish to master.
The displays Waveform, Parade, Vectorscope and Histogram allow you to monitor the levels of the
correction that are being applied to the image. Within each display, there are the controls that allow you
to vary the brightness of the scale and information displayed.
Waveform Display
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In the center top of the Color screen are the Stills, PowerGrade and Memories tabs. While all of these are
managed on the Gallery screen, they are displayed on the Color screen for quick selection and are used
for color matching during the grading session.
As described in the Viewer section, you may compare the stored images to those being graded by
using a Wipe or Mix. This provides a simple and fast method of matching grades between scenes.
There can be multiple Stills and PowerGrade tabs. The Memories are shown in the lower section of this
window.
Stills, PowerGrade and Memories
Stills, PowerGrade and Memories
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¯ s-'-| |- ‘:| ''’ || | |- ·|:' ¯|-' : :| '|| ’:| ''’ | |- --:
are capturing a high resolution still image of the frame currently displayed on the timeline and at the
same time capturing the grading metadata information relating to that grade. This means the still can
be used for both visual reference and also for direct grade Copy and Paste operations. The still will be
added to the current Still tab on the Color screen and also the Gallery screen. You can also Delete stills
using the right click option. One or a number of stills can be deleted at once. Right click and use the
’-'- ·::-| ¦s’ : ’¯:s ·::-|’ s-'-| : |' |- | |- |'- s-'-| n'¦'- s''s
for an operation to impact more that one still at a time.
Stills display a Still Number in the upper left corner that is in the scene number/clip number format.
Multiple stills for one scene will be displayed adjacent to each other for quick reference.
Stills can be named/renamed by placing the cursor over the still, right clicking, and choosing the pull
| ¦| ‘·||- ¦|-'’ : ss-n |s '|- '|- ¦|s '- | |n-s
in different languages.
Individual Still Right Click Options
Japanese is one of the many
languages supported
Stills
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-'-| ‘¯' ''’ :| '| | |- s'' : | |- |:' ¦|-' '' s¦' |- s'' | |- --:
| ¦- |- ::-| s-|-:n- ¯|- \¦- n- | |- =:.|' : -:' \¦- : `
these options are select from the panel directly or via the mouse on the Viewer using the right-click
¦''| ‘| \¦- `-’ |'- '| | s:- n- |- --: '' n'' -|-:
into Wipe mode and you may adjust the wipe by using the fader bar. You can also place your mouse
over the wipe on the Viewer and click and drag to move the wipe position.
¯|- ‘/ ·::-|’ s-'-| '' ¦¦' |- ': ::-| ¦:n--:s :n |- s'' |- ::-|
clip. This will include the structure of the grade with each channel, or layer or node of correction. When
DaVinci Resolve grabs stills or Memories, it also captures the node graph structure. More details on node
Graphs are later in this chapter, but the key feature is that you can copy the complete grade using ’Add
·::-|’ : ‘¯s¦' ¦- :¦|’ | |-| s-'- '' : | |- :n |s |- :¦|
Unicode Name Controls
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Just select the node with your mouse, click and drag it to the Node Graph display on the right of the
main screen, and place it where you would like the correction applied in the image correction path.
/'-:|-' | s-'- s |- ': ¦:n--:s : s |- ¯¯¯¯ ¦:n--:s :n |- s'' : :n
|s | | s-'- '' ‘¯’ 's- |- | |-| |- H|s|-
Display Node Pop-up
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Stills Import and Export
To import and export images in a number of formats simply select the still and right click for the Import,
Export or Export with Display LUT option. The Display LUT used in this case is the one selected on the
Confguration screen.
¯|- s¦¦:- H'- :ns : n¦:| | -¦:| :- ¦ | ¦- ¦| ¦¦n |n¦ | ¦n
Sorting Stills
These parameters are used by DaVinci Resolve for sorting the stills using the options that are selectable
with a right mouse click.
Stills Properties
Export Still Pop-up window with fle options displayed
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When stills are added to the Still tab they are placed next to other stills from the same scene and
generally in record timecode order. You can also select the stills to be sorted and displayed in the order
of the source timecode or the creation date and time, or by the clip order with the creation date and
time.
If you have multiple sessions in your project you can also select to display stills from just this Session or
stills from all Sessions.
Other Still Options
Images can be stored in multiple Still pages to make it easier to fnd or switch between stills. These
pages are confgurable and while the Gallery screen offers the full suite of still management tools, on the
Color screen you can add or remove a Stills tab.
Just click and drag a still to the Memories section, if you use this still often. This will give you a one key
selection for even faster operation.
` '' |- | |-:- s | ¦| ‘¯:- ¯n-'|-’ \| |s s-'-- |- s'' |’s ||'|- ''
always match the scene selected on the main timeline.
¯|- ‘·|- '' ¦-: -|-’ s-'-| '' :- s|'- s'' |- s- : -| '¦ /| '¦s | n'¦'-
stills will retain those stills until you capture another for that clip.
Searching For Stills
You can search for stills within the selected tab by using the Search window at the bottom left of
the Stills display. Simply place your cursor in the Search window and click, then type the name or
description you are searching for and DaVinci Resolve will automatically show the results in the tab
above. Note there is also a still count, which will show how many stills are in this tab, or how many are
shown based on the search.
Stills Right Click Options
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The PowerGrade tab shows stills that are always available and referenced to the User Name no matter
which Project you have open. Normally stills relate to Sessions within a particular project. You can always
copy stills from other Users and other Projects, but this is a manual process and there are times when
you may just want to have specifc stills, with their Node Graphs, that are always available to you no
matter which project you have open.
The PowerGrade stills are the same as all others in most respects. The ability to see these stills when
you open another Project provides a simple way to copy grading information between Projects. As the
Node Graph is saved with the PowerGrade still, complex multilayer grades with LUTs can be saved and
recalled with ease.
¯|s 's n|-s |-n -' : s¦-H ‘'|s’ | ':s n|-s : '-: s- ` | : s''s |
the PowerGrade tab from your Memories, or save directly to the tab.
PowerGrade
PowerGrade
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Within DaVinci Resolve, every scene has a grade that is stored in an active Memory. Colorists consistently
refer to this current Memory and compare it to the stills to match grades. You can always clear this
Memory to get to a default Memory by using the Base Mem control. Comparison of the current Memory
| `-n:-s | :- s- -: -| s -s' |- s| |- / ¯ `-n:-s || '' H|
the bottom of the Still section. These stills are in most respects the same as the others in the Stills or
PowerGrade tab with the exception that you can save and recall the stills from the control panel with
great speed.
·| |- ¯| ¯-s'- |:' s:- sn¦' s-'- ‘·::-|’ | |-| |- |- / ¯ `-n: |-s
s- |- ::-| s-|-s :- | `-n: ¯|- ‘·::-|’ | / ¯ |-s :- | |- -: |
also the Transport panel. In each case, the Memory is seen in the Memory display with a small letter that
identifes to which Memory it was saved. To recall a grade from the Memory, simply select that Memory
with a one button selection.
A key feature for the stills is the capture and display of the Node Graph which will show you how the
grades were constructed. This also applies to the Memories. Right mouse click on an image within the
''s s¦' | |- ‘¯s¦' ¦- :¦|’ ¦| s¦' |- ¦- :¦| :s s-|s |-
correction can be copied to the current correction by dragging the appropriate nodes to the current
¦- :¦| s¦' : s-'- |- ‘/¦¦' ·::-|’ || ¦ |- -|:- ::-| | |- ::-|
clip. The Still Nodes may be dragged on top of an existing node to replace that node’s enhancement or
a node can be dragged and inserted independently into the Node Graph line.
Memories
Memory Right Click Options
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Whenever a color correction or enhancement is performed on DaVinci Resolve, it must be carried
out within a node. The Node Graph, found in the upper right of the Color screen, provides a visual
representation of the image processing path and node/layer priority for every correction for each clip.
The Viewer display and the grading monitor present the output from this Node Graph. There are three
|s | |s | ·'¦ ¯:| | '|n
Functionally, the Node Graph works the same for each tab, however, each shows a different perspective
of Resolves image processing. Detail of this will be covered later in the Dynamics Timeline section of this
chapter. On the left and right hand side of the Node Graph is a blue rectangle. Consider these points
the Input and Output, respectively. By default, DaVinci Resolve draws the Node Graph with a single
‘·::-|’ |- :n |- ¯:-ss| |¦ | | |- |-s ¦ ||-- |- ¯:-ss|
Output box.
Node Graph
Node Graph
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The nodes have a yellow dot for the image Input and Output hooks, and a yellow triangle for the Key
or Matte Input and Output hooks. It is important that the connecting line from the processing input on
the left through the various nodes via the image hooks, is connected to the output on the right. If the
connection path is not complete the nodes will not display images, but instead will show an icon and
the correction will not be visible on the Viewer or Grading monitor.
With the path complete, the image shown in each node within the graph will give you a visual indication
of the correction that is taking place within that node. The Node Graph display may be zoomed by using
the rotary center mouse button, and moved by dragging the mouse while holding down the center
mouse button.
Managing Nodes
The current node will be highlighted with a border. Select nodes with the mouse or on the control
¦|-'s ·| |- ¯| ¯-s'- |:' s:- s-'- |- |- |n|-: - ¯` |-| ‘-'- ¦-’ |
the Job/Shuttle panel, or use the ’Previous Node’ or ’Next Node’ keys to toggle through the nodes.
¯ |- :| '| | |- ¦- :¦| | s-'- ‘/ |-’ ·: s- |- |:' ¦|-'s
a Serial or Parallel node. A node may be deleted by simply clicking on the node image, right mouse
clicking, then selecting ’Delete’ from the pull-down menu. The order that nodes are linked may be
changed by frst right clicking on the links connecting the node and deleting them, then re-positioning
the nodes to place them in the new order. And fnally, reconnecting the nodes by selecting the node
connector with a left mouse click and dragging the link from one node to another.
The nodes may also be re-arranged within the graph in order to view them better by simply dragging
them with the mouse to the required area.
Two nodes can be linked together to provide a PowerWindow inside/outside operation. With a
PowerWindow in the frst node and the image and key outputs linked to the inputs of the next node,
the second node will use the key input and automatically invert, so you can grade inside the window in
node one and outside in node two. More details on PowerWindows are found later in this chapter.
All of the node corrections in the Node Graph can be bypassed by using the keyboard Up and Down
keys and an individual node bypass by simply clicking on the left of the number located at the bottom
of each node.
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Corrector Node
¯|- ‘·::-:’ |- |s |¦s | ¦s |- -| : |- n- | |- |- /'¦| :
Matte) respectively. The Image Path is via the yellow dots and the Key Path via the yellow triangles,
which are grayed out if not active.
A Corrector node can best compared to a full-featured layer or channel of color correction. The node
can be utilized for primary and secondary color correction and can include PowerWindows, Tracking,
Blurs, etc. and can work in Serial mode (otherwise known as cascade), or Parallel mode, depending on
the correction required.
There is no limit to the number of nodes on a Node Graph and so it is common to use a new node for
each layer or element in the image that you wish to enhance.
Right-click over the node graph
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Parallel Mixer Node
When nodes are connected one after the other this Serial or Cascade confguration effectively links the
output of the frst node to the input of the next and so on until the last node, which fnally links to the
Node Graph output. This is the point where the Viewer and Grading monitor is connected.
As each node modifes the image it changes the range of data available to the next node. An example
would be a node one that removes all the color in the image. Its output is a black and white image and
the following node only has this black and white image to work with. You can not add color on node two
by increasing the gain for any color channel as there is no color at the input as supplied by node one.
An alternative way to work is to put the nodes in parallel rather than in series. The nodes can then have
a common input, the full range data, and each can produce the individual enhancement and output to
a Parallel Mixer node.
The Parallel Mixer node is a multiple input and single output node for images. (There is a Key Mixer node
we will cover later.) When you add a Parallel node to an existing node, DaVinci Resolve will automatically
add one Corrector node below the current node and will also add a Parallel Mixer node. The current
node and the new Corrector node will have the same input source, which can be the original fle source
or the output from another node. Both the current and the new Corrector nodes will have their outputs
connected to an input on the Parallel Mixer. If you add one more Parallel Corrector node the Mixer will
add another input.
A Parallel Mixer node will mix all the inputs with equal processing priority.
Parallel Mixer
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Layer Mixer Node
The Layer Mixer node appears at frst sight to be similar to the Parallel Mixer in that it allows for multiple
Corrector node outputs to be mixed into one node. While the Parallel Mixer processes all the inputs with
equal priority, the corrections in a Layer Mixer are prioritized from top (least priority) to bottom (greater
priority). As you add additional Corrector nodes to the Layer Mixer they are placed with a higher priority
on the Node Graph below the preceding nodey.
Changing the position of the links that are connected to the Layer Mixer node inputs will change the
priority. You may also add additional inputs to the Layer Mixer node with a right mouse click on the
¦-: `-: |- | s-'-| ‘/ |¦’
Layer node operation is ideal when you have multiple inputs to the mixer and you want some to mask
others or have a greater infuence over the mixed image.
Layer Mixer
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Key Mixer Node
The Key Mixer node allows you to mix the key outputs from multiple nodes and combine them within
the Key Mixer node in order to produce a composite key signal. To create a Key Mixer node, right mouse
'| || |- ¦- :¦| s¦' | ¦- `-: |- | s-'-| |- ¦| || |- ‘/
Node’ section of the menu.
The Key Mixer node comes with two inputs when frst created, but additional ones can be added with a
:| ns- '| || |- ¦- :¦| s¦' | |s| |- ¦| ‘/ ·|- |¦’
To adjust the parameters of each node, which is fed into the Key Mixer node, use the Input section of
the Key tab. The Gain Control within the Post Mixing section can be extremely useful for adjusting the
amount of effect the fnal correction will have within the image.
Key Mixer Node
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LUT applied within a node
You can apply look up tables (LUTs) to nodes within the DaVinci Resolve Node Graph display. Simply
right mouse click on the desired node and apply either a 1D or a 3D LUT from within the options
available in the menu. Applying LUTs in this fashion allows you to emulate various effects and can also
be used with the qualifers.
The LUT list used here is the same as found on the Confg screen.
Adding a LUT to a Node
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External Matte Support
DaVinci Resolve supports unlimited external mattes within a clip. These external mattes must be linked
to the associated image within the Browse screen Media Pool. To recall the external matte within the
Color screen, right mouse click on the node within the Node Graph display and select the associated
matte fle or press the M key on the DaVinci Resolve control panel keyboard.
Once the external matte has been associated you may apply a grading inside the defned area. If you
s-'- |- ‘¯ `-’ |- | |- ns- |- s-:-s |:'s '' ¦¦-: | |- ¯| ¯-s'-
control surface.
These controls allow you to adjust the matte for optimum results. A second key tab in the UI allows
further adjustments to position and size.
External Matte Support
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Directly below the Viewer, Stills, and Node Graph display is the timeline which shows all the clips in
timecode ascending order. The timeline can be sorted in Source (C-Mode) or Record (A-Mode) order.
In Source mode, no EDL is considered as all clips are placed one after the other in timecode ascending
order, complete with holes in the continuity of the timecode.
In Record timecode order (A-Mode), the EDL defnes which clip is placed frst and the following clip
order. Each clip is not only sorted for order, but the in and out points of each clip are use to defne the
clip length. If there is a dissolve between two clips this is also displayed in the timeline. Change the
s: n- |- n-'|- | s-'-| |- ‘¯- '¦’ || | |- |-|: s-'- |- ¯-: :
/`- -'- |- ‘¯- ¯|’ || | |- |-|: s¦' s:- : ·`- :-: '¦s
:- n- s s-'-- |- : ‘:-’ '' |- s¦'- | |- :| || -| |- n-'|-
The white vertical line shows the current position along the timeline and this matches the frame displayed
| |- --: \|-| s-'- ‘¯'’ | |- |:' ¦|-' : ns- | |- ' : s- |- s¦- |: |
the keyboard, you can then play the various clips one after another within the Project. The current clip
is highlighted for easy identifcation.
If you are in Loop mode the timeline will also display in and out markers and a highlight showing the
frames that are in loop play. You can also scroll through the various clips by dragging the vertical white
line back forth across the timeline or jump to another clip by clicking on the timecode portion of the
timeline. The vertical white line will jump to that location.
Below the timeline is a scroll slider that is used to expand and contract the timeline so you can zoom in
to review a single scene or expand to see the whole Project.
Clip Thumbnails/VSRs
Located directly below the timeline scroll slider are the Clip thumbnails. The current clip will have an
outline. When the Project has more than 15 clips, the current clip will be positioned in the center of the
clip thumbnail display with thumbnails either side, indicating the clips on either side of the current clip,
regardless of the length of those clips. If you click with the mouse on a thumbnail, this will automatically
cue, or jump, to this clip.
Timeline
Timeline with clip thumbnails
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Correction Management with the Thumbnail Timeline Display
When any type of correction is applied to a clip, metadata for the change is automatically saved for
the clip into the clip thumbnail. You can copy any corrections from one clip to another by recalling a
Memory, a clip number or even by scrolling to another clip, making it current, and copying the correction
to the new clip using the center mouse click.
Clip Thumbnail Indicators
In addition to displaying the color corrected image in the clip thumbnail, each thumbnail has a number
of other valuable indicators of the clip and operational status.
The clip number can be seen on the upper left of the thumbnail. If there are multiple versions of the
grade for this clip the numbers to the immediate right of the clip number will show the current version
number and how many versions there are. In the screen capture below there are two versions of grade
and version two is current. Under these numbers is the version name. If you have entered one, in this
case “DOP’s”, this same location would also indicate a local or default version if alternatives are made.
See Versions later in this chapter for additional details.
Clip Thumbnail
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On the upper right of each thumbnail, you will see the EDL event number followed by frame number
of the current frame if anything other than the frst frame is shown. In the case shown above, we are
seeing frame 420. If you click and drag the mouse back and forth over the thumbnail, you can view the
contents of that clip within the thumbnail and even leave it parked on a specifc frame. This is particularly
helpful to locate the key frame, or move off the frst frame if its black, or does not represent the key
element of the scene. The frame indicator will update accordingly.
At the bottom of each thumbnail, DaVinci Resolve displays the timecode for that frame of the clip. This
timecode updates as you scrub over the clip. Below the timecode there may be a white box. This is
displayed if the colorist selects the Render Cache mode and it indicates the progression of the render
cache for this clip. You may also see a colored rainbow line at the bottom of the thumbnail. This line
indicates that the clip has had some alteration from the raw default settings. The rainbow is a quick and
clear indication of those clips not at default, and will therefore need attention.
The clip thumbnails may also have a red outline. This indicates that these clips are in a group and
grading changes to one are automatically made to the others.
Normally, Colorists compare the current shot to a Gallery Still or to the offine video, but you can select
any clip on the timeline to be the reference.
When you are working on material that has been conformed based on an EDL, certain clips may be re-
used within the EDL. For example, part of the whole clip may contain material which is needed for one
part of the EDL conform, however, another part of the same clip may contain material that is required
for later parts of the EDL conform. When this occurs, you will see a small red box located at the upper
center of the clip thumbnail. Whichever clips contain this red block will share the same correction as it
is the same clip.
Red outline indicates grouped clips
Orange outline indicates the
clip used for reference wipe
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9
¦' -:s|s |s '¦ | |- n- | n- | |- :|'| s-'-| ‘¦' -:s|’ --
’Versions’ later in this section for a description of adding new and switching versions.
Just to the left of the timecode you may also see a red or green box. This identifes clips selected for
restoration by a DaVinci Revival system. The red box is shown when the clip is selected, at the same time
the Revival screen lists the actions requested.
The green box indicates that the Revival repair has been completed. You can check and verify the repair
or return the image to the Revival operator for further work. Details of this operation and interaction with
DaVinci Revival are found later in this guide.
If you have selected a clip for render cache, a disc icon will be placed on the top left of the thumbnail.
Common Source Clip Indicator
Red marker indicates clips/frames
sent to the
Revival repair list
Render Cache Indicator
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On the right of the thumbnail you will occasionally see the Tracker indication. This identifes that this clip
has Object Tracking. If you have modifed the clip length it is a useful reminder to check that the track
now covers the complete clip.
Local and Remote Versions
There are a number of time saving right-click options within the clip thumbnail.
When the project images in the Media Pool are frst conformed, you generate a default session or
-' n-'|- ''- |- `s-: -ss| s| |- ‘·:-- ¯-'’ || | |- ·|:n s:--|
there is an EDL, that is loaded afterwards, the EDLs will be listed by their names after the Master Session
in the EDL fle label section on the Conform screen. When you work with the Master Session within
the Color screen, any color corrections that are made to any clip will be automatically applied to the
other conformed sessions (other EDLs), regardless of the order of the clips in those EDLs. This will save
you quite a lot of time as you can grade many different versions of the EDL automatically, and when
changing EDLs using the same clips, all of your grading metadata is automatically applied to the new
session/EDL.
When you are working on the Master Session but want to create an alternate version of a color
correction, the new version is called a new Local Version (i.e., you want to keep the original version but
also have another). As this is the Master Session, these versions are also available for use within the other
conformed sessions (other EDLs), but are listed as Remote Versions in those EDLs. This allows you to
keep a Master Session grade which is valid for most sessions but also have one that is just for a specifc
session (e.g., for the Trailer).
If you are on a session other than the Master Session, you can make Local Versions that will be available
only for that session, or Remote Versions that will be available for all the other sessions (except for the
Master Session where it will listed it as another Local Version).
Every Remote Version of a grade made on every session relates to the Master Session, so if you render
each Master Session grade you will have the graded versions for all the various sessions.
Tracker Indicator
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9
When you access the New Local Version option from the timeline thumbnail pull-down menu, it will frst
prompt you for a name for this version. Versions of grades can be loaded, deleted, named and selected
using the right-click pull-down menus.
You can create additional versions of corrections that have been made for a particular clip. Each version
will be available by right mouse clicking on the clip and selecting the version. You may also de-select
a batch version of a conformed list that can then contain an alternate version of corrections. These
additional versions can be named and the names are displayed in the clip thumbnail.
Group Versions
If you have multiple clips that share the same color correction, you can defne a Group by right clicking
| '¦ | s-'-| ‘/ | / ¦- :¦’ ¯|-: |- :¦ ¦n- | '' s-- | |- :¦
list at the bottom of the pull-down menu. To add multiple clips, hold down the Ctrl key on the keyboard
| s-'- |- :s '¦s ·|- |- 's '¦ s s-'-- s- ‘/ | ·::-| :¦’ :n |- ¦''
down display.
When there are changes to the correction that are to be applied to the Group, you can select how the
correction will be rippled to the various clips within the Group. Right mouse click on a clip within the
Group, then within the pull-down menu choose the appropriate Group Name and move the mouse to
|- ‘·||- ¯¦¦'-’ s-'-| ·|- |s |s |--| |- ||-: n-| || |-s- n-|s '' ¦¦-:
This menu will give you the opportunity to change the ripple type, to make the target clip the exact
changed value, or make the change by percentage or unit value, or to have all values copied, as defned
in the Confguration screen settings tab.
Timeline right-click option
COLOR 159
Batch Versions
When you begin to color correct using the Master Session, all corrections are automatically applied
to the other conformed versions. This means that the Master Session is Batch Linked to all the other
conformed versions. If you wish to create a different version of the color correction in another timeline,
sn¦' s-'- |- -s:- -:s| :| ns- '| | |n||' | s-'- ‘¯| '|'||’ ¯|s
conformed version will not share the same color corrections as the Master Session or any of the other
|:n- -:s|s s-'- ‘¯| ¦||’ |- ::-|s || |s |:n- -:s| '' :--:
the corrections seen in the other conformed versions.
Batches may also be copied using this right-click option.
Display Node Graph
Just as you selected to display the Node Graph from Stills or PowerMaster Stills, you can do so from the
timeline Thumbnail.
Wipe Timeline
The thumbnail will display an orange border indicating it is the active reference. When you deselect the
clip the Gallery becomes the reference.
Update All VSRs
¯ ¦- |- |n||' n-s s-'- ‘'¦- /'' ¯’
Edit PAR Value (Pixel Aspect Ratio)
The PAR (Pixel Aspect Ratio) setting in the Media Pool will always have an indication, either square or
one of the other many PAR formats offered. To change the PAR for any clip, select the Thumbnail with
the right-click option, then select Edit PAR Value and then select the appropriate PAR from the pop-up
box.
Orange outline indicates the clip used for reference wipe
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Change Input Format Preset for Clips
To set Input and Output Format Presets that can be used with Session clips and apply as global presets,
make the changes from the Confguration screen or for Clip presets, within the Media Pool. Presets
can also be applied from within the Format screen, or as identifed here, by right mouse clicking on a
thumbnail within the Color or Format screen.
These are pre-defned settings for various image scans and are useful, for example, when a flm has been
over scanned. Instead of having to resize every clip independently, the user can resize a clip and use the
¦:-s- ¦¦' '' s-'- ‘¦|-’ |s '' |- | | s-|s |- |--| ¦¦'-
Switch Parent Directory
With a pre-conform workfow, there are often different versions of conform available on the SAN in
separate folders. DaVinci Resolve allows easy toggling between different versions of conform using
switchable Parent Directories.
¯|- || | |- -ss- s| ‘| ¯:-| ¯:-:’ :n :|'| n-|s | |- `- ¯'
and the Conform Panel, and also from the Color screen timeline.
DaVinci Revival
DaVinci Resolve image storage and its database can be shared with a DaVinci Revival system. In this
confguration the Resolve operator can select a clip for action by the Revival operator.
¯|- ¦|s :- / s-'-- '¦s : :| ¦:-ss| / s-'-- '¦s : ¯: ¦:-ss| /
current clips for Dirt processing, Switch selected to DaVinci Revival processed clips, and Switch selected
to original clips. Revival will only process DPX images so to send images to DaVinci Revival for processing
you need to render non-DPX images frst.
When the DaVinci Resolve operator sends a clip to DaVinci Revival for Grain or Dirt processing, a red
indication on the thumbnail to the left of the timecode will indicate the request has been sent. The
DaVinci Revival screen on DaVinci Resolve will list this and all other requests.
When the DaVinci Revival operator has fxed the images and marked them as repaired a green indication
s s|| | |- |n||' ` | s-'- ‘¯-' ¯:-ss- ·'¦s’ : s| || |- :|' '¦s
you are not happy with the repair. Further information on DaVinci Revival operation is available from the
DaVinci Revival User Guide and there is more information on the interface with DaVinci Resolve in the
DaVinci Revival chapter later in this guide.
Timeline Right Click – Revival Options
COLOR 161
Render Cache Clip
DaVinci Resolve has a number of Background Render Cache options and one of these options is where
the user selects to render cache a clip.
The user may fag clips that should be render cached within a Project. This can be done by right mouse
'|| | |- '¦ | s-'-| |- ‘`:| : ¯-|-: ·|- '’ ¦| :n |- n-| ¯|- |: s|
icon will appear on the top left-hand side of the thumbnail when the clip is selected by the user to be
cached.
When the cache process is started by the user, a status indicator at the bottom of each thumbnail will
show the progress of the cache generation process. The bar will frst appear in white and the length of
|- |: :-¦:-s-|s |- n| n¦'-- ·'¦s n:|- : ‘¯-|-: ·|- '’ '' :-|-: ‘·|- '’ :
‘·|- ±’ : ‘·|- /''’ s s-'--
A clip that has been fagged
to be Render Cached
CHAPTER COLOR
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9
View Clip Details
DaVinci Resolve maintains metadata relating to all clips in the Media Pool. This info is accessible using
the View Clip Details option.
Audio Timeline
While DaVinci Resolve is a color correction and enhancement system, it does play back guide audio.
When a .wav or AIFF fle is selected in the Conform screen to play with an EDL, the audio can be
s¦'- | |- ·': s:--| | :| '|| | |- n-'|- | s-'-| ‘| / \-:n’
The waveform for the audio track can be slipped in time to sync the audio to video by using the control
key (Command in Mac) and the mouse to drag the clip up and down the main timeline. Alternatively,
| s-'- |- ‘/ ·s-’ ' | | :| '| | |- -:n | -|-: |- s-
you need.
Clip Info
Timeline with Thumbnails and Audio
Audio Offset
COLOR 163
RED r3d Clip Decoder Control
DaVinci Resolve offers native RED r3d decoding. In the Confguration screen Source tab you can
select to use the RED Default decoder settings, the camera metadata, or set project based decoder
parameters for DaVinci Resolve to decode and debayer the r3d fles. On the Color screen you also have
an extra layer of control, a clip-by-clip control.
: n-'|- |s ¯¯¯ H'-s :| '| | |- |n||' :--' |- ¦| ‘¯ ¯¯¯ ·- -|s’
and this will open the decoder control window.
Color screen Thumbnail Right Click to select Edit RED codec settings
CHAPTER COLOR
COLOR 164
9
Master RED Decoder Settings
¯|-:- :- |:-- s-|s |- --: | ¯|- H:s s | |- ¦ '- |- ¯¯¯ -|s |
the confguration here sets the operation for the balance of this window.
The Decode Quality setting can be set to use the Project setting as selected on the Confguration
screen, Source tab for RED, or you can select one of the other debayer and resolution settings. These
settings include Full Resolution with Premium Debayer, to Half Res Premium (as often used for grading),
down to the One-Sixteeneth Res with Good debayer, which is often used when grading RED fles on a
MacBookPro.
As you assign the decode quality you will have a direct impact on the performance of the system, so
you may want to grade in a resolution which provides real-time playback, then use the confg settings to
switch to a higher quality/resolution for rendering. This will depend entirely on the hardware capabilities
of your system.
Color screen Thumbnail Right Click to select Edit RED codec settings
COLOR 165
The second setting in this area is to select to source of the RED metadata for all the other decoder
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s¦¦'- :n ¯¯¯ s-'- ‘·n-: `-’ ¯| ¯-s'- '' -: |- |:''|
n- :n |- :¯ H'- s s s- | |- n-: ¯|- ‘¯:-’ s-| '' s- |- ¯| ¯-s'-
confguration you set on the Source tab.
On the right of the window the Red Default, Camera Metadata, and Project settings for this clip are
s¦'- -| |- s'-: |:'s : |- ·'¦ s-|s ¯|- ‘·'¦’ ¦| ¦:-s |
s|H|' :--: |:' : -| '¦ -'-| ‘·'¦’ '' n|- '' |- |-: |:'s | |s |
active and you can set them as you prefer for this particular r3d clip.
·|- |- s-'-- |- ‘·'¦’ ¦| |-:- s 's ‘¯-s-’ || | s ||'|- |- |n
of the window. If you make any changes to the clip decoder settings and you wish to revert to the
s-|s | -s- |-| H:s ¦-|- |- | s- |- ‘¯-s-’ || ¯|- ‘·|-'’ || ''
's- |- | | | ||-s | |- ‘/¦¦'’ || '' s- |- ||-s n- | 's- |-
window.
Master Red Decoder Settings - Clip Selection
CHAPTER COLOR
COLOR 166
9
Image Decoder Settings
Once you have selected the Clip option in the Master RED Decoder Settings, all parameters in the
Image Decoder become active.
·': -|- The original REDone camera builds used a different color science to the more
recent builds. Select here as appropriate.
·': ¦- RED offers a number of different color space options when decoding the RAW
n-s REDcolor || s -' ': s¦- Camera RGB, which bypasses
|- n: | |- n-: | s-s |::-- s-|s: REDSpace, which
-:s ': s¦- ':-: || ¯¯·/3 -| s- : H'n :| sRGB,
which is a color space used for monitors, printers and the Internet and REC.709,
which is the standard for HDTV.
nn ·:- ¯|- nn s-'-|s |'- Linear, where no gamma adjustment is
¦¦'- REC.709 || s |- s|: =¯¯ nn sRGB, which is a color
s¦- s- : n|:s ¦:|-:s | |- |-:|- REDSpace, which is a higher
|:s ': s¦- || ¯¯·/3 REDlog, which maps the native 12-bit RAW
image data into a standard 10-bit Log curve, and Custom PDLog, which offers
users an alternative LOG curve, similar to Cineon, and also provides for custom
adjustments as described below. The PDLog 685 and 985 offer alternative
white points for the Gamma Curve. The default is REDgamma.
·¦¯¯ ·n¦ The OLPF compensation sets a low-pass flter to reduce color moiré. There are
four options, with Off being the default.
n- ¯-' Select from the low, medium, or high sensor detail extraction options.
¯-|s- There are seven settings, from mild to maximum, to adjust for the best noise
reduction without image degradation.
Color screen Thumbnail Right Click to select Edit RED codec settings
COLOR 167
Clip Decoder Settings
Just as the Source Tab on the Confg screen offered Project-based RED Clip Decoder settings, this
window offers the same controls for each clip. You can easily compare the values of the clip settings
to the Project, Camera, or RED Default metadata as these are listed on the right-hand side of the clip
sliders.
· Similar to exposure this control adjusts gain from the black point to white in a
linear manner. 320 is the default.
¯¦'¯ The Floating Point Look-Up Table controls operate within the new color space
to give cleaner and fner ISO and mid-grey variation without introducing
clipping.
¯¯` DRX is a dynamic range control that takes into account Color Temp (Degrees
Kelvin) and Tint.
| Provides adjustments at the toe of the FLUT.
¯¦s:- Calibrated to replicate industry standard f-stops, Exposure increases or
decreases the image lightness and clips the data levels at each end.
¯:||-ss This also adjusts the image brightness by changing the black level, but unlike
Exposure, this control will compress the image at each end of its range.
·|:s With the mid-tones maintained, the Contrast control adjusts the number of
discreet steps in the grey scale by changing the slope of the response curve.
·': ¯-n¦ Sometimes referred to as Kelvin, the Color Temperature adjusts the RGB matrix
to consider the blue/red ratio. Common values are 3200 for Tungsten lighting
and 5600 for daylight.
¯| Use the Tint control to adjust the yellow parameters of the RGB matrix. Ideal to
correct fuorescent or sodium vapor lamp problems.
:| The color saturation is varied from monochrome at 0 value, to the default, or
unity, of 1, up to very over saturated at 5.
·sn ¯¯¦ The Custom PDLog parameter, Black Point, White Point and Gamma are user-
adjustable from their respective default values of 95, 685 and 0.6 gamma.
| The Red, Green and Blue Gain controls adjust each color channels gain with 0
being the reference point. One is unity gain and the maximum ten is ten times
greater amplitude than unity.
CHAPTER COLOR
COLOR 168
9
Color screen Thumbnail Right Click to select Edit RED codec settings
COLOR 169
The Primary tab is located at the bottom left of the Color screen. This area displays the settings for the
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clip. There is also a status display providing a variety of system status indications.
Primary Slider Controls
Typically, colorists use a control surface for grading as it permits multiple controls to be adjusted
simultaneously. No mouse, pen, or touch screen allows concurrent, simple and intuitive control of a
dozen parameters with just two hands.
For interactive feedback, these control panel adjustments are refected in the interface of this Primary
tab, but you can also use your mouse to select any of the sliders or color bars to adjust individual
parameters.
Generally, the frst node in every scene is used to balance the primary values of the source clip and
subsequent nodes are used for effects, but this is, of course, a user preference. The Primary Color
Correction display will show the corrections that are being applied, using, from left to right, the Lift,
Gamma and Gain trackballs on the DaVinci Resolve trackball control panel.
Primary Tab
Primary Tab on the Color Page
CHAPTER COLOR
COLOR 170
9
The trackball Lift, Gamma, and Gain controls are displayed as vertical colored bars with Red, Green and
Blue values for each. Adjacent to the colored bars is the Luminance value grey bar. These controls are
on the left of the panel trackballs, one each for Lift, Gamma, and Gain Luminance level. They are also
available as horizontal slider controls for the Luminance Lift, Gamma, and Gain.
On the right side of the right most trackball there are also three controls. The frst pot adjusts the
Saturation of the isolated area, the second pot is a Hue control and the third pot adjusts the Luminance
mix control. Each of these controls mirror the horizontal sliders on the Primary tab. You can select them
with your mouse and adjust or reset any control with a mouse click on the value adjacent to the slider.
To the right of the Color Level displays are the Offset controls and display. You can grade material by
using printer light steps using the offset up and down buttons.
Input Sizing Controls
DaVinci Resolve has an optical-quality image resizing engine that can be used to position or resize
images with such high precision that you can resize the image using dynamics and see the changes in
real time.
/ |- |n '- |- ¯:n: | |- |¦ s.| |:'s ¯| ¯' ¯n | ¯- n::: |s-
found on the Control Panel.
COLOR 171
Primary Tab System Status
On the right side of the Primary tab there is a system status display showing the operational status of
DaVinci Resolve.
Proxy |- ‘·| |- ¯' ¯:’ n- s s-'-- : ¦:-s :- -||'- | |-
Confg screen, this indication will be On.
Render Cache ¯|-:- :- H- n-s '- : :-|-: |- Off, do not perform any
|- Cache All |- '' '¦s Cache D |- '' ss'-s Cache
U |- |' '¦s n:|- | : || | Cache + to
cache dissolves plus user-selected clips.
Ref Resize When On, the reference clips can be resized and repositioned.
Ref Mode The reference for grading can be the Gallery stills, any clip on the Timeline
or the Offine clip.
Wipe Type The available wipe modes are Horizontal, Vertical, Mix, and Key.
Stereo Pan In Stereoscopic 3D operation, when you adjust the convergence of the
--s |-:- :- n-s Oppose, where the convergence control
moves each eye away or towards each other, and Linked Zoom, where
there is insuffcient image to fll the screen due to the convergence
adjustment and the images will automatically zoom to fll the screen.
Stereo Grade Resolve 3D projects can be graded in Solo mode when only one eye is
adjusted by the grade or Gang mode when both eyes are graded together.
Current Stereo Display When grading Stereoscopic 3D, you can display on the UI viewer and
timeline the left eye or the right eye. The display output can be a single
eye (Mono), or both eyes (Stereo), as required.
Stereo Display The display output can be a single eye, i.e. Mono or both eyes, Stereo, as
required.
Primary and Qualifer Control Sensitivity
A right mouse click within the Primary Color Correction window will pop up a menu allowing the user to
either reset the primary values or open the Controls dialog for panel control sensitivity. Within the Panel
Control window, the user may set the sensitivity for the Lift, Gamma and Gain trackballs on the DaVinci
Resolve control panel as well as the sensitivity of the Qualifer controls for the secondaries. When the
desired amount is applied, click on ’Save’ and then close the window.
CHAPTER COLOR
COLOR 172
9
Curves Tab
Curves
DaVinci Resolve’s Curves tab is in the lower center section of the Color screen and resides with a number
|-: |s s- : :| - -| : --: '¦ -'- | | : ns- : |- |:'
panels.
Within each primary or secondary color correction node, you can add a custom curve or even invert the
curve to create an effect comparable to the YSFX feature on the DaVinci 2K Plus. There are also Hi-Clip
and Lo-Clip control tabs available.
Custom Curves
DaVinci’s famous Custom Curves are very simple to use and provide clean adjustment of the Y, R, G, and
B levels within each clip.
The slider bar at the bottom of each curve is a control to mix in the full infuence of the curve (the
highest level), to a lower infuence.
All curves can be adjusted separately, but you can also copy a curve from one to another. Center mouse
click on the Source Curve, hold the center button down, move the mouse over the other curve (the
destination), and then release.
The Reset buttons below each curve will completely reset the curve. To delete all Custom Curve settings,
sn¦' :| ns- '| || |- ¯| ||:| | s-'- ‘¯-s- ·sn ·:-’
COLOR 173
YSFX
Also contained within the Custom Curve display is the YSFX operation which allows you to invert the
chrominance and luminance to create special effects within the image.
The YSFX is controlled by clicking and moving the slope markers on the right of each channel on the
Custom Curve display. As with Custom Curve effects, YSFX may be combined with Power Windows to
further enhance the correction by creating effects such as vignettes.
Clip Tab
To adjust the highlight and lowlight clipping on a clip-by-clip basis, and also to apply soft clipping for
either the blacks or the whites within the image, use the Clipping Curves controls on the Clip tab.
The vertical slider control adjusts the curve clipping point for the high clip on the right and low clip on
the left of each color graph. The bottom sliders adjust the slope of the curve transition. Soft clipping can
be extremely useful for retrieving details that may be lost when adding extra brightness to the image.
Secondary Color Correction
Once the primary color correction has been completed, its very common to create a secondary color
correction by adding another node so that the frst node, used for the overall primary balance of the
s-|- | :-n| ‘'-|’ s¦-' :-s | | |- s- s s:- n-s : :- |-s
Secondaries are adjustments to a section of the image as qualifed by various parameters, where Primary
grades are for the whole image. In effect, you are making a live key control to cut out the old image and
replace it with new. In this case the old and new image are the same, but with a different grade. To make
a secondary grade, frst select the Qualifer tab on the user interface.
CHAPTER COLOR
COLOR 174
9
Hue, Saturation and Luminance Qualifcation
To change the grade on a specifc section of an image, you must frst select the portion you want to
change. One selection type is the Hue, Saturation, and Luminance (HSL) qualifer. Select the HSL sub
tab, place the cursor over the area of the image you wish to qualify, and select with the left mouse
button. You can adjust the qualifcation for the secondary color correction isolation immediately, but a
sn¦'-: - |- s-'-- :- s | ¦:-ss| |- ‘=|'|’ || | |- s-|: |
¯|- n- | |- --: | :| n|: '' | |' s¦' |- n- | s 'H- --:||
else will be replaced with gray. There is a high contrast mode set in the Confg settings tab to make this
|'| | |- :|-: || : |:s '|-: |- ‘=|'|’ || | |- ' |- |-: || ''
invert the Image and Qualifer controls, so instead of using the Qualifer controls to select the area to
make a change, you are in fact selecting the areas you will not change.
Highlighting the Qualifed Areas
COLOR 175
Next adjust the Hue, Saturation, and Luminance Qualifers to get a cleaner qualifcation. First, start with
the Hue Qualifer, which is shown as a rainbow colored bar to indicate the range of Hue values available.
When you select a color on the image to qualify with the cursor or mouse, the selected color will be
indicated within a white border on the Hue display. Adjusting the ’Center’ control, will make the white
|:-: n- ¦ | | |- s¦' ‘\|’ s s- |:: : |:-| |- :|- |- |-s
selected. You will see the result on the Grading monitor as well as on the Hue display.
¯|- ‘’ |:' '' ||- |- | |'- |- 'H- |- s-'-| :n |- |:n' |: --
s-: :n¦ ¯|- ‘nn-:’ |:' ||-s |s s|-ss ¦:n--: -|-: s- |- |- :|-
Balanced symmetry has the soft slope even on each size, or one side of the control range can be hard
while the other soft.
HSL Qualifer
CHAPTER COLOR
COLOR 176
9
The next color band shows the Saturation range of the hue selected. Again, the white border is displayed
:| |- ¦-' '- s-'-- ¯|- ‘¦’ | ‘=|’ |:'s s |- :-s¦-- :| '--' |
’Soft’ controls the slope to adjust the ramp on either side of this range. The same group of controls are
available for the Luminance settings, with the Luminance bar showing a black to white range.
·|- |- H|s|- | |- ·'H-: sn-|s ¦:-ss |- ‘=|'|’ || |- | |
the picture will return to a Normal view. Now that you have qualifed an area by its Hue, Saturation and
Luminance values you may use the Trackballs and other grading controls to adjust the color within the
qualifed area.
You will notice the Node Graph display of this node and the thumbnail under the timeline will update to
indicate that a secondary grade is being made in this node.
RGB Qualifcation
If you select the RGB button within the Qualifcation window the qualifers will be changed from Hue,
Saturation and Luminance qualifers to Red, Green and Blue qualifers. When this mode is activated, the
cursor position will read the Red, Green and Blue values rather than the Hue, Saturation and Luminance
values for the selected color. These have the same general control operations with Low, Low Soft, High
and High Soft adjustments.
Color Screen Qualifer
COLOR 177
Luminance Qualifcation
The next tab is for Luminance qualifcation. Its adjustments are the same as the Luminance parameters
on the HSL tab and have the same function, however in the LUM tab only Luminance values are used
to qualify the image.
Qualifer Blur
Within the Qualifer tabs there are a number of other controls, including the Qualifer Blur parameters.
/ |- |n '- |- ·'H-: | |- H:s |:' s : ¯': | |-:- :- ¦:n--:s ¯s
and Offset. The blur range is quite large and the radius of the elements and their horizontal and vertical
offset range is equally large.
The second set of sliders is for Shrink and Grow. The qualifer, once set, can be shrunk a little or grown a
little, and again, you have a Range and Offset control.
Color Picker Mode
The Color Picker in DaVinci Resolve has a number of trim adjustments to assist in getting the right
selection of pixel values to use for the qualifcation. The controls are at the bottom right of the Qualifer
tab. The standard picker mode has the Color Picker icon selected. The other options change the Picker’s
selection of pixel values to modify the qualifer.
\|-| s-'-- ‘±’ '' ||- |- ¯|-: n- |- '-s |- 'H-: :|-
¯|- ‘‘ s s- :-n- sn- '-s :n |- 'H- :|- s-'- =- : -n¦'- |
remove a similar but different hue, the width range will decrease as fewer hues qualify.
¯|- ‘±’ | '-s | s|-ss | |- ‘’ | :-n- '-s | s|-ss
Be sure to return the Color Picker to the standard mode after making the trim adjustments to the
qualifer values.
RGB Qualifer
CHAPTER COLOR
COLOR 178
9
DaVinci Resolve has the famous DaVinci Power Windows, which provides a number of shapes to use
for Matte and Masking of image sections. Once you have made the Power Window, adjusting the grade
within the window area, or outside if invert is selected, is as easy as moving the trackballs. You will see
the result of the window and the correction applied within it on the Viewer display, and the fnal result is
|- n- | s s--| | |- :| n|: ¯|-:- :- : | ¦-s ·:'- ·¯\ ¦|-: ¦¯\
¯'| ¯¯\ | ·:- ¯·\ ¯-.-:`
Power Windows may be used to isolate a primary or a secondary color correction. They are often used
with secondaries to permit fne qualifcation of the image and in Matte or Mask mode, depending on the
type of correction required. Using a Power Window in Mask mode is generally used when the window
is intended to mask out a portion of another Power Window or a Qualifcation.
DaVinci Resolve’s object tracking will be discussed later in detail, but it’s clear that windows placed on
an object to permit grading within or outside the window edge will only work if the object does not
move. The object tracker will allow you to create keyframes automatically for the windows to track
moving objects, making DaVinci Resolve Power Windows even more valuable.
Adjusting PowerWindows
Windows can be selected in a number of ways. On the UI, select the Window tab, then select the desired
window style. This also selects the settings controls for that window type. To see the window and adjust,
turn it on, select to grade Inside or Outside, and then choose whether to use the window as a Matte or
Mask. Change to a Matte or Mask to see the window on the UI display.
All Power Windows have a center point and a rotation handle. Rotation, or moving the window, is
managed using the rotation handle or the axis point. The center axis of the Power Window may be
moved using the control panel or by holding down the Ctrl key on the keyboard and dragging the
vertical rotation line to the area where you would like the rotation axis to be relocated to. To reset the
rotation axis to the image’s center position, simply hold down the Control key on the keyboard and
mouse click on the center rotation point.
To alter the size parameters of the Power Window, click on the cyan colored points that can be seen
in the Power Window cursor lines in the Viewer display and drag them with the mouse, or alter the
softness of the window, the aspect, size and even the rotation.
Power Windows
Window Tab
COLOR 179
Inside and Outside Window Grades
It is common to grade inside a Power Window to change the image in a particular area. However, if
you wish to adjust the grade both inside and outside the window independently, this is performed in
DaVinci Resolve with two nodes with a Link Control that sends the key signal from one node isolation
to another node.
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Node’ on the Windows Soft menu to Add another node automatically and link the Alpha channel. You
can then select the frst node and grade the image inside the window and select the second node and
correct outside the window. To add a Matte Link to a second node manually, connect the nodes by
clicking on the Arrow icon located to the right of one node, and then drag the mouse to the Arrow icon
located to the left side of the next node.
Circular Power Window
The Circular Power Window (CPW) can have its Horizontal and Vertical Position, Size and Aspect
changed as well as the Softness of the window’s impact on the underling image. Quite often, the CPW
is use to make a vignette. DaVinci’s Circular Power Window changed the industry as it permits very small
to large size settings with what seems to be infnite softness.
Use the CPW in a large wide aspect to make a grading impact on the entire top or bottom of the image.
Or, use it on a single eye of the talent to change the look.
Circular Power Window
CHAPTER COLOR
COLOR 180
9
Linear Power Window
The Linear Power Window (LPW) frst comes up as a square, however you may alter the position of the
corners and vary the softness for each side. This gives you the ability to create very unusual shapes with
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Polygon Power Window
The Polygon Power Window (PPW) is a window with a maximum of 128 points. As with the other two
forms of Power Windows, you may apply softness to the shape and even apply auto tracking. The
Polygon Power Window also has individual softness for inside and outside the shape, as well as overall
Softness controls.
To add more points, move the mouse to the desired part of the shape and left mouse click on the window
line at the position where you need the point. Move the point by selecting the point and dragging it with
the mouse. To delete a point, select the point then center mouse click.
To change the center of rotation for the shape, press the Control key on the pull-out keyboard and drag
the cyan colored center graphic to the desired location. Apply separate inside and outside softness to
the shape by accessing the Isoft or Osoft controls with the mouse on the Window tab.
Polygon Power Window
COLOR 181
Power Curve Windows
To add a Power Curve Window (PCW), or Bezier window as some colorists call it, selection of the
window style is no different to others for the UI or the DaVinci Resolve control panel. Unlike the other
available windows, there is no default points or shape for the Power Curve Window. Once the PCW is
enabled, the “Curve” may be created by clicking in the Viewer using the left mouse button. To complete
(close) the curve, press the middle mouse button or press the left mouse button on the frst point of the
curve. You can adjust the curve using the control panel or the mouse.
Additionally, the inside and outside softness may be altered on a point-by-point basis by dragging any
of the magenta reference points to the desired position. As with all of the Resolve Power Windows, the
axis of rotation may be changed by holding down the control key on the DaVinci Resolve keyboard and
dragging the center reference point to the desired position.
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to delete points, use the center mouse button over a point. To change the curvature, select one of the
handles attached to a curve point and adjust the curvature by keeping the left mouse button pressed
while moving the pointer. The curvature handles move opposite to each other in a locked fashion. To
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If you want to straighten an edge, double click on the corresponding curve point. When the edge is
straight, the curvature handles for that point are collapsed. To rotate a curve, select the central handle
of the curve (similar to other windows) and rotate. You can also select the central handle and Pan/Tilt
the entire curve.
PowerCurve Window
CHAPTER COLOR
COLOR 182
9
Power Window 3D Object Tracking
Whether it is a Circular, Linear, Polygon, or even a Power Curve Window, you will eventually need to
change the position of the window to follow a moving object within a clip. Fortunately, DaVinci Resolve
has a very powerful automatic tracking tool that can be used for tracking the position of an object
within a clip.
The Object Tracking operation is covered in detail within the Viewer screen description, but here are
some basics for the simple operation. Place the window over the object, switch to the Viewer screen and
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panel. Start the track again from that point.
After the tracking procedure is fnished you can still move the window, apply softness or change the
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Object Tracking
COLOR 183
The next tab on the Color screen is Blur, which holds the controls for Blur, Sharpen and Mist. The
algorithm for calculating this effect is a precision Gaussian flter, so very high quality adjustments can be
made. These controls share a common set of parameters and in fact Blur is the inverse of Sharpen so
the same control will give you one effect at one end of the range and another affect at the other.
Blur
When Blur is enabled, DaVinci Resolve will blur or defocus the image in real time. The two main
adjustments for blur are the Radius control which changes the size of the image area used by the
Gaussian algorithm to calculate the defocus effect, and the Horizontal/Vertical Ratio control which
changes the balance between the horizontal and vertical infuence.
Each of these parameters are normally in Gang mode, which means the Red, Green, and Blue channels
are all affected evenly. You can deselect Gang mode and make individual adjustments on the UI or on
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Gang and individual color controls.
Blur Tab
CHAPTER COLOR
COLOR 184
9
Sharpen
The Sharpen control can be adjusted via the Resolve control panel or with the mouse within the window
on the user interface.
The Sharpen control will enhance the image and the flters may be adjusted individually for Red, Green,
or Blue or, if Ganged is checked (which is typical), the change will be for all. Sharpen also has a scaling
control, again with a ganged and individual RGB values. The scaling adjustments change the recursive
flter within the Gaussian algorithm.
Finally, there is also a Coring control that makes this flter behave like an Aperture Correction control. The
Coring control will sharpen the image when adjusted counter-clockwise or at the low end of the scale. If
the control is adjusted in the opposite direction, the image will not be sharpened at all.
Mist
Mist makes a mix between sharpness and blur based on the luminance value within an image. This
control can be used to create Pro-Mist effects.
Key
The Key Tab on the Color screen provides controls for adjusting the behavior of the key signals used
within the current node. These controls are also available from the keyboard control panel, accessed
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this node is used to tone down the color correction effect applied in this node by tweaking the “Gain”
control in the “Post Mixing”.
Key Tab
COLOR 185
On the bottom right of the Color screen is the Dynamics Timeline. This timeline displays and offers
control of keframed events such as dissolves or transitions of grades during a clip or for the whole
timeline. This display has also been referred to as the List Timeline or the Events Timeline. Principally, this
graphical display shows the all the events for every grade change for every clip, one clip or one track at
a time. The Node Graph display above the Dynamics Timeline also displays the Clip, Track, and Unmix
tabs in sync with the Dynamics Timeline.
There are three tabs in this section.
Clip: Once the timecode reaches the next clip, the correction within this clip will be displayed.
Track: This mode relates to the whole timeline and is useful when you wish to create an
overall color trim to all the graded material.
Unmix: Unmix is essentially the same as the Clip mode, however no effects such as dissolves
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Dynamics Timeline also displays the Clip, Track, and Unmix tabs synchronized with
the Dynamics Timeline.
Many of the operations here are via the UI and a mouse, but there are number of display changes
automatically made in this area as each clip is graded and as the timeline plays. If for example, you wish
to insert a dissolve within a clip, this operation can be performed within the Dynamics Timeline display.
Dynamics Timeline
Dynamics Timeline
CHAPTER COLOR
COLOR 186
9
Dynamics Indicators
At the top of the tabs, on the left, the current timecode matches the timeline position. To the immediate
right is the clip, or track, timeline, and timecode display. You will see the frst of what can be many lines
of information, with the frst being the master channel with three icons to the left of the channel name
as indications of the selected state possible in the channels below.
Under the Master, each corrector node or mixer node will have an indication of grading changes and
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indicates the current frame, matching the timecode, and within each channel display, markers will show
dynamic transition keyframes.
At the far left of the Dynamics Timeline display, for each of the channels, the radio button will indicate
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Current’ key and also performs the same function as clicking on the left of the node number on the
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when the padlock icon is activated. If you seem to be adjusting the grade and nothing is happening,
check this icon in case it is selected.
The next icon to the right indicates that the Auto Keyframing tool has been activated. When activated,
each time you adjust the grade the channel indicator will be automatically updated to refect the
correction change. This mode is typically off. While useful, it can also be distracting to some people.
To the right of the Auto Keyframing icon you may see a channel number indicating the correction
channel (the node) to which this line of display refers. To the right of these, the arrow normally points
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a number of more lines of grading and sizing parameters. Each is keyframable.
Marks are made for the individual channel elements, and with a large Node Graph this list can be quite
long. Every variable is captured here for every clip and stored with the Project metadata.
Dynamics Timeline
COLOR 187
Adding Dynamics
Dynamics can be added in a number of ways. With the UI, right mouse click and select the appropriate
function from the pull-down menu that appears within the Event Timeline display.
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button on the DaVinci Resolve control panel and a mark will appear
in the Dynamics Timeline display.
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and right click select to add the dissolve mark. Then play the clip
to the point where the dissolve should fnish and add Mark. The
dissolve will then appear within the Event Timeline display.
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standard mark
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the event by left mouse clicking on the event and then drag it to
the desired location.
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Timeline display which will highlight this event. Then right mouse
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adjust the start and end profles of a dynamic or dissolve event.
There are a number of different variations for the start and end
profles available. The default values may be established within
the Confguration page.
Dynamics Timeline Right Click
CHAPTER COLOR
COLOR 188
9
Render Cache Options
When working with dissolves from one clip to another, or complex corrections, you may want to
generate a Render Cache, as sometimes the two streams of full bandwidth images can not be played
or processed in real time. If you select the Cache D mode and play through the clip transition once, the
frame rate will play slower than normal the frst time. Afterwards, the Cache fle will be created and then
the clip will play at full speed.
There are four Render Cache Options.
Cache A: This will cache all material.
Cache D: This will cache only the dissolves.
Cache +: This will enable the background render cache process.
Cache U: This will cache a clip that has been fagged by the user in the Resolve Color
page Thumbnail display.
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This feature is very useful when you are playing a project for a client and don’t want to see any slow
downs in the system during image dissolves. The function will stop at the end of the timeline or when
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DaVinci Resolve can also automatically perform a Background Render Cache whenever the system is
idle. If you touch any controls or play a clip, the caching process will automatically stop. Background
Render Cache is automatically enabled and will commence in the vicinity of the current clip in the
timeline. It will then search for user-selected Render Cache clips, and fnally for image dissolves within
the Project. If there are marks within a clip and only new changes occur within that area, DaVinci Resolve
will then regenerate the cache information for only that section of the clip.
Dissolve Type
COLOR 189
Switching Between Conforms within the Color Page
To switch between sessions (i.e., EDLs) within the Color page, simply press the ’Mode’ button on the
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The timeline will immediately change to the new session.
Scroll Mode
In the Color screen, there are various ways of copying grades into the current clip by recalling from
Memory, Gallery Stills, timeline thumbnail clip numbers, or scrolling through the clips.
The Thumbnail Timeline display provides one mechanism to allow the copying of grades into the current
clip by traversing reference clips and frames through the timeline.
The enhanced Scroll Mode is controlled on the trackball panel of the DaVinci Resolve control surface by
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backward panel support for the legacy 2K panels with deck control and soft knobs.
In addition to allowing you to select a reference clip via [Scene Number], [Prev Scene], [Next Scene],
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to use the transport controls to traverse the reference clips in the thumbnail timeline in addition to the
soft buttons. (Default Off.)
The Panel menus can be set to Scroll mode after pressing the [Scroll/Deck] button on the Jog/Shuttle
control panel. Exiting the Scroll Mode menu would bring the panel menu back to the Secondary menu.
On the thumbnail timeline, a thumbnail border highlight (yellow) indicate the current reference clip for
the scroll operation. While scrolling through the timeline, the reference clip stays visible in the thumbnail
timeline and is brought (cued) into visibility when the clip is out of the thumbnail view.
On the timeline, the current scrolled frame is indicated with a yellow line, which is different from the
current PlayHead cursor position (White line).
Scroll Controls
[Step Fwd] Step to next scene
[Step Rev] Step to previous scene
[Play] Plays (scrolls) forward through the scenes at 1 scene per second
[Rev] Play (scrolls) the scenes in reverse at 1 scene per second
[Fast Fwd] Shuttles (scrolls) forward through the scenes at 4 scenes per second
[Fast Rev] Shuttles (scrolls) reverse through the scenes at 4 scenes per second
[Slow Fwd] Shuttles (scrolls) forward through the scenes at 1 scene per 3 seconds
[Slow Rev] Shuttles (scrolls) forward through the scenes at 1 scene per 3 seconds
Other Color Screen Features
10
Viewer
CHAPTER VIEWER
VIEWER 191
10
Viewer
The Viewer screen provides a full screen view of the current frame with transport controls, timecode
indications and other features as seen in the Color screen viewer display.
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using the rotary center mouse button on the mouse. You may also reposition the image in the Viewer
by holding down the center mouse button and dragging the image to the desired position. To reset the
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the pull-down menu.
There are two screen display modes within the Viewer. The main is a full screen display, as indicated
above. The second, which will be covered in detail later in this chapter, includes a right hand slide window
that provides controls for object tracking.
Viewer Page
VIEWER 192
Full Screen Viewer
At the top of the Viewer, in the center window bar, is the name of the Project and Session. To the left
of this is a GPU status display and the playback speed display in frames per second. The GPU status
indicates the percentage of use that the current color correction demands of the GPU. A full green
indication is good, indicating there is plenty of GPU headroom. As the GPU processing resources are
used by additional color correction, the green bars will reduce. A fashing red indication shows that
the GPU is unable to consistently process the correction in real time. Ultimately, as you add a greater
number of corrections, you will reach the real time limit of the GPU and DaVinci Resolve will play back
at a slower than selected speed.
There are a number of operational options in this situation to continue with the slower than real time
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time, which will allow the GPU suffcient headroom to process the image, or you can select Render
Cache to cache the clip.
This display will show either Record or Source timecode, Record or Source frame number, and, if available
in the DPX header, KeyKode. On the bottom right of the Viewer is the primary timecode display for the
clip being played. Just like the top display, you can change the information displayed by clicking on the
timecode display with the mouse to toggle the display between the fve options, as indicated above.
To the right of the primary timecode display is the Clip Loop selection button. When enabled, the
current clip displayed in the timeline will turn blue so you can play the clip in a Loop mode.
The button on the left-hand side will select and deselect the PowerWindows cursors. The next button
will change the cursor into the Color Picker mode for selecting a specifc color from the Viewer image.
When the third button is activated, the Gallery Wipe will be visible. The right button is used to activate
the interactive Dirt and Dust tool.
CHAPTER VIEWER
VIEWER 193
10
Interactive Dirt & Dust Removal Tool
DaVinci Resolve provides an interactive Dirt and Dust removal tool which can accessed be from either
the Viewer or Color pages by clicking on the Dirt Removal tool icon located at the left of the Viewer
display.
Within the Dirt Settings section of the setup widget, you may adjust the Algorithm section to select the
fltration being used for the correction. There are also adjustments for the Aggression and Blend sliders,
depending on the degree of correction to be applied.
The ROI Settings allows you select the correction method. If you chooses the Click and Clean mode,
this will apply the correction for clicks on the object with the mouse. If the Draw and Clean mode is
selected, highlight the area with the mouse and the correction will be applied. If you are unhappy with
: ::-| s-'- ‘'|’ :-:| |- :|' n-

Dirt Settings
ROI Settings
VIEWER 194
Viewer Window Options
There are a number of centre and right click mouse options for the viewer.
You may zoom in and out of the image within the Viewer by using a rotary control within the center
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will move the image position within the Viewer display. To reset the Viewer display to the correct size
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If the user right clicks the mouse while it’s over the Viewer a pop-up window provides a number of
options.
Viewer Window Right Click Menu
CHAPTER VIEWER
VIEWER 195
10
Viewer Stills Display
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the same function, except use the middle frame of each clip as the source of the still. Once this is started,
it will work in the background and grab a still for each clip within the timeline. It is important to note that
once this procedure has started, it will continue until completed.
The Toggle Wipe selection will turn the wipe on and off. This function on the DaVinci Resolve panels is
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the Gallery Still, the matching offine frame or another clip on the timeline.
You can select another clip to wipe against by selecting the still on the Still, Memory, or PowerGrade
tab. Toggle Wipe Shape switches between vertical wipe, horizontal wipe, mix or a key or Alpha control.
Toggle Invert Wipe will swap the reference and current images in the Wipe display so you can see the
other side of the images.
The next section of the pop-up menu includes the Reset and Original Size options. Reset will set the
image to the normal display for the Viewer. Original Setting will display the image pixel-for-pixel so it is
usually for getting quick zooms to the source image size to look for imperfections in the original image..
Viewer with Play Still enabled
VIEWER 196
PlayHeads
The next section of the pop-up menu is the PlayHeads selection. Most commonly used to compare a
reference clip with others, playheads allow you to select and play up to four clips and display them at
the same time. Within the PlayHeads window you can set which playhead is attached to which clip.
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synced playback. The ’Show’ checkbox will turn the display of the clip off and on.
Refer to the PlayHeads section of the Color chapter for more details on PlayHeads.
Playheads
CHAPTER VIEWER
VIEWER 197
10
Waveform displays
DaVinci Resolve offers a number of built-in waveform displays, all of which work at the native resolution
of the system rather than at the video standard selected for clip playout. This means you can see the
full data range of the source image with the correction applied, regardless of which video standard in
which you master.
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the levels of the correction that are being applied to the image, and within each display there are the
controls to vary the brightness of the scale and information displayed.
VIEWER 198
The second mode for the Viewer screen includes the Viewer, but on the right there is a control panel for
the Object Tracking controls.
Whether it is a Circular, Linear, Polygon, or even a Power Curve Window, you will eventually need to
change the position of the window to follow a moving object within a clip. In the past, you were required
to create dissolve corrections to gradually change a window’s position or to mark every keyframe with a
reposition of the window. Fortunately, DaVinci Resolve has a very powerful automatic tracking tool that
can be used for tracking the position of an object within a clip.
On the right side of the Viewer screen, there is a control arrow that extends the 3D Object Tracking
controls.
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buttons, or use the ’Soft’ buttons on the DaVinci Resolve control panels. If DaVinci Resolve loses the
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Object Tracking Screen View
Viewer screen with 3D Object Tracking controls
CHAPTER VIEWER
VIEWER 199
10
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It’s useful to note that it is better to track the window with minimum edge softness. After the tracking
procedure is fnished, the required softness may be applied and will be carried automatically through
the tracking procedure.
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graphic user interface.
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complete path of the movement of the corresponding Power Window’s center point. Each mark and
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Object Tracking
VIEWER 200
Interactive Tracking Controls
The Interactive Object Tracking mode allows you to view and edit the feature vector points that are
used for achieving the auto tracking.
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|-|: : | '|| | ‘¯|-: |-:-’ || | |- --: s:--| :|| ¦|-' ¯|-| ||'|
the vectors which you would like to delete by drawing a box around the area by holding down the left
mouse button and dragging the mouse from the upper left to the lower right of the area. By pressing
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area will be deleted.
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will insert vector points within this area.
Single Tracking Points
While in Interactive Object Tracking mode you may also add a single feature point. First, activate the
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to normal operation.
Interpolation Between Keyframes
Sometimes you may want to interpolate a PowerWindow between two points within a clip. To do this,
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represented as white lines within the user interface timeline. Once these points are established’ you have
three interpolation options.
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forward to the upper mark
• |-:¦'- ¯--:s- – s-s |- ¦s| :n |- ::-| | |-| ¦-::ns '|-: |-:¦'| |
a reverse direction to the lower mark
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You may also adjust the PowerWindow position manually while in Object Tracking using either the
Global or Keyframe modes. When in the Global mode, adjustments will affect the window position
throughout the whole clip. In Keyframe mode, changes will only affect the window position for the
current frame.
11
Gallery
CHAPTER GALLERY
GALLERY 202
11
DaVinci Resolve has a database for projects and also for stills or scene grabs that you can use to
compare with the current scene. This way, reference or important shots can have their grades replicated
in other scenes. You may compare the stored images to those being graded by using a wipe or mix. The
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Mems or Memories that offer one key selection on the DaVinci Resolve control surface.
The Gallery screen has four sections. The top half displays the Gallery Database Browser and the tabs
selected for Stills display within that browser. The bottom half of the screen displays the Memories and
Stills that relate to the current project. Stills can be copied between sections by simple click drag and
drop mouse operations.
Gallery
Gallery Screen
GALLERY 203
Gallery Database Browser
At the top of the Gallery screen is the Database Browser and to the right you will see the tabs as
selected by this browser. Each of the databases connected to this DaVinci Resolve system will be visible
and within each the user names and their projects.
If the user has stored any stills as PowerGrades, these appear in every project for that user, making it
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to use. Remember, each still that is captured also stores the Node Graph, displaying how the grade was
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individual nodes to the new shot.
Gallery Database Browser
All stills saved include the Node Graph showing the clips grade construction
CHAPTER GALLERY
GALLERY 204
11
Gallery Database Tabs
Stills
To the right of the Gallery Database Browser are the Stills tabs which refect the selection made in the
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control panel, or right-clicking ’Grab Still’ on the viewer, you are capturing a high resolution still image
of the frame currently displayed on the timeline and at the same time capturing the grading metadata
information relating to that grade. This means the still can be used for both visual reference and also for
direct grade copy and paste operations.
The still will be added to the Current Still tab on the Color screen and on the Gallery screen. You can also
delete the stills by using the right-click option. One or a number can be deleted at once. Use the ’Select
current to Last’ or ’First to Current’ options or hold the keyboard shift key while selecting multiple stills.
Stills display a still number in the upper left that is in the scene number/clip number format. The pull-
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'|- '|- ¦|s '- | 's |n-s | -:-| '|-s ¯|- ‘::-|’ s'' ''
display a cyan border.
Memories
Within DaVinci Resolve, every scene has a grade that is stored in an active Memory. Colorists consistently
refer to this current memory and compare it to the stills to match grades. You can always clear this
memory to get to a default memory, the no grade applied memory, by using the Base Mem control,
which is a right-click selection on the Node Graph or Panel control.
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Memories, which you will fnd at the bottom of the Still section. These stills are in most respects the same
as the others in the Stills or PowerGrade tab, with the exception that you can save and recall the stills
from the control panel with great speed.
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| |- ::-| s-|- :- s s- | `-n: ¯|- ‘·::-|’ | / ¯ |-s :- | |- -: |
also the Transport panel. In each case, the Memory is seen in the Memory display with a small letter that
identifes which Memory it was saved in. To recall a grade from the Memory, simply select that Memory
with a one-button selection.
Stills Browser
GALLERY 205
A key feature for the stills is the capture and display of the Node Graph which will show the user how the
grades were constructed. This also applies to the Memories. A right mouse click on an image within the
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copied to the current correction by dragging the appropriate nodes to the current Node Graph display
: s-'-| |- ‘/¦¦' ·::-|’ || ¦ |- -|:- ::-| | |- ::-| '¦ ¯|- s''
nodes may be dragged on top of an existing node and replace that node’s enhancement or a node can
be dragged and inserted independently into the Node Graph line.
PowerGrades
The PowerGrade tab shows stills that are always available to the individual user, no matter which project
they have open. Typically, stills relate to Sessions within a particular Project. You can always copy stills
from other users and other projects, but this is a manual process and there are times when you may
just want to have specifc stills, with their Node Graphs, that are always available to you no matter which
Project you have open.
The PowerGrade stills are the same as all others, in most respects, but the ability to see these stills when
the user opens another Project provides a simple way to copy grading information between Projects. As
the Node Graph is saved with the PowerGrade still, complex multilayer grades with LUTs can be saved
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You can drag stills into the PowerGrade tab from your Memories, or save directly to the tab.
Memories Browser
PowerGrade Tab
CHAPTER GALLERY
GALLERY 206
11
Orphan Stills
Occasionally, you may delete a Project or the links between the Project and Gallery database become
disconnected. In this case, the stills are not lost, they just become Orphans and are displayed in a tab
for you to delete or move as you like.
Orphans Stills Tab
GALLERY 207
The bottom half of the Gallery screen displays the stills related to the current Project. On the left are the
Memories and to the right the Stills and PowerGrades. There are number of right-click options found in
the Stills display. Many mirror the operations from the Color screen, however there are some specifcally
for the Gallery.
Switch Wipe Mode
The Switch Wipe mode will select the current timeline clip to compare to either the Gallery still, the
matching offine frame or another clip on the timeline.
In order to match parameters from a Gallery still with that of the actual grading being done, you should
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s-'-| |- ’''¯n-'|-’ || | |- ¦|-'s | |-| ¦:-ss| |- ‘¯:-s’ : ‘¦-’ ||s |
the DaVinci Resolve Panels to get to the selected clip, or, just use the mouse. When this is done, the clip
being wiped against will be highlighted in yellow. When this function is de-activated, the current clip will
wipe against the image loaded in the Gallery.
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: |- : /'¦| |:' ‘¯'- |-: \¦-’ '' s¦ |- :--:-|- | ::-| n-s | |- \¦-
display so you can see the other side of the images.
Trace Timeline
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selected on the main timeline. This mode of operation is not always desired, but can be handy if there
are a very large number of shots and multiple stills for each.
Current Project Stills
Current Project Stills (Right Click)
CHAPTER GALLERY
GALLERY 208
11
One Still Per Scene
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still for a scene when a new one is grabbed. As you grab a still, it replaces the previous still for a scene.
Should you have more than one still for any scene before selecting this option, DaVinci Resolve will
only delete the extra stills when a new grab is made for that scene. This feature, used in conjunction
| |- ‘:| /'' ''s :n |- ¯:s : `'-` ¯:n-’ s | -' :-¦:- :--:-|- s''s :
a completed project.
Apply Display LUT
If you have a Display LUT selected on the Confg screen LUT tab, this LUT will be applied to the Grading
monitor output, and also the Viewer display. When you grab a still, you would not want this display
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still when it is used for a reference comparison and it is automatically added only during this display, so
the actual still is not affected.
Sorting Stills
To sort stills there are a number of options that are selectable with right click pop-ups. When stills are
added, they are placed next to other stills from the same scene and generally in record timecode order.
You can also select the stills to be sorted and displayed in the order of the source timecode, or the
creation date and time, or by the clip order with the creation date and time.
If you have multiple sessions in your project you can also select to display stills from just this session or
stills from all the sessions.
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GALLERY 209
Stills Import and Export
You can import and export images in a number of formats simply by selecting the still and right clicking
the Import, Export, or Export with Display LUT option. The Display LUT used in this case is the one
selected on the Confguration screen. The supported fle formats for importing and exporting are dpx,
cin, tiff, jpeg, png, ppm, bmp and xpm.
Still Properties
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used by DaVinci Resolve for sorting the stills.
Adding Gallery Pages
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Still Page.’ Additionally, if you wish to see a LUT applied to a stored image, this option may also be
selected with a right mouse click.
Stills Properties
Finder Window to Name File and Location
for Exporting Stills
12
Format
CHAPTER FORMAT
FORMAT 211
12
Format
The Format screen is split into a number of sections. The top half shows the Source image on the left
and the Output image on the right, which will also display the resizing adjustments you make. Under
these viewers you will see the Transport Controls, the timecode of the current frame, and to the left of
the Transport Controls, the same Confguration buttons as found on the Color screen.
These, once again, are as presented on the Color screen. On the lower right is the Dynamic Timeline,
and the Clip, Track, and Unmix tabs for the keyframable dynamics. This allows you to program image
reposition marks and dynamic events and is also a duplicate of the Dynamics Timeline on the Color
screen.
Functionally, these all match the Color screen however on the Format screen they all interact with the
controls on the Input, Output, and Slate tabs.
Format Screen
FORMAT 212
All controls on the Input tab refer to the individual clip being adjusted, so the Clip tab is also automatically
selected to show the Dynamics Timeline for the current clip. Select another clip and the settings will
match the dynamics set for that clip. If you have no input adjustments (i.e., no Pan or Size or Rotation,
etc.), the controls will show no variation between clips. However, a simple Pan on the slider control, or
panels, will be displayed on the Input tab and also on the top right image of the Output image.
Input Transform
When you adjust the image format using the Input Transform controls, these changes may also be
programmed within the Clip tab of the Dynamic Timeline as Input Transform settings are all on a clip-
by-clip basis and are keyframable.
Presets
You can create and save custom sizing presets that can be selected and recalled on the Confg screen
and also the Browse screen. These presets may be applied as global presets from the Confguration
screen or a Clip preset within the Media Pool. When the Clip tab is selected, the presets may also be
applied from within the Input tab on the Format screen or even by right mouse clicking on a thumbnail
within the Color or Format screens.
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button. A window will open showing the values to be saved. Enter a name for your preset, and if you like,
:n | sn-|s ‘-’ 's- 's- | s| : s-'- ’¯-'’ :-s- |- '-s ` ''
then see in the Input Transform Presets list the new preset name.
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Input
Input Format Tab
Input Format Preset Values
CHAPTER FORMAT
FORMAT 213
12
Input Transform Controls
The frst four Input Transform controls mirror the display on the primary tab of the Color screen. Pan, Tilt,
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refected in the Settings display. Under this group is the input image Width and Height controls. While
typically set at Default, they are sometimes helpful for resizing images that are not correctly scanned.
The next two check boxes are for Horizontal Flip and Vertical Flip of the image.
Convergence for Stereoscopic 3D
If you have a stereoscopic 3D session active, the Convergence control will also be enabled to permit the
relative horizontal position of the left and right eye to be adjusted.
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images to change the convergence, the picture area will always be flled and there will not be black
frames to the left and right edge.
Source Blanking
The Source Blanking selection will allow you to either switch the source blanking to On, Off, or Auto. This
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wish to force it on at all times.
Reference Still Resize and Reposition
To reposition images that have been stored within the Gallery on the DaVinci Resolve control surface,
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You can fip and resize the gallery still, the reference image, and also pan and tilt it to position in the best
location for grading comparison.
Input Preset Selection
FORMAT 214
If you switch the Dynamics Timeline display to Track mode, this will display the Output tab. By selecting
the Output Tab you will also see the Dynamics Timeline switch to the Track tab as these two are related.
The Output/Track section is designed to create an overall format change for the entire project.
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Output Transform
When you adjust the image format using the Output Transform controls these changes may also be
programmed within the Track tab of the Dynamic Timeline as Output Transform settings are all on a
overall timeline basis and are keyframable.
Presets
Just as with input presets, you can create and save custom output sizing presets that can be selected
and recalled on the Confg screen and also the Browse screen. These presets may be applied as global
presets from the Confguration screen. When the Track tab is selected, the presets may also be applied
from within the Output tab on the Format screen, or even by right mouse clicking on a thumbnail within
the Color or Format screens.
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button. A window will open showing the values to be saved. When the Format Preset window pops up
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Presets list the new preset name.
Output
Output Format Tab
CHAPTER FORMAT
FORMAT 215
12
Transform Controls
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Rotate adjustments, followed by Width, Height, HFlip and VFlip. These controls are available on the
DaVinci Resolve control surface and on the Output tab on the Format screen. Unlike the Input Controls,
they do not appear on the Color primary tab display.
Output Blanking
The Output Blanking controls are automatically set by the format of the timeline to match the resolution
selected. You can trim the Left, Right, Top and Bottom blanking. These controls can be selected on the
DaVinci Resolve control panel.
There are preset blanking adjustments for various aspect ratios and you can also store custom blanking
settings for the logged-in user. One page will allow you to store the various settings and the next page
will allow the recall of various settings.
Output Format Presets
Output Format Preset Selection
FORMAT 216
Output Format
This section is used to defne the timeline formats and most of the controls match the functionality of
those on the Confg screen, System tab. While some control the management of the source fles, they
all set the confguration for the timeline, which directly infuences the output image format.
You can set the timeline or output resolution from a preset list, which will display the resolution selected
for image processing. To change the setting for resolutions not found in the presets, enter the Width
and Height directly into the text box.
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timeline resolution. With this box checked, no format changes can be made on the Confg or Format
screens.
The Pixel Aspect Ratio (PAR) is used to select other than the normal square pixel format. You can apply
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For mismatch source clip resolutions you can have DaVinci Resolve process the images with the
''| ¦|s
Center crop with no resizing This option makes no attempt to resize the image to ft
the aspect ratio selected. A simple crop is used from the
center of the source image if it is larger than the timeline
format.
Scale to full frame with crop This option will automatically insert blanking within the
image area to compensate for a difference in the source to
timeline aspect ratio.
Scale entire image to ft This option will resize the image in order to completely
fll the frame. In some cases, a part of the image will be
cut from the left and right sides of the source image or
the top and bottom. You also have the ability to reposition
the image using the Input Format sizing controls within the
Format screen.
Stretch frame to all corners When you select this option, DaVinci Resolve will ft the
frame to the output aspect ratio. In this mode, the frame
edges will be stretched to the corners and no information
will be lost. However, this option can also result in
squeezing or stretching of the image in order to ft the
output format.
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¦-|- |- | ¯ ¦¦' |- sn-|s s-'- ‘/¦¦'’
CHAPTER FORMAT
FORMAT 217
12
The third tab of the Format screen is called Slate. It provides control over a simple text character
generator used to burn into the image timecode, frame numbers, and simple custom text. To activate
|s || '| | |- ‘¯||'-’ |-| | | |- '- | ¯:|| ¯- s-| ¯|- |:'s |-|
become active.
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s¦' ¦|s : - -'-| | -s| -n | '|| | |- ‘–’ || '' -'n|- | -
from the burn-in.
Within the pop-up window, select items for display on the left and move them to the right list with the
:: || ‘¯-n-’ '' -'-- s-'-- -ns :n |- 's
Slate
Slate Tab
Slate Text Selection
FORMAT 218
/-: |- |s-| || -ns '' |- |:|| s-'- ‘·¦’ : s-'- ‘·|-'’ 's- |- ' |
with no change. When you close the pop-up, the items selected will appear in the Slate tab window.
There are a number of controls available that affect the display of the complete list of items. These
include Font, Color, Size, Background Highlight, and Opacity controls to make the text viewable on your
images. Use the X and Y position controls to move each item individually. First select the item in the
window, and type in position values, think of the image size, or use the up and down buttons. Then, go
to the next item and move it.
Custom Text
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descriptions to a Project. On the main Slate tab, select the chalk icon under the window listing the text
messages.
Viewer with Slate Text Enabled
Custom Text Dialog
13
Deck
CHAPTER DECK
DECK 220
13
DaVinci Resolve offers video and audio I/O under the control of the Deck screen. There are four main
sections of the screen. The right-hand side has two tabs, one for Ingest control and the other for Record
to tape. The left top section features a Viewer of the DaVinci Resolve or Deck Video output, depending
on mode and transport controls. Below this resides the Batch File Manager.
Deck
Deck Screen
DECK 221
Deck Viewer
The deck viewer displays the video DaVinci Resolve is sending to the deck when in Record mode, or
the video being ingested from the deck when Ingest mode. If you have a deck connected to DaVinci
Resolve, video with embedded audio and RS422 control, then select the Connect button on the left
of the screen just under the viewer and DaVinci Resolve will initiate a connection to the deck. You can
verify that the connection is made when the deck type is displayed, under the Connect button, and by
the status message displayed to the left of the transport controls.
There is an Event Log on the lower right of the screen, which keeps a log of all DaVinci Resolve to deck
communications so you can review this if connection is not established or is dropped. This Event Log
n |- s- s| |- ‘-’ || |-: |- ¦ | : '-:- | s| |- ‘·'-:’ ||
Once connected, you can utilize the transport controls to Shuttle, Play, Step or Stop the videotape.
¯:-' |-' |- :|s¦: |:'s | |- ¦|-' | |- ‘·||-’ || | |- ¯-| ¯ '|-'
will also see a number of other adjustments, all relate to the deck control.
Eject: Will eject the tape that is in the deck.
Non Auto Edit Timing: As also set on the Confg screen Project tab, some video
I/O cards perform automatic edit timing and in this case
the slider will be grayed out. For other video cards, adjust
this control to ensure accurate edit timing. Once set for a
particular deck it should not need to be changed.
Deck Preroll: The Preroll selection allows the user to change the deck
preroll (i.e., the position on the tape prior to the edit point
where the deck will start playing). This control mirrors the
setting on the Confg screen. The default is fve seconds,
which is usually long enough for most decks to lock.
Auto Edit: This selection is the same as on the Confg screen System
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the non-auto mode for older decks that do not support
auto edit.
Edit Mode ¯|s s-'-| '' '- |---| |s-: /ss-n|'- |
Crash modes, depending on record operation.
Deck Connection and Edit Controls
CHAPTER DECK
DECK 222
13
Using the settings on the Ingest tab you can ingest material for color enhancement or as an offine
reference to check the EDL conform of the hi-res material. DaVinci Resolve stores these ingested
images as dpx fles. To ingest material into DaVinci Resolve, frst verify that the deck I/O settings within
the Confguration screen match the standard for the deck and videotape that has been connected. You
should also verify that the conform rate set on the Confg screen is also set to match the incoming video
:- ¦- | |- ¯-| s:--| s-'- |- |-s | | |-| '| | |- ‘·||-’ || | s
under the Deck viewer.
If you are using the DeckLink HD Extreme 3 or 3D, you should also make sure the deck you connect to
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s| n- | |s n- |- -| '' s- ‘--:|'’ s| :--:-|- |'- | ¦' : |’ |-
an external reference generator like the Mini Converter Sync Generator, it will default to the internal
s| |-| |- -| s | :-: n- '' n'' s| ‘|¦’ s| ¯: | ¯ -| ||
-s | |- | ‘/’ n- - s-s ¦:- | --:|' s| s:- | s- |- :--:-|-
to ’External.’
Ingest
Ingest Tab
DECK 223
Source Timecode
To ingest just a section of the tape, simply go to the selected areas by using the transport controls under
the Viewer, or use the controls on the DaVinci Resolve control surface. Once the correct location has
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|-| H| |- ¦¦:¦:- ¦| | |- ¦- | s-'- |- ‘`:| ·’ || s-'- |- -| ¦|
There are Timecode Trim buttons to step the in and out points forward or back a few frames and you
can quickly cue to these points to verify they are as you like. Or, simply enter the timecode numbers for
the in and out points, if you know them.
You should then defne the path in your media storage where the ingested fles are to be stored. This
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a folder on the storage. DaVinci Resolve always makes SMPTE standard .dpx fles on ingest.
/ |s ¦| n '| | |- ‘·¦:-’ || s: |- |-s |- n|'' -|-:- |
In and Out point, the deck will cue to the In point, plus the defned preroll and begin ingesting material.
Once the Out point has been reached, the process will stop and the clip can be seen within the directory
where it is to be stored.
¯|-:- :- |-| | ¦|s | |- :- ¯n-- s-| \|-| ‘- H'-|n- |¦ ¯· |
Crash Record’ is checked, the timecode from the tape when performing a crash record will be used to
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an external LTC timecode source connected to DaVinci Resolve as the initiator for the flename.
Clip Name
The clip that you ingest to DaVinci Resolve can have a number of different metadata felds attached
that can assist in workfow and fle management during your project. You can apply a Reel Name to
a Folder, File Name, or the dpx header of the recorded fle, depending on which options are checked.
There is a feld to enter a Reel Name that will also add the text when transferring the ingest settings to
the Batch List.
You may apply a prefx to a File Name or a Folder. Simply checking the boxes next to each prompt and
adding the desired information will activate both items. There is also a setting for the number of digits
in the Frame Number.
Batch List Settings
The Batch List Settings on the lower left of the Deck screen can be used for controlling image ingest
based on an EDL. The events listed within the Batch List can be loaded using an EDL, or loaded from
the information on the Ingest tab, including the timecode and reel name from above. Within the Batch
List Settings display there are also controls for managing the batch list operation.
¯ ||'-s |- |-s- n-:' s- |- ‘/¦¦' =|'-s’ || | s- '- ¯|s '' :-
DaVinci Resolve to ingest additional material on the beginning and end of the edit points as required.
¯|- '- n |- -|-:- s| |- |n|-: | '- |- '- |- || -'- |- ‘/
Batches’ button to append additional entries to the Batch List display. The amount is selected by the
value to the left of the button.
CHAPTER DECK
DECK 224
13
|-:- s ¦ |---| -| '¦s |s n |- :-|- | |-|| |- ‘¦ ¯---| ·'¦s’
¦| ¯|- ‘·¦ ¯| ¦s’ || '' |:¦:- |- n|'' -|-:- |:n| | |- ¯¯¦
allowing the user to modify the EDL information. Further information on the Batch List section can be
found later in this chapter.
Audio Options
While DaVinci Resolve is a color grading and enhancement system, it will record and play audio,
principally to be used as a guide track during grading or for preview of the completed Project. To ingest
H:s s-'- |- ‘¯||'- / |-s’ |-|| ¯|-| s| |- ¦''| n-| s-'- |- :-
of the audio and then the number of audio Channels. You should also select the audio fle Bit Depth and
then a fle name and location to record the .wav fle. Use the ’Browse’ button to select a location.
Folder Options
To select the location for storage of the images to be ingested, use the Browse button in the Folder
Options section, or just type in the path. The individual frames of video will be labeled with their source
timecode or the code you select, with the appropriate metadata as you selected in the other sections
of this tab.
Capture
¯ s-'-| ‘·¦:-’ ¯| ¯-s'- '' s: |- |-s ¦:-:- ` | n|: |- ¦::-ss |
|- --: | |- ·¦:- ¯::-ss |: | |: |- ¦-:| | s-'-| |- ‘/|:’ ||
¯: sn¦'- 'n- s-|s | | ¦:-:'' :-:| |- ‘·:s| ¯-:’ || '' :-: n-:'
without a preroll. Once the ingest process is complete, the clips will be available in the folder you set
within your media storage. You can quickly check these within the Browse screen.
Disconnect
¯ '-- |- ¯-| s:--| s|' s||- |- -| | |- | s-'-| |- ‘·||-’ ||
You must disconnect from the Deck to leave this screen.
DECK 225
EDL Ingest
\|-| |- | ¯¯¦ | s- |- ‘¦ ¯¯¦’ || '- |- |n |- ¯| ¦s
display. Selecting this button will open a Browse window so you can select the EDL to load, and once
loaded, you will see the EDL fle name listed at the top of the window and all the events in the Batch
¦s ¯ |- :| |- ¯¯¦ |n- s |-| | ‘'s- ¯--' ¦n|-: : :|’ || s|' |-|
if you would like the EDL to be sorted by reel number, otherwise it will be sorted by source timecode.
¯|- ¯| ¦s s¦' s|s | --| |- ¯--' ¦n- |- ‘`:| |’ | ‘`:| ·’ ¦|s | |- ·'¦
Name that will be ingested into DaVinci Resolve. The check box on the left of each item in the display
will indicate when each event has been successfully ingested by displaying a white check in the box. On
the right-hand side of the display, the user will see if the images are available within the Media Pool and
nn-|s | / |- |n |- ¯| ¦s s¦' '| | |- ‘¦ ¯¯¦’ || |-:- :-
number of control buttons.
If you load an EDL and some images for that EDL are already in the Media Pool, there is no reason to
ingest them again so this offers a quick check to help reduce your ingest time. Using the active EDL,
DaVinci Resolve will show you the missing clips, making ingest of the remainder quite a lot faster than
the complete list.
·'|| | |- ‘-'- /''’ || '' ||'| '' -s || |- ¯| ¦s s¦' '| | |-
‘¯-'-- -'--’ || |s '' -'-- |- ||'|- - |:n| ¯|s -s |- ¦¦:|
to remove events from the batch and ingest only the selected sections from the EDL.
You can also ingest material using multiple EDLs. Particularly helpful for a TV commercial project. First
¦'- '' |- ¯¯¦s || |- sn- :-: '-: \|-| |- |- ‘¦ ¯¯¦’ || |:s-
|- :-: | |s |- ¯¯¦s | s- |- ‘|’ : ‘·:'·nn|’ ||s s-'- |- ¯¯¦s
Scan list export
¦s' |- |n |- ¯| ¦s s¦' s ‘||-: ¯¦:’ || ¯|s || '' -¦:
the events within the Batch List in a format that can be utilized automatically by an Arri scanner. The
scanner can then scan the flm and place the frames you need into the Media Pool with the correct
naming convention.
DaVinci Resolve can also optionally populate the Media Pool with the clip entries so you can continue
working as the scan is in progress. The images will appear automatically as soon as the scan has fnished.
Batch list for Ingest
CHAPTER DECK
DECK 226
13
Record
The Record tab provides controls to record images from the media storage disks to a video tape deck.
If you have a PowerMaster project it also offers control over the clips to be recorded from the timeline.
-'- |- ¦¦:¦:- '¦ :n s| |:s-: | |- ‘:- -'-|’ | ¯|-| :- |- -| |
'|| | |- ‘·||-’ || | ¦s| |- ¦- |- '| |-:- | :-: |-
n-s '|| | |- ‘`:| |’ || || |- ¯n-- | ¯¦- s-| ·: sn¦' |s- |-
appropriate section where to record the material on the tape by typing in a timecode.
·|-| |- /ss-n|'-|s-:·:s| s-| |-: |- --: n|- s:- ’s s :-:- ¦- \|-|
DaVinci Resolve is performing a Batch Output operation you can only select between recording the
'¦s | | /ss-n|'- - : ·:s| :-: ·'| | |- ‘¯-:’ || s: |- ¦:-ss
exporting the material to the tape. Once fnished, you can check the recording using the transport
|:'s : '| | |- ‘·||-’ || |- | :-'-s- |:' |- n||- ` '' |--
disconnect prior to exiting the Deck screen.
Clip Information
Within the Clip Information display you will see the timecode for the start and end of the clip, as defned
| |- '¦’s n- ¯:n |- s: | -| ¦|s |- ± | – ||s '' -|-: : s|:
frames from the values displayed.
The Gang Timecodes checkbox allows synchronization of the timecode from the tape with the timecode
on the clip. If you want the tape timecode to match the timecode of the clip, select this box and also
make sure your deck is confgured to accept incoming VITC (Vertical Interval Timecode) and to record
this to tape with the matching frame.
Deck Screen
DECK 227
Timecode on Tape
The Timecode on Tape display shows the In point and Out point where the images will be placed on the
¦- ` n n|'' n:| |- s: ¦| | ¦:-ss| |- ‘`:| |’ || : n:| |- ¦| |
¦:-ss| |- ‘`:| ·’ ||
Under the timecode display there is a check box for LTC. With a DeckLink HD Extreme 3 or 3D, the
longitudinal timecode is available on track 16 of the HD-SDI video signal so you can use a Mini Converter
de-embedder to extract this analog audio signal and feed it to a recording device. This is particularly
helpful if you have a downstream noise reducer that does not pass the VITC timecode. You can use the
LTC and bypass the noise reducer, compensating the delay using the LTC delay slider, making sure the
image and timecode reach the deck at the same time. With the DVS card there is a separate timecode
output.
Audio Options
\| / ·¦|s |-| |- ‘¯||'- / ·¦’ s s-'-- ¯| ¯-s'- '' ¦' :
aif audio fle with the images so both can be recorded on tape. Select the appropriate audio fle, then
s-'- |- ¦¦:¦:- s-|s : |- ·|||-'s ·s- | ¯ ¯-¦| s-|s 's- |- ‘·s- :n-s`’
control to sync the audio and video.
Batch Output Handles
If you are recording a number of clips to tape rather than a single timeline you can set up a batch list
of events, somewhat similar to the ingest process, and DaVinci Resolve will automatically control the
recording to tape with the correct timecode.
Often these are source clips and so to make later ingest easier, you can add black handles to each of
the clips. The Batch Output Handle display allows you to set Head and Tail Handles to the material being
recorded to tape. It will automatically add black before and after the clip material.
Source Selection
¯|-:- :- |s || |- :- -'-| s¦' || '' s| |---| ‘¯:n ¯s|’
| ‘¯-: `s-:’ ` | s-'- '¦s :n || |- n- s:- |- :-:- ¦- |-| |
the From Disk tab. Use the mouse to navigate to the folder with the clip you need and select. It will then
|- s¦'- | |- ‘·'¦ ¦n-’ | || | H| s |- |- ¯:-- ¯| ·¦ |
Record buttons.
CHAPTER DECK
DECK 228
13
Selecting the PowerMaster tab will open the PowerMaster clip selection display, which allows you to
select a series of clips or a whole timeline that may be recorded to tape while simultaneously applying
the color grading metadata. In this mode you do not have to frst render the material to a dpx fle before
recording to tape. You save time and disk space with Power Mastering and all the images are at full
quality.
Source Selection from Disk
Source Selection from Timeline for PowerMastering
DECK 229
Recording
·|- |- '- |- H'- :-: | s- ¦ |- |-: |H:|s s-'- |- ‘¯-:’ ||
to start the recording. A Record Progress bar will show the amount of the total clip transferred. If you
s| s¦ |- :-:| ¦:-ss '| | |- ‘/|:’ ||
¯ |-| |- :-:| ¦-:| ¦:: '' :-:| s- |- ‘¯:--’ || s |s '' ¦:--
the recording process without actually recording any material.
Batch Output
¯|- ‘¯| ·¦’ || s s- :-: n'¦'- H'-s ¦- 's- |- || 's | |- '-|| s-
|- s:--| '| | |- n| ||'-s ¦¦'- s s- | |- ‘¯| ·¦ =|'-’ |:'s
¯ n|- ¯| ¯-:| n'¦'- '¦s ¦- s-'- |- '¦s | |- ‘¯:n ¯s|’ |:s-: | :|
ns- '| | |-n ¯:n |- ¦¦¦ 's s-'- |- ¦| ‘/ ¯: ¯| ¯-:’
/ ¯| ¯-: '' |- '¦s | |- ¯| ¦s | |- s:- | '|| |- ‘¯| ·¦’ ||
DaVinci Resolve will make a crash record of the clips to tape with the timecode from the source clip
being recorded to tape.
14
Revival
CHAPTER REVIVAL
REVIVAL 231
14
DaVinci Revival
As the leading color correction and image enhancement system, DaVinci Resolve also works with
the DaVinci Revival, the leading system for flm restoration. DaVinci Revival has been used to repair
thousands of flms over the last ten years, and remains the backbone of many flm restoration facilities.
DaVinci Resolve and DaVinci Revival are operated in very different ways because the end product is
quite different. Grading is very creative and fowing, whereas restoration work is often detailed on one
frame for some time. Within DaVinci Resolve, the colorist can make simple Dirt and Dust touchups
using the repair brush, but more complex repairs, major dust busting, grain reduction, deWarp, deFlicker,
s|'.| -| - s|s :- |--: ¦-::n- | ¯| ¯-' || s ¦:¦s-|'
restoration system.
Other than the manual Dirt correction, DaVinci Resolve does not perform image restoration, but it does
provide details to a DaVinci Revival system for that repair. The Revival screen provides a list of clips and
frames, marked by the colorist, that the Revival operator can review.
There are three buttons in the main display that permit you to Refresh the list, Delete a selected clip from
the processing set or Delete All clips from the processing set. Also, on the lower right-hand side of the
DaVinci Revival display are the Grain Settings controls and presets. This area is used by the colorist to
establish grain settings, which are used by the DaVinci Revival system for grain reduction.
Revival Page
REVIVAL 232
Marking clips for Revival restoration
Clips are marked for restoration using the DaVinci Resolve control panels or via the right click pull-down
list on the Color screen timeline thumbnail for the current clip. The options, as described in the Color
chapter of this guide, are to Add the Current Frame for Dirt Processing, Add the Selected Clips for Dirt
processing, or Add the Selected Clips for Grain Processing. As each selection is made, the request will
join the queue listed on the DaVinci Revival screen.
Selecting DaVinci Revival on the control panels will display the control panel soft keys, giving you the
options for marking the frame or scene just as the mouse selection does on the Color screen thumbnail.
Revival Grain Settings
On the Revival screen within the Grain Settings area, you may set and save recommended settings for
grain reduction. These can be recalled later, adjusted to suit the new image, and saved again.
When you select one of the clips marked for grain reduction, the Grain Settings will become active. They
display the current status of the user controls for grain reduction. You can use these as is, or adjust them.
You can also save the settings as a preset.
Each time you select the same clip, the settings will refresh to show the values for that clip. Use the
’Load’ button to apply other presets to one or many clips.
Resolve Timeline Thumbnail (right click selection for Revival restoration)
Revival Grain Settings
CHAPTER REVIVAL
REVIVAL 233
14
¯|- s-: |:'s :-
Spatial (0-20): This control provides a blending of pixels with adjacent
pixels on a single frame. The edges are softened a bit in
order to reduce the fne grain noise. Since this is a spatial
control, processing of one frame does not affect adjacent
frames. A value of zero “0” will turn off spatial processing.
Noise Level (0-50): This control is used in temporal processing of the image.
This value represents a ratio of noise to motion. Higher
levels may tend to cause artifacts on some motion. For
grain, a value of 10-20 is a good starting point. When zero
“0,” there is no temporal or frame-to-frame processing.
Number of Frames (0-20): This value represents the number of frames plus and
minus of the processed frame in which averaging will take
place. This too, is a temporal control and a value of zero
“0” turns off temporal processing. Since it is a plus and
minus value, setting to 3 (typical) will process and average
/ :n-s ¯ ±¯ | |- ::-| :n-`
Patch Size (0-50): This control represents the size of the grain or noise
pattern to be processed. A setting of zero or one would
indicate pixels or grains, and should be used as such.
Higher settings like 40-50 could be used for a lower
frequency type of noise. A typical use for this would be
sn- '| :n H|-: | |- :| :-s ¦- =|
settings of Noise Level and Low settings of Patch Size can
cause motion artifacts with some images, so use caution
with extreme values for these controls.
Color Space: This is normally set to RGB to process noise and/or grain
in RGB space. It’s the recommended mode, especially
if the grain or noise has color. This is the highest quality
setting, but takes slightly longer to process. Processing
in YUV mode will process faster than RGB, however a
color space conversion is performed with this mode.
The Lum mode is for luminance-only processing and is
recommended only for black and white material. A color
space conversion is also performed for this process.
¯|- |-|| ‘¯||'- : s'-: | |--: ' ¦:-ss|’ s |:n'' s-'-- ¦:- |- |-s
image motion preservation and will take longer to process the grain reduction than when deselected.
REVIVAL 234
=-:- :- sn- :-nn-|- s:| s-|s : :| :-|
¦' ¯'-: · : | s¦' |'::|` . ¦` : ' :-s'| n-s ¯ `-n` :
high-resolution images (will potentially soften the image)
Noise Level - 20
Number of Frames - 3
Patch Size - 0-1
RGB Mode
Safe Enabled
=-:- :- sn- :-nn-|- s:| s-|s : |s- :-|
Spatial Filter - 0 (Off)
Noise Level - 20-30
Number of Frames - 4-8
Patch Size - 20-40
RGB Mode
Safe Enabled
Settings are very subjective and it is highly recommended some testing be done prior to committing a
large amount of work.
15
Scene
CHAPTER SCENE
SCENE 236
15
Scene
Scene Cut Detector
Often images are supplied in continuous recordings or single streams of fles without an EDL to split the
clips. As DaVinci Resolve associates color grading metadata to each clip based on source clip timecode,
any long media fles which include a number of clips must have either an EDL or be split into individual
clips so the grade can be applied.
Splitting clips can be done manually on the Color screen or automatically in the Scene Cut Detector.
Loading Clips for Scene Cut Detection
\|| |- ¯:s- s:--| ·'¦ ¯-'s :- ||'| '¦ | :| ns- '| s-'- ‘-|- ·
Detection.’ This will automatically load the selected clip into the Scene Cut Detector and switch to this
s:--| -'- ‘: ¯--|’ |-| ¦:-ss|
Browse Screen Clip Window (Right Click)
SCENE 237
The top of the screen displays three images. The left image is the last frame of a detected clip. The
center image is the frst frame of the next clip and the right image should be the following frame.
Logically, the last frame of a clip will be different from the frst frame of the next, and so this timecode
represents the scene cut. The second frame of a clip is very likely, unless they are one frame edits, to be
similar to the frst frame.
If the left and center image look similar, the Scene Cut Detector has mistakenly identifed this as a cut
point. See the description below for guidance to resolve these false positive points.
Scene Cut Viewers
Scene Window
CHAPTER SCENE
SCENE 238
15
Scene Cut Detector Controls
Below the left image are the controls for the Scene Cut Detector. There are three main groups of controls
for the Scene screen and their operation is as follows.
Automatic Scene Detection
: ¯--| ¯|s '' s: |- s-|- --| ¦:-ss
/ ·- \|-| - |- ::-| :n- :s: '' n¦ |- |- s-|-
when detected, and the scene cut will become immediately visible within the
Viewer.
Scene Marks
/ \|-| '| | |s || '' n|'' s-|- |- ¦s|
of the current frame indicator within the Scene Cut Detector graph.
¯-'-- ¯|s '' -'-- |- s-|- '- |- ¦s| |- ::-| :n-
indicator within the graph.
| ¯|s '' |s-: :- -:' '|- | |- :¦| : |- ¦:¦s-s --|''
performing a Prune function.
· -'-| |- · || '' |s-: -:' |'- '|- | |- :¦|
indicate an out point for the purposes of eventually performing a Prune
function.
¯:|- ·|- |- s-'-- |- ‘|’ | ‘·’ ¦|s || |- -|- ·
Detector graph by clicking on the In and Out buttons, the next step is to click
on the Prune button to eliminate any scene cuts between these points.
¯-s- ¯|s '' '-: | | | · ¦|s
Export/Import List
¦' ·|- |- s-|- --| ¦:-ss |s |--| n¦'-- s-'-|
“Split” will split the clip into individual clips based upon the scene detection
information and load these clips into the Media Pool.
- ¯|- s-|- --| |:n| |'| |- ¦:||' n- ''
be saved to disk. These fles are recognizable as they end with a “.sc” and are
useful to later re-cut a clip.
¦ ` | s-'- | -s| s H'- | ' | |- 's
- ¯¯¦ ¯¦: |- s-|- --| |:n| | ·``s'- ¯¯¦ :n
¦ ¯¯¦ ¯|s '' ' ·``s'- ¯¯¦ | '' s- |- |:n| :n
the EDL in the Scene Cut Detection process.
SCENE 239
The bottom half of the screen is dominated by the graph used to display the results of the Scene Cut
Detector’s analysis of the images. As the Scene Cut Detection process is taking place you will see a
visual graph forming. Once the process is completed, the scene changes are listed in the column to the
right of the Scene Cut Detector graph.
The horizontal green bar within the Scene Cut Detector graph represents the sensitivity level for the
detector. If you click and drag it upward, it will lower the sensitivity, and if you lower the bar, it will increase
the sensitivity. When either of these functions are performed, the calculations of where scene cuts occur
will immediately be updated on the cut list.
DaVinci Resolve enables you to adjust the sensitivity of the detection process even after the analysis
has been performed. This is a signifcant time save in reducing false positive selections and also permits
dynamic review of the cut list.
Scene Cut Detector Graph
Scene Graph
CHAPTER SCENE
SCENE 240
15
Cut List
The right side of the Scene screen displays scene and frame numbers with their timecodes and
represents the cut list as generated from the Scene Cut Detection. This list can be saved, recalled, or just
used to split the clip and load the fles into the Media Pool.
Cut List
SCENE 241
During or after the Scene Cut Detection process you can begin reviewing the Detector’s analysis of the
image to make sure your cut list matches the actual scene cuts. While the Detector is effcient, it can be
confused by motion, camera fashes, or even the rolling up to and down from full flm speed where the
s|-: | - n'¦'- ‘Hs|-s’ ¯|- |'ss s '|| : ':- ||-s | |- n-
The simple method, and fastest way to check to see that the scene cuts are accurate is by pressing
the “N” and “P” keys on the computer keyboard to view the “Next” and “Previous” scene cuts. Look for
the left image to be different from the center and right image. If they are, this is likely to be a scene cut.
As each correct cut point is confrmed, select ’N’ to jump to the next prediction. If the spikes on the
graph are very close together or no cuts are detected, you may need to modify the position of the
horizontal green sensitivity bar and start the cut review again.
If the material which is being scene cut detected, contained certain types of motion which confused
the Scene Cut Detector, you might encounter a group of spikes within the graph that may contain
|n-:s 's- ¦s- s-|- s ¯ -'-- |s |:n| s- ‘¯:|-’ :n s-|- s ||
are grouped between the marked “In” cursor point and the marked “Out” cursor point. Once the marked
| | · ¦|s :- n:|- | |- ‘¯:|-’ || s s-'-- |-s- s-|- s '' |- -'--
Reviewing the Detected Cuts
Scene Cut Detection Controls
CHAPTER SCENE
SCENE 242
15
Splitting and Saving Cut Lists
·|- :- ssH- | |- s-|- |:n| s ::- |- |- s-¦ s ¦:-ss |- ‘¦'’
button. This will create separate clips based upon the Scene Cut Detection information, the cut list,
and will load these clips into the Media Pool. From there you can begin your Project by creating the
conformed timeline and start grading.
If you have used the Scene Detector to create a cut list for exporting to another device you can save a
CMX-style EDL format list that most professional editing systems can use.
Save the cut list
16
Render
CHAPTER RENDER
RENDER 244
16
The Render screen is used to set up the confguration and initiate rendering of the timeline images.
DaVinci Resolve is not restricted by this limitation and this provides you with signifcant workfow
advantages.
A simple example of this is using 2K source material and an HD image processing timeline and then
setting DaVinci Resolve to render in ProRes 444, and then render in MXF Avid DNxHD, and then 2K
DPX. All the settings are confgurable and permit mastering in all the formats you need without having
to change the timeline processing resolution.
These renders are always performed at the highest resolution possible. If the source clip is 2K and you
have an HD timeline but wish to render in 2K, no problem. DaVinci Resolve will use the source clip and
apply the metadata for that clip as directed by the color correction list with a single resize of the image.
` | ¦-| |- ¯-|-: s¦' :n || |- ·': : |- ¯:n s:--|s | ¦:-ss| |- ‘·nn|’
| ‘¯’ |- | |- ` |-|: : s| |- n-| |: ¦''| ·| |- ¯| ¯-s'- |:'
s:- | 's s-'- |- ‘¯-|-:’ || || s | |-: |- | s|'- |:' : s-
‘·|:' ¯’ | |- ¦'' |-|:
Render
Render Window
RENDER 245
Render Timeline
The Render Timeline displays the same clips as shown on the Color screen. If you have different versions
of clips to render, make sure they are selected on the Color screen timeline.
's| : ns- | s-'- ¦s| | |- n-'|- | |- :s: | |-| s-'- ‘`:| |’ :
‘`:| ·’ :| '| : |- ||s |-' |- |n||'s ¯|- n-'|- '' s¦' :--| n:|-:
|- s-'-- | ¦| | :- |- · ¯| ` | 's s-'- ‘¯-: /''’ :n |- n-'|- :|
click option. In each case, the in and out times and the total frame count will be updated.
Render Timeline with Mark In and Out Controls
Render Timeline (Right Click)
CHAPTER RENDER
RENDER 246
16
Render Thumbnail (Right Click)
There are a number of options in this thumbnail right-click menu and almost all are the duplicates of
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RENDER 247
Render Properties
All the settings in the Render Properties section of the Render screen are important when confguring
DaVinci Resolve to render fles. They provide great fexibility and workfow effciencies, so they will be
described in detail below.
‘: :-:| ’ |-s |- n-- | '' |- :-:- | |- ¦ H'- |--: | |s |n|-:
is also used to label the fle, as a frame count. When rendering a timeline there is a logical count of
the frame numbers, permitting simple clip playback on other devices. While typically set to hour one,
you may fnd it useful to start each reel for a feature flm with an increment of the hours. Reel two, for
|s|- ' s: .
Typically, image fles are rendered using no Prefx or Suffx and a standard eight-digit length of the File
Name. You can type your own prefx and suffx labels to be used in the fle path when rendering or by
checkbox selection use the Source Prefx, Suffx, and number of Digits.
The Number of Digits selection allows the user to enter the amount of digits required for the recorded
fle. This is particularly useful to make the rendered fles immediately readable by another manufacturer’s
system.
Render Properties
CHAPTER RENDER
RENDER 248
16
¯|- |- s-| s |- ¯:n- ¯- |- :-|-: ¯|s |n|-: s ¦'' |- sn- s |- ‘·|:n’
frame rate as selected on the Confg screen, but on occasions you may wish to set this to a variation of
this conformed rate. This will adjust the metadata recorded within the fle and is again to aid playback
for the range of systems available in the market. Use the pull-down to select from the available options.
Output Size settings are simply the resolution for the fnished rendered fle. Just like the Frame Rate
described above, the width and height as defned within the Confg screen are automatically displayed
but are still editable. This setting is also guided by the Output Type set in the pull-down just below the
Output Size. Some fle formats require specifcation of the resolution by fle type and in this case the
Output Size settings will revert to the fxed format as defned by the standards.
Output File Formats
This list defnes all fle formats and resolutions currently available on your system. What is shown will
depend on whether you have the Final Cut Pro QT and ProRes libraries and the Avid File Support
License. Other render fle formats will be added over time, so be sure to check each new version for the
latest supported formats.
Recording Mode
The next section of the Render Properties display manages the selection of the Clips, Versions and
¯n--s ¯|-:- :- :-:| n-s :- n- '' :-|-: |- '¦s | s-|| s:-
timecode order with the timecode of the source clip, not the timeline timecode. Target mode will render
the clips in the order of the Default or Master Timeline, or of the session selected. The timecode recorded
in each frame will be the timeline timecode.
Render Properties (Detail)
RENDER 249
The one check-box option in Target mode is to Replace Holes in the timeline with blank frames, rather
than to render with the clips rippled along to close the gap.
When Source mode is selected there are two main options to consider. You can select to Record Each
Clip to a Separate Directory, remembering these are source clips with their timecode. This is commonly
used when rendering VFX shots for further post work to allow the VFX department to identify clips
quickly and distribute the work.
Commercial Workfow
¯| ¯-s'-’s ‘'s- ·nn-:' \:|H’ s-| '' :n'' sn¦' :|| | -:s|s
grades and provide graded versions in a format that is easy for the other departments in a post house
to use.
\| |- ‘'s- ·nn-:' \:|H’ |-|- ¯| ¯-s'- '' n'' :-|-: '-:|- ¦ss-s
pertaining to different versions of grades. This is typical of TV commercial work where you have two or
more versions of the grade for each scene. As the source clip has one logical timecode, regardless of
how many graded versions are made, you can’t simply render this clip fve times and put it in the same
folder. All of the timecodes and fle names would be the same, so you would end up with one version -
the last you rendered.
Selecting Source or Target Recording Mode
Commercial Workfow Options
CHAPTER RENDER
RENDER 250
16
¯|- ‘/'-:|- ¯ss ·s-’ n- |:' ''s s-¦:- |- -:s|s n-- | s- ¯:
-n¦'- |- -' -:s| '' |- . | s-'- n|- s- | |- /'-:|-
¯ss ·s- n-- -|: |- s-| :- -:s| |- '¦s '' |- . | |- |:
-:s| .. -
You can offset the clips by whatever value you like, but the idea is to make it easy for the editor and
VFX guys to fnd the versions of the grade. If the clips are shared to the fnishing artist, they know the
alternative pass (the other versions) will be 10 minutes apart, or whatever you set. It’s easy for them to
change the clip version just by adding 10 minutes to the time. To further simplify the workfow, you can
put the separate source reels in separate folders.
¯|- ‘·'¦s | -¦:- ¯'-:s’ ¦| '' n'' ¦'- '-:|- :-s '¦s | s-¦:-
'-:s |-| |-|- ¯|- ‘'s- -:s| ¦n- : ¯'-:’ ¦| '' '|-' |- '-: | |- |n-
assigned to the alternate version. On the Color or Render screen you can select a thumbnail with a
right click and rename the version. Again, this is to assist in the facility workfow while sharing material
between suites and applications.
s| -'- -:s| |- :-|-:- sn¦' s-'- |- ‘¯-|-: ¯s|'-’ ¦| |-| :|
mouse clicking on a clip within the Thumbnail Timeline display on the Color screen.
Stereoscopic Render
DaVinci Resolve offers stereoscopic 3D operation with all systems, and with the appropriate hardware,
:-' n- :| | ¦'|| s:-ns n-s |- '- | :| --
When it comes to rendering these projects there are two options. For the highest quality render each
timeline separately (i.e., each eye) /'-:|-' s- |- |-|| ‘¯||'- -:- ¯-|-:’ | ¯|
Resolve will render a side-by-side image with the left eye on the left-hand side and the right eye on the
right.
Selecting Versions to Render or Disable
RENDER 251
Other Render Properties Settings
Some storage systems are shared by multiple applications in a facility and often these storage area
network (SAN) based systems have suffcient bandwidth for only a single stream of images to each
user. With DaVinci Resolve’s super fast render speed this may cause playback problems with other users
on the SAN if the storage bandwidth is insuffcient. You can set the Render speed, which is typically set
to Maximum, or throttle down the render speed to limit SAN bandwidth usage to between 1 to 50 fps.
¯|- ‘| \¯` :| ¯-:|’ n- '' ¦- |- \-:n s¦' :| :-:| |-|
have a separate DaVinci Resolve waveform server. This option is applicable to Linux systems.
¯:| :-|-:| s| s| ‘·nn-:' \:|H’ |- |:-- ¦|s :-:| H ¦ss
|:' ¯|- s-|s :-
` s-'- |- ¦| ‘·’ |- ss-n '' 's ¦¦' ': ::-| : '' -:s|s
all clips before rendering to disk.
.` ¯|- ¦| ‘¯:- ·|’ |-| |-|- '' :- |- ss-n 's s|'- ': ::-|
for all versions of all clips before rendering to disk.
3) If the user selects option “Use Clip Setting” for each version of a clip, the system will check
that version’s pass fat fag which is set with a right click on the thumbnail. If it is turned on,
the system will disable color correction for that version of the clip. Otherwise, it will apply
color correction for that version of the clip.
\|-| |-| |- ‘¯s|'- |¦ ¯¯¯¯’ | ¯| ¯' ¯n : ¯|s '' | |- :-|-:- | |-
material.
Additional Render Properties
CHAPTER RENDER
RENDER 252
16
Render Path Settings
¯|- :-n|| -ns | |s | :-'- |- ¯-|-: ¯| s-|s ¯|- ‘:- ¯:-: ¯:-s-:-
Level’ selection will retain the source fle directory structure when rendering material. It will automatically
create sub directories to match the source fles. This is followed by an indication of the storage use
showing the amount of space available within the target storage area and the new usage based on the
selected timeline or clip for rendering.
Should you use Batch Recording, there is a progress bar and status display showing the Batch Render
progress, covered later in this chapter. Use the Browse button to select the location, or type it in directly.
'|- 's -H|- ‘¯-s|| H’ | '' |- ¦¦'- |- :-:- H'-
¯|- ‘¯-|-:’ || '' |- |- :-|-: ¦:-ss |s- | '' |- s-|s | |- ¯-|-: ¯:¦-:-s
display. This will bring up a prompt, in place of the Render window, that shows you the progress of the
render. You can watch the Viewer as DaVinci Resolve is rendering and note the render speed on the
top left of the Viewer. A Render Progress window will also be displayed on the Color screen during the
render. Should you wish to interrupt or cancel the recording process and close the Record Properties
window, select the ’Cancel’ button.
Render progress dialog as seen on the color screen during the render
RENDER 253
DaVinci Resolve offers the ability to set up multiple render confgurations and make a Batch Render list.
No renders are actually made from this list, however it is useful for render management and allows you
to set up different resolution, fle type, and path settings as batch requests.
The Batch Render list shows confgurations set in the Render Properties display. After you have made
'' |- s-|s : :-|-: |s- s:| |- :-|-: s| |- ‘¯-|-:’ || | |-s-
s-|s |- ‘¯| ¯--s’ 's 's- |- ± :--ss | -'-- |-n ¯|- '| sn|' s
used to avoid accidental changes to the settings of requests in the list and the refresh symbol to update
the list.
If you select and highlight an event within the Batch Request list you will notice that the properties on
the left side of the screen, the Render Properties, will all update to those saved in that batch request. If
you have selected an item in the Batch list you can then start a render using the Render button, or use
‘/ ¯-|-: ·--’ ¦ |s |H:| | |- ¯-|-: ·-- s |-' |- ¯| ¯--ss
list. This will remove the item from the Batch list.
Batch Render
Batch and Render Managers
CHAPTER RENDER
RENDER 254
16
¯|- ¯-|-: ·-- ''s :-- -- |H:|s |- :-|-:- ·'|| | ± ''
|- |:n| | |- -- :n |- ‘¯-|-: ¯:¦-:-s’ s¦' | '' :-n- :n |-
-- /s -s:|- |- s| |- ‘/ ¯-|-: ·--’ || '' n- ¯| ¯--s -ns
into the Render Queue.
All items added to the queue are placed at the bottom of the list. Use the up and down arrows to move
the priority of the event in the list. You can select queued items, which update the Render Properties
s¦' | |-| s-'- |- ‘¯-|-:’ || : | |- |- ¯-|-: ·-- -'-| ‘: /''’
will begin rendering of all the items, one at a time, in the Render Queue. The status display on the right
of the Render Queue window will show you the status of each event.
¯|- ‘: ¯-||’ || '' |- :-|-: '' '¦s | |- -- | |- | ':- |--|
:-|-:- ¯|s s s'|' -:-| |- ‘: /''’ || || '' :-:-|-: '' '¦s | |- --
regardless of if they have already been rendered or not. You can stop the current event from rendering
| ¯| ¯-s'- '' |-| ¦:-- n'' |- |- --| : | s-'- ‘¦ /''’
cancel all renders. The list will remain active so you can start again later, or modify and start again.
Render Queue
Render Queue
17
Stereoscopic Grading
CHAPTER STEREOSCOPIC GRADING
STEREOSCOPIC GRADING 256
17
With DaVinci Resolve on Mac systems, monitoring of Stereoscopic images is via the HD-SDI output
where you can select a Side-by-Side or a Line Mesh output to be fed to your Stereoscopic 3D monitor.
Of course there are bandwidth from disk issues, and a limited GPU count for processing, but principally
you can grade and review a Stereoscopic project on the MacPro platform.
On single chassis Linux systems performance is similar to the MacPro, and just like the MacPro, the HD-
SDI from the DeckLink provides the stereoscopic monitoring feed. On both platforms you select the
‘¯||'- ¯¯ `|:|’ ¦| | |- ·|H s:--| -|s | | |-| : ¯¯ n-s| ¦- n|
your display.
¯|- ':-: s-:-s¦ ¦| ss-ns | |- ¦¦:¦:- |::- s¦¦:s =.. | === ¯¯ :
``¯ n|:| =¯ :-s'| : -| -- ` | 's |H:- |-s- ss-ns | n'¦'- ¯'s
: .± |-s :| | '' -:-s¦ ¯¯ | :-' n- ¦-::n|-
Creating a Stereoscopic Project
You can create a Stereoscopic timeline by either using Pre-Conform or a conformed workfow. Either
way, in the Browse screen Media Pool folders, make a folder for each eye. Place your left eye material in
the left folder and right eye in the right. Even a non-3D project may be converted to a 3D project at any
time, just by adding the second eye in its own folder.
With your source images in the two separate folders in the Media Pool, create the default timeline in the
Conform screen. Next, load an EDL or use Pre-Conform and create the timeline using the images only
from the one eye. Select the appropriate Media Pool Folder when loading the EDL. Right mouse click on
that eye on the Conform timeline and assign it to either the left or right eye as appropriate.
For the second eye, the process is repeated using a corresponding EDL and choosing the alternate eye
for this timeline. The result is you have a master timeline with all the clips and two EDL based timelines
with each associated with an eye.
Grading Stereoscopic 3D
On the Color screen you can easily switch between viewing mono and stereo grading at any time by
right mouse clicking within either the Viewer area or the Thumbnail Timeline. A right mouse click within
the Viewer area allows you to switch between mono and stereo. A right mouse click within the thumbnail
display area gives you the added fexibility of selecting either the left or right eye to be viewed.
Within the Thumbnail Timeline, a right mouse click will also reveal the Ripple Link function. When the
you select Solo mode via the Ripple Link option, the selected eye may be graded separately. When
Gang is selected, the grading is automatically applied to both eyes. There is also the ability to Copy and
Swap corrections between eyes. Additionally, Local Versions created with one eye are automatically
copied to the other eye.
There are various Batch modes that are used for stereoscopic grading that are available when you right
ns- '| || |- ¯|n||' ¯n-'|-
Stereo Batch Copy: This function will copy all grades from one timeline to the other.
Stereo Batch Sync: This will copy grades when the Node Graphs match.
Stereoscopic Grading
STEREOSCOPIC GRADING 257
Repositioning the image can be in either Solo or Gang mode. When adjustments are made in Solo
mode, they will be applied to only the selected eye. Alternatively, when an adjustment is made in Gang
mode, the adjustment is automatically applied to the other eye.
¯|-:- :- 's :s ¯| n-s | | |- s- : n- sn-| s -¦'|- |-'
Opposite: When selected, the convergence control will move the images left and right
to change the convergence point
Link-Zoom: \| ¦||¯n s-'-- |- n- '' 's H'' |- s:--| :-:'-ss
the convergence setting by zooming the left and right eye images.
Color Screen Viewer Stereo Display Options
¯ ¯s¦' || --s : -:-s¦ ¯¯ ¦:-s H:s |-- |- |- ‘¯||'- ¯¯ ¯s¦'’ |-|
box selected on the Confguration screen. Then, on the Color screen viewer, the Stereo Display options
are available.
‘¯s¦' ¯| ¯-s : ¯¯’ '' :| | | |- ' -- s¦' | |-| | s-'- :n |-
mesh options, Side-by-side, Line mesh, Checkerboard and Difference. The Side-by-side and Line Mesh
are designed for your 3D display and the Checkerboard and difference for your 2D display. You can also
set the Checkerboard size to assist in match grading each eye.
Stereoscopic Viewer Right Click Options
CHAPTER STEREOSCOPIC GRADING
STEREOSCOPIC GRADING 258
17
Color Screen Status Display
There are four status display items for Stereoscopic grading.
Convergence: ¯|- n-s :- ·¦¦s- | ¦||¯n \|-| | ·¦¦s-
mode the convergence control will move the images left
| :| ||- |- |-:-|- ¦| \| ¦||¯n
selected, the image will always fll the screen regardless of the
convergence setting by zooming the left and right eye images.
Stereo Grade: The two stereo sessions can be graded in Gang mode, where
both eyes have the same grade applied or Solo mode where the
two stereo sessions are graded separately. Grading change in
one eye would not affect the other eye.
Stereo Current: This indicates which eye is being displayed in the viewer and for
the HD-SDI output if a single eye display is selected.
Stereo Display: If you have enabled the 3D display in the viewer options, or via
the panel, this indication will be Stereo, alternatively it will show
Mono.
STEREOSCOPIC GRADING 259
Thumbnail Timeline Menu Options
Stereo Batch Copy: Will copy the grading of the clips in the current session to the
corresponding clips in the other eye session.
Stereo Batch Sync: Clips in the current session may have different Node Graphs
from their corresponding clips in the other eye session. This
operation checks though the clips and detects the difference
in Node Graphs. If Node Graphs are different in corresponding
clips, the grading of the clip from the current eye would be
copied to the corresponding clips in the other eye. This results
in the clips in the two sessions with the same graph and same
grading.
Stereo (sub menu)
Grade Copy L/R or R/L: In Clip/Unmix session mode, this copies the grading from
selected clips to corresponding clips in the other eye.
In Track session mode, this copies the output grading for the
current track to the corresponding track with the other eye.
Grade Swap L/R: In Clip/Unmix session mode, this swaps the grading from the
selected clips to corresponding clips in the other eye.
In Track session mode, this swaps the output grading for the
current track to the corresponding track with the other eye.
Swap Output: Swaps eyes to the output on a clip-by-clip basis. This parameter
is retained in the list to compensate for editing/conform errors.
There is a visual indication when this is enabled, in the form of an
orange outline around the VSR in both eyes.
This would only be effective when there is only a cut transition
to and from the clip in question in a parse pre-conform workfow,
but would support all transitions in a conforming workfow.
Ripple Link
Gang: The two stereo sessions are graded together. At the same time,
the delta between the two eyes is preserved and incremental
changes are applied relatively.
Solo: The two stereo sessions are graded separately. Grading change
in one eye would not affect the other eye.
Left/Right: The two stereo sessions are graded separately. Grading change
in one eye would not affect the other eye.
Switches to the selected eye: The viewer image and timelines would be updated for the new
session. Grading changes are made to this eye only when in solo
mode.
18
Remote Grading
CHAPTER REMOTE GRADING
REMOTE GRADING 261
18
To enable colorists to work interactively with their clients across the globe, DaVinci Resolve offers a
remote grading option. It allows two matching DaVinci Resolve systems to be synchronized via an
Internet connection such that changes made on the colorist’s system are immediately sent across and
applied on the client DaVinci Resolve.
Cue commands are also synchronized to ensure that both systems are always on the same frame in the
timeline. Starting/stopping playback on the colorist’s DaVinci Resolve would do the same on the client
system. While a remote grading session is in progress, inputs from the user at the client DaVinci Resolve
will be ignored.
Currently, the remote grading feature supports only color correction and does not allow editing or
conforming during a session. The two DaVinci Resolve systems must have matching sessions and the
number of clips, clip durations and system resolutions must match. The requirements and limitations of
a remote grading session are summarized below.
Requirements
• ¯|- ¯| ¯-s'- -:s| s:- ns |- |- sn- | || ss-ns
• ¯|- ss-n :-s'| ns |- |- sn- | || ss-ns
• ¯|- n-'|- ns |- s-¦ ¦:: |- s: |- :-n- :| s-ss|
• ¯|- |n|-: '¦s | |- :| -| '¦ ns |- -|'
• ¯:| |- s-ss| |- - s-ss| | -:s|s | |- '-| ss-n :- ¦- ·:-|
deleting a session or switching a session on the colorist’s DaVinci Resolve is not allowed. Doing so
would terminate the remote grading session.
• ·| |- '-|’s ¯| ¯-s'- || s ||| |' |- :-n- :| s-ss| |s
ended.
Setup
• ¯ s: :-n- :| s-ss| |- '-| ¯| ¯-s'- s|' |- |'- ||- |- ':s’s
system using TCP/IP.
• ·| |- '-|’s ¯| ¯-s'- |-- ¦:-ss ·:' ± | |- |-|: / | s s¦'- |
text felds to enter the IP address and port number of the colorist’s system.
• - |- ¯ :-ss H-' |- ¯ |- ':s’s ¯| ¯-s'- |- ':s’s ss-n s | ¦|'
IP, the port number can be left at the default value (15000). If the colorist’s system is on a private
network, the port number should be set to the port on the public IP that is internally routed to port
15000 of the colorist’s DaVinci Resolve.
• ·|- |- '-| '|s | |- “·||-” || |- '-| ¯| ¯-s'- '' : -s|'s|
connection with the colorist system.
• \|-| |- ||-| s -s|'s|- ¦¦¦ ¦¦-:s | |- ':s’s s:--| s|| : ¦-:nss|
accept the Remote Grading connection.
• ¯ -¦ '| “·¦” n|n.- |- ¦¦¦ | ||- :| |:n''
The Remote Grading session will remain active until one of the users chooses to disconnect or when an
error occurs causing DaVinci Resolve to automatically terminate the session.
Remote Grading
REMOTE GRADING 262
Restrictions
To allow operation over low bandwidth and potential long latency Internet connection there are some
restrictions to remote operation.
• :||| s''s | |- ':s’s ¯| ¯-s'- '' | |- | -- | |- '-| ss-n s | s''s
will be grabbed on the client system.
• \¦-s | |- ':s’s ss-n '' |- | -- | |- '-| ¯| ¯-s'- / | n- |- '-|
system will display the same frame as the colorists but without the wipe (or with whatever wipe was
enabled before the remote grading session was started).
• \|-| ¦'|| s s:- |- ¦'|| s¦--s | |- ¯| ¯-s'-s n -: ¯|- :n-
positions will only be synchronized when playback is stopped.
• |¦¦s¦' ¦'¯s ¦¦'- :n |- |H ¦- | |- ':s ¯| ¯-s'- '' | |-
any effect on the client system. LUTs selected on the client DaVinci Resolve will be applied instead.
• ¯:-s-s ¦¦'- :n |- |H': ¦-s | |- ':ss ss-n '' | |- | -- | |-
clients. Presets selected on the client DaVinci Resolve will be applied instead.
19
DaVinci Resolve Control Surface
CHAPTER DAVINCI RESOLVE CONTROL SURFACE
DAVINCI RESOLVE CONTROL SURFACE 264
19
The DaVinci Resolve Control Surface panels feature workfow ergonomics and ease of use so Colorists
can quickly and accurately construct simple or complex creative grades. The panels feature high-
resolution liquid crystal displays (LCD) and backlit hard keys to accommodate a darkened grading
environment. The color and intensity of the keys and the LCD panel brightness are user programmable
so each Colorist can set up his/her personal panel confguration.
There are three panels in the control panel set. The center panel is the Trackball panel. The majority of
controls and feedback for the Colorist is found on this panel, including a slide-out keyboard.
On either side of the Trackball panel are two interchangeable panels, the position of which is determined
by operator preference. The T-bar panel, shown above on the left, has a T-bar mix/wipe control and a
number of menu and function keys. The Transport panel, shown above on the right, has the timeline
transport controls and a jog/shuttle control as well as a numerical keypad and associated function keys.
All panels have soft keys and variable control pots within the LCD panel, which provide an accurate
visual reference to the control without the risk of parallax errors. Given that so many of the controls are
menu based, this User Manual will describe each of the hard keys and controls and then, separately, the
menu structure and controls of the soft keys and variable pots.
A key feature of the panel design is the feedback given to the Colorist. The LCD panels provide a
color and value indication based on the last control adjusted. The hard keys also refect the last button
pushed and, in some cases, other keys on the panel are illuminated or dimmed based on the menu
options available for the operational mode selected.
Shift Key Convention
Before describing the hard key operation, it is important to understand two keys on the left and right
panels. These shift keys, Shift Up and Shift Down, provide access to potentially two more functions on
each of the next key selected.
DaVinci Resolve Control Surface
DaVinci Resolve Control Surface
DAVINCI RESOLVE CONTROL SURFACE 265
¯: -n¦'- | |- ¯-: ¦|-' |- |- s| ¦ |- s |- ¯s- `-n |- s-'- ‘| '¦’
| |-| ‘¯s- `-n’ |- ¦-:| s ¯s- `-n /¦¦ s -s|- | |- ¦¦-: '- :|-: |-
¯s- `-n |- ¯ s-'- ¯s- `-n ·::-| H:s s-'- ‘| ¯|’ |-| ‘¯s- `-n’ ¯ ¦-:n s
| s|'-||- ¦-:| |s || -s | :-:- |' |- ’| '¦’ : ‘| ¯|’
|- |'- s-'-| |- s-| |- s s-'- |-n s--|'' H:s |- ‘|’ |- |-| |- ||
T-Bar Panel
The T-Bar Panel, typically located on the left for a right-handed Colorist, has a LCD display with four
variable controls and nine soft keys. The lower section of the panel houses the T-bar and six groups of
hard keys.
While the soft menus, keys, and variable pots will be covered in a later section of this chapter, here is a
description of the groups of keys and the individual key function.
Mode Control Group
The Mode Control group provides navigation to many of the UI screens and also a few commonly used
functions.
Confg: This key selects the confguration UI screen where you will set
up DaVinci Resolve for each project.
Browse: On the Browse screen you can review fles on the attached
storage, or if you have a storage area network, you can
directly access the SAN. You can see details of each fle,
play the clips for verifcation, and then associate them to the
Project by putting them into the Media Pool.
VSR (Shift Down Browse): This selection is reserved for future use.
Conform: Selects the Conform screen. After placing the Project’s clips
into the Media Pool, you will generate a default timeline and
associate EDLs in this screen.
Deck (Shift Up Revival): The Deck key selects the screen for deck I/O. This same
screen is used to control a batch capture of clips from some
flm scanners.
Revival: This key opens the DaVinci Revival screen to show the fles
selected to be sent to a DaVinci Revival system for Grain
reduction or Dust busting.
Scene (Shift Down Revival): To select the Scene Cut Detection screen select the shift
down key followed by the Revival key.
Current ~ Viewer: This key toggles between the screen you are on and the
Viewer screen so it’s a quick way to see the image at full
screen on the UI display.
Object Track Mode: The Object Tracker is best viewed on the Viewer UI. This key
selects this screen and also opens the Object Tracking menus.
CHAPTER DAVINCI RESOLVE CONTROL SURFACE
DAVINCI RESOLVE CONTROL SURFACE 266
19
Clip/Track/Unmix: This is a toggle key. The color corrections in DaVinci Resolve
are generally associated to each individual clip and so most of
|- n- '' |- | ‘·'¦’ n- ·s|'' n s|
to make a grade or correction, enhancement, or even add a
n- |- |'- n-'|- | |s s- s-'- ‘¯:|’ ¯|-
‘'|n’ || ''s ¦:-|:n- '¦s | ss'-s
to be un-mixed when using an EDL. Then each clip can be
graded separately as though there were two clips.
User (Shift Up Cache Mode): Will mark a clip for render cache.
Cache: This key is a toggle function to select one of the cache
modes. Cache All will background cache all clips.
This operation in performed when you move from the current
clip to another. Dissolve will cache clips with dissolves. User
will cache clips as marked by the colorist. User & Dissolve
will cache clips that you have marked for cache and also
dissolves.
Editor: The Editor key is reserved for future use.
Proxy On/Off: DaVinci Resolve has three proxy modes to permit real time
playback in the event that the correction or resolution
s || : |- s-'-- ¦'|| s¦-- \| ‘¯:-
generated Proxy’ the system will use the pre-generated
proxies (obviously you need to have made the proxies frst).
¯|- 's n- s ‘·¯¯’ : ‘·||-H¯:’ ·¯¯ ¦:-s
||' :-' n- |¦ n- :-s.- ¯|- ‘¯: ·| ·’
key selects between Off and the other of the two modes,
depending on whether you have or have not pre-generated
the proxies.
Auto Color: This is a popular key. Using this key, DaVinci Resolve will
automatically make a basic primary color correction to
balance the blacks and whites of your image.
Page Up (Shift Up Gallery): In larger projects you may have a number of gallery pages
holding stills and this key will change the Gallery screen to the
next higher page number.
Gallery: Used to select the Gallery UI screen where you can manage
your stills.
Page Down (Shift Down Gallery): The inverse of the Shift Up Gallery function as this selects the
Gallery screen one page lower than the current.
A/C Mode: This toggle key will display the clips in the timeline in the
order of the EDL (the record order and often referred to as
C Mode), or the ascending order of the source clip timecode
called A Mode.
Handles Mode: This selection is reserved for future use.
DAVINCI RESOLVE CONTROL SURFACE 267
Session Management
When making a grade to clips, colorists often try different looks. This group of keys offers a quick way
to navigate through these versions and also to split and join clips on the timeline.
Split (Shift Up Undo): This key will split the clip at the position of the cursor on the
timeline.
Undo: Undo is one of the favorite keys of colorists. Try any grade,
and if you don’t like it, simply Undo. In fact, you have an
almost endless tree of undo operations by using this key.
Join (Shift Up Redo): The reverse of split. Place the timeline cursor on the junction
of two clips and select Join to make just one clip.
Redo: Sometimes you hit Undo once too many times. Redo will put
back into effect the last item you undid. Like Undo, there are
multiple levels.
Restore Point: This selection is reserved for future use.
Save: Remember this key. It’s your friend. Save often, and consider
|- s- || s -'' | | |- |H s:--|
Add Version: When you make a grade on any clip, DaVinci Resolve stores
the parameters for that clip. If you want to try different grades,
|’ 's- : :-s s ‘/ -:s|’ 's- |s |-
to make a second, third, or more version of the grade for that
clip.
Default Version: If you have multiple versions of grades for a clip, this key is
used to select the default version, regardless of which version
is currently displayed.
Previous Version: This will select the grade one version lower in order. For
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to get to version two. Once the default version is reached,
s-'-| ‘¯:-s -:s|’ | '' s-'- |- ||-s
version.
Next Version: Use this key to select the next higher version of the grade.
·|- |- ¦ -:s| s :-|- s-'-| ‘¦- -:s|’ |
will select the default version.
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Marking Dynamics
On the bottom right of the Color screen is the Dynamics Timeline display for the current clip in the
timeline. The Marking Dynamics group of keys is used in association with the Dynamics timeline and
controls the selection of keyframe points for the start and end of dynamic transitions of the grade.
Start Dynamic: This key is used to select the frst keyframe in a transition, a
Dynamic. The transition may be a grade change, a sizing, and
the addition of a matte or any number of 100 variables, all of
which are associated with the Node Graph and the Clip or
Track Dynamics Timeline.
Ripple Value: If you have a grade, or effect, or just an adjustment and you
would like to ripple this effect over another or a large number
of other clips, use Ripple Value.
Delete: This key deletes the dynamic.
Lift Mark: If you place a mark in the wrong spot, put your cursor on the
n:| | s- ‘¦ `:|’ :-n-
Trim: This key is used with the numerical keypad to trim a mark
position.
Mark: Like the Start Dynamic key, Mark is a major key. It places a
keyframe on the clip timeline and between the Start Dynamic
and Mark, or between multiple Marks where you can change
the grade.
Scene (Shift Down Mark): This selection is reserved for future use.
Memory Access
DaVinci Resolve has a number of hot keys where you can store a grade for quick reference of use, called
Mems. In fact, every time you make a grade for a clip, a memory of the grade is kept. (facilitates ’Undo’
and ’Redo’). While you can obviously save a still for each clip, having 1000s of stills to scroll through can
|- n- s |-:- :- .c | | -s n-n: '|s s:- :- ''- /¯ `-ns
As every clip has its own metadata for the grade, this is stored by DaVinci Resolve as a Memory too.
There are a number of keys to select or revert to these stored metadata memories, or to clear the
metadata to revert to a base grade, or no grade, state.
All Base Mem (Shift Up Base Mem):
This is used to clear the current color correction of every node
in the Node Graph for the current clip, but it leave the nodes
in place.
Base Mem: Used to clear the grade of the current node.
Current Base Mem (Shift Down Base Mem):
Will clear all the grades and all the nodes of the current clip.
DAVINCI RESOLVE CONTROL SURFACE 269
There is an exception to rule to clear the Base Mem. It is possible, in fact very helpful sometimes, to have
a preset to a clip that is not cleared when you select Base Mem. The simple example is when a flm is
over scanned and the frame edges are shown as well as the image. Instead of making an input resize
adjustment for every clip to remove the framing, a preset resize can be made and stored, with a label,
and this preset is not deleted when using Base Mem.
Preview Mem: To preview one of the memory grades on any clip, select the
clip on the timeline, select preview memory and then the
memory. This key is a toggle so if you do not like the grade on
the memory for that clip, select preview mem again and the
clips grade will revert to the original.
Original Mem: Each clip, by default, has a memory of its grade, sizing, etc.
The metadata for every clip is saved in reference to the
source timecode. If you are grading a clip and move from
it to another clip, the grade is saved in a memory for that
clip automatically. If you come back to the clip and make a
change to the grade, then decide you don’t like the change,
select Original Mem to return to the grade status you found
when returning to the clip.
Scroll: When you select Scroll you can navigate up and down the
timeline to fnd and select a clip, and its grade, to recall to the
current clip.
View(Shift Up Current): The Color screen has two display modes. The normal mode
includes the Viewer, Stills and Node Graph on the top of the
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- ¦- :¦| - | ''s | | --: -'- ‘-’
again to toggle back to the normal mode.
Current: Select Current prior to selecting a Mem key (A, B, C to X) and
the current grade on the active timeline clip will be stored in
the memory selected.
Shift Up: The Shift Up key permits the operator to select the upper
secondary function of keys on the control panel. This
operation does not require you to hold the shift up key, just
select it prior to the second key.
Shift Down: The Shift Down key permits the operator to select the
lower secondary function of keys on the control panel. This
operation does not require you to hold the shift up key, just
select it prior to the second key.
Macro: This key is not yet implemented.
Memory Keys: The A, B, C to X keys, selected directly or with the appropriate
shift up or shift down pre-selection will recall the grade stored
in this memory and will apply it automatically to the clip that
is active on the timeline.
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Menu Navigation and Node Control
DaVinci Resolve is a nodal-based color enhancement system. All grades are not stored in layers, but in
nodes. In operation they can appear to be in layers, if you select the serial nodes, but greater grading
fexibility is available by using the parallel and layer nodes.
This group also gives you quick access to the main operations to control primaries, secondaries known
here as Vectors, image sizing and windows.
Primary: The frst grade for every clip will be a primary. This is where you balance the
clip and correct for offsets in the black and white balance. Selecting Primary
switches DaVinci Resolve from other grading modes and automatically selects
the primary menus for the LCD displays.
Vectors: When you select and isolate a particular color, and change that color, you are
making a secondary correction. The Vectors key updates the menus to provide
all the secondary controls including the Kilovector hue selection and control.
Sizing: The input and output image resizing engines are controlled using the menus
selected by Sizing.
Windows: The Windows key opens the menus for Circular, Linear, Polygon and
PowerCurve windows that can be used as a matte or mask for primary and
secondary grades.
Outside Node: Selecting the Outside Node key will add another node after the current node
and automatically link both image and key paths. If the original node has a
grade within the matte shape the new Outside Node would control the grade
in the inverse (i.e., outside the matte).
Add Matte: If there is a matte clip associated with the clip, by selecting this key the matte
node will be displayed on the Node Graph.
Disable Current: This key is a toggle key and it disables or enables the grade on the current
node.
Delete Current: To delete the current node. Remember Undo if you had the wrong node
selected.
Node+ CPW: Adding a serial node is a one button selection, Add Serial, however to also
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adds a node after the current node on the node graph and also adds a circular
Power Window at the same time, thus reducing the number of keystrokes.
Node + LPW: As above, adds a serial node after the current node with a linear Power
Window .
Node+ PPW: The Polygon Power Window is also selected when adding the serial node.
Node+ PCW: This key, like the others above, adds a serial node after the current node and
also sets up the PowerCurve Window to permit the marking of freeform shape
points and Bezier spline curves on the Viewer to construct a freeform window.
Add Serial: The most common node to use on the Node Graph is a serial node. A Serial
node is a full-featured color correction system offering primaries, secondaries,
DAVINCI RESOLVE CONTROL SURFACE 271
windows, tracking, image sharpening and blur, matte blur, etc. Serial nodes are
added one after the other in a cascade mode similar to adding one layer of
correction on top of the last. All grades in a preceding node(s) will impact the
source image and therefore the grades in following nodes.
Add Parallel: Unlike adding serial node, adding a parallel node actually adds two nodes. One
behaves like a Serial node with full color correction capabilities. The second
is a Parallel Mixer node. This mixer accepts the image from the original Serial
node and from the new Serial node and the output is a mix of these two. If the
current node is one of these Serial nodes immediately preceding the Parallel
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be created as will another preceding Serial node. In each case, the input to
these Serial nodes will be common, effectively making them in parallel to each
other. The key advantage here is that the source image is available to many
nodes whereas in a straight Serial Node Graph, each time you restrict a color in
a node the following nodes have little ability or limited range to use that color.
Add Layer: The Layer node is similar to the Parallel node in that it accepts the image
inputs from more than one node. The key difference to a parallel is that the
mixing of the inputs is prioritized towards the latest additions to the input list
of the Layer node. As an example, select Add Layer and DaVinci Resolve will
add a node in parallel to the current node and link the output of the current
and the newly made Parallel node to the two inputs of the Layer node. The
previous current node will have the lowest priority in the mix, and the newly
made Parallel node the highest priority. Add one more Layer node, a third input
node will be created with a higher mix priority than the frst two nodes.
Append Node: Often when navigating around the Node Graph and making correction trims,
the Colorist decides he/she needs an additional node for more correction.
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the Node Graph, regardless of which node in the graph is the current node.
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19
Reference Confguration
This area of the fader panel include six keys and the fader T-Bar. It is primarily used for control of stills
display with and without reference wipes. The fader bar controls the mix or wipe position when the
appropriate mode is active.
Key: This key is not yet implemented.
Circle: This key is not yet implemented.
Wipe: The Wipe key selects a wipe for reference comparison with the
current image.
H/V: This key toggles the wipe between horizontal and vertical.
Box: This key is not yet implemented.
Mix: To mix in preference to wipe select this key.
Still: The Still key permits comparison of the current clip with the
selected still.
Memory: Use this key to compare the current clip with a memory.
Hilite: When in the Vector menus making secondary qualifers, it’s
common to select the Highlight key to show a high contrast
separation of the qualifed color and all other parts of the image.
Toggle this key to turn off. Highlight is used so often it’s also on the
fader panel and when in vectors on the Trackball panel.
Mode(ShiftDownHighlight): Used to toggle the highlight mode from grey to high contrast.
Timeline: Select the Timeline key when you wish to compare the current to
the Timeline image.
Offine: Select the Offine key when you wish to compare the current to the
offine image.
Reference On/Off: This toggle key will turn the reference view on or off. When On you
can see the current clip in comparison to a reference.
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Trackball Panel
The center panel has the traditional four trackballs, each with a surrounding control ring and no end
stop in either direction. Three variable controls are on each side of the panel, three keys above the
trackballs, three below the left and right most trackballs, and on the LCD panel, three LCD displays,
each with eight variable controls and four keys. The LCD screens are menu-driven and thus the
controls, soft keys, and the display itself depends on the current mode. The menu structure will be
covered later in this User Manual.
The center panel also offers a slide-out keyboard for naming fles, as well as for a number of other
operations. The shortcut keys are covered later in this User Manual.
The right most trackball operates similar to a mouse and can also double as an Offset Control. The
|-: |:-- :||''s :- | |- :|' ¯| :n :n '- :|` ¦ nn | |
confguration (Lowlights, Mid-tones, and Highlights).
The far left trackball is Lift control, which provides RGB balance adjustment in the darker range the
image. The next trackball to the right is Gamma control, which provides control over the mid-range
values of the image. The third from the left is the Gain control, which effects the brighter portions of
the image.
The control ring surrounding these trackballs provides amplitude control of the associated Luminance,
Lift, Gamma, or Gain range of the image.
On the left side of the panel are three Luminance knobs. From top to bottom they are Luminance
Gain, Luminance Hue, and Luminance Lift.
DaVinci Resolve Control Surface
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19
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|- :|` | ¦n||- ` /|- |- |:-- '- ns :||''s '' s-- |-s- |:-- |-s
RGB: This key resets the RGB balance only to detent.
All: To reset both RGB and level.
Level: If you wish to reset the level while maintaining RGB differential.
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Adjust Window: Selection of this key brings up the shape cursors for the current node, and
allows the trackball to position the current window.
Modes: This key allows access to a number of menus and acts as an on/off toggle.
Shift Up Cursor: This shift function changes the cursor views on the main monitor. The user
can select the cursor display including windows on the GUI, but not the
main monitor, or both, as they prefer.
Cursor: The Cursor is used for the Color Picker when in Vector mode. This key also
controls the window display.
Under the left and right most trackballs there are three keys. Operation for the keys under the left-hand
side trackball is not yet implemented.
The keys under the right-hand side trackball provide left, center, and right mouse buttons. The right-
hand side trackball functions as a mouse when the left mouse button is selected, while not in Cursor
mode, and can also double as an Offset Control.
DAVINCI RESOLVE CONTROL SURFACE 275
Reference Confguration
Located at the top left-hand side of the Transport panel are the Deck and Still Select keys. These are
all related to controlling the deck, virtual decks when in multi-playhead mode, and the grabbing and
selection of stills. There is also an Undo and Redo key, a Shift Up and a Save key.
Split (Shift Up In): DaVinci Resolve associates grading information based on source
timecode and as it’s also possible to have source clips with the
same timecode (sorted with fle name and/or path, etc), it’s
important to have each source clip identifed as a different clip to
all the others. The Split key will split one clip into two on the frame
selected. Each can therefore have their own grade.
In: When marking a transport (virtual or deck) in point you can use the
GUI or this key.
Join (Shift Up Out): Join is the reverse of the Split key. Place the Viewer on the frst
frame of a clip and select Join to merge the preceding clip.
Out: The Out key is used to select an out point on the transport.
Duration: To defne a duration, frst select the time using the numerical
keypad (the colon separates the hours, minutes, seconds and
frames), and then select Duration.
Gang: The Gang control permits the user to gang multiple clips so
they will play back from the frst frame in synchronization. This is
particularly helpful for checking the impact of a grade on a couple
of key shots when using the PlayHeads feature of DaVinci Resolve.
Undo: The Colorist’s friend. DaVinci Resolve has virtually unlimited undo
steps available.
Redo: If you want to redo a step, use Redo. Ideal when used with undo to
compare two grades quickly.
Source (L): This key selects the source.
Place (Shift Up A ( R )): ): When using playheads this key selects deck R
A ( R )): When using playheads this key selects deck A
F: This key is not implemented
Place (Shift Up B): When using playheads this key selects the location for the
playhead on the UI.
B: When using playheads this key selects deck B
G: This key is not implemented
Place (Shift Up C): When using playheads this key selects the location for the
playhead on the GUI.
C: When using playheads this key selects deck C
H: This key is not implemented
Transport Panel
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19
D: When using playheads this key selects deck D
I: This key is not implemented
E: When using playheads this key selects deck E
J: This key is not implemented
Shift Up: Use the Shift Up key as a pre-selector for the keys with an upper
option. Select the keys sequentially and do not hold the Shift Up
key while selecting the second key.
Preroll: The Preroll key us used in conjunction with the numerical keypad to
select a preroll time.
Cue: Selecting Cue will force the transport to the preroll position.
Previous Still: If you have a still selected the Previous Still key will select the one
preceding.
Next Still: The next still is selected if this key is used.
Play Still: When the user selects this key, DaVinci Resolve will automatically
display on the Viewer a wipe between the current scene and the
current still. You can use the fader T-bar to move the wipe position
and in the reference wipe menus change the reference image as
required by moving or resizing. Selecting Play Still a second time
will toggle this mode off.
Save: The most important key on the panel. Besides having an auto-save
feature you can and should consistently save your project with this
key. It only takes a few seconds and can save you hours.
Grab Still: At any time when you are grading selecting the Grab Still key will
automatically grab a full resolution frame from the timeline and
attach the node graph metadata for later display and use.
DAVINCI RESOLVE CONTROL SURFACE 277
Transport Control Keys
Most colorists will use the Transport Control keys every minute of every grade, so they are located for
quick and easy access. While not technically within this key group, the Job and Shuttle knob is directly
above these keys.
Jog: Rotate the jog control to step forward or backward a few frames at
a time.
Shuttle: On the outside of the Jog rotary control is the shuttle knob. This
knob has a detent at the null position and is turned clockwise or
counter-clockwise to shuttle the transport/timeline forward or
reverse at the rate selected by the rotation of the shuttle knob.
Loop: You may wish to repeat a review of a grade of a clip, or a selection
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the loop operation.
Render: Once you have fnished your grade the Render key selects the UI
screen used for confguration of the render parameters for your
project.
Rec: (Shift Down Render) This key is not yet implemented.
Previous Node: Within the Node Graph on the Color screen you are likely to have
a number of nodes. These are numbered based on the order that
you added them, which may not be the logical image fow order.
DaVinci Resolve Node Graphs are completely user confgurable, so
you can add nodes anywhere and in any order you like. Thus, the
previous node key will select the node one lower in numerical order.
Next Node: Similar to the Previous Node key, this selects the node adjacent to
the current node, in this case the next higher numerical position.
Highlight: When in the Vector menus making secondary qualifers, it’s
common to select the Highlight key to show a high contrast
separation of the qualifed color and all other parts of the image.
Toggle this key to turn off. Highlight is used so often it’s also on the
fader panel and when in vectors on the Trackball panel.
Mode: (Shift Down Highlight) Used to toggle the highlight mode from
grey to high contrast.
Shift Down: This is the pre-selection key for functions indicated on the lower
portion of the second keys legend.
First Frame: Selects the frst frame of the current clip.
Last Frame: This key selects the last frame of the current clip.
Step Reverse: To step the viewer one frame in reverse along the timeline.
Step Reverse Keyframe: (Shift Down Step Reverse) This key steps backwards one keyframe
on the clip/Track timeline display.
Step Forward: A single frame step forward for each key press.
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19
Step Forward Keyframe: (Shift Down Step Forward) For keyframe steps forward on the clip/
Track timeline display.
Previous Scene: Selects the frst frame of the previous scene.
Next Scene: Selects the frst frame of the next scene.
Rewind: The rewind key places the transport, or timeline in rewind.
Reverse: To play the clip/timeline in reverse select this key.
Stop: You guessed it. This stops the current transport operation.
Forward: The forward key will play the clip/timeline forward.
Fast Forward: The inverse of the Rewind key, fast forward shuttles along the
timeline/transport.
DAVINCI RESOLVE CONTROL SURFACE 279
Memory Access Keys
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panel. This is an extremely powerful feature. With any clip selected on the timeline, with a single key
press, for example “A,” the grading parameters stored in memory A, including the node structure, sizing,
etc. will be automatically applied to the current clip.
O (Shift Up A): Selects memory O
A: Selects memory A
I (Shift Down A): Selects Memory I
R (Shift Up B): Selects memory R
B: Selects memory B
J (Shift Down B): Selects Memory J
And so forth
All (Shift Up Base Mem): This function will return all grades for all nodes on the clip
to the default grade/settings and clears dynamic marks.
¦- ¯|-:- s | --¦| |- :'- ‘¯:-s- .-’ |s
been set for the clip the Base Mem sizing will default to this
preset size.
Base Mem: The Base Mem key clears the current node of all its grades
and marks. Again, with the preset exception noted above.
Reset (Shift Down Base Mem Crnt): This key deletes all nodes in the clip with the exception of
the frst node and resets the grades to default and clears
the marks.
Preview Mem: To preview one of the memory grades on any clip, select
the clip on the timeline, select Preview Memory and then
the memory. This key is a toggle so if you do not like the
grade on the memory for that clip, select Preview Mem
again and the clips grade will revert to the original.
Original Mem: Each clip by default has a memory of its grade, sizing,
etc. The metadata for every clip is saved in reference to
the source timecode. If you are grading a clip and move
from it to another clip, the grade is saved automatically in
a memory for that clip. If you come back to the clip and
make a change to the grade, then decide you don’t like the
change, select Original Mem to return to the grade status
you found when returning to the clip.
Scroll: The Scroll key selects a soft menu on the Trackball panel so
clips or frames can be scrolled via the rotary control in the
soft menu.
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19
Numerical Entry Key Group
On the center right-hand side of the Transport panel is the Numerical Entry key group. Here you will
fnd numbers 0 to 9 and associated keys for entering timecode and clip numbers. You will notice the
numbers you type are displayed in a scratchpad area to the right of the menu bar on the bottom of the
GUI.
Current: To store a new grade in any memory, frst select the
Current key and then the memory of your choice.
All Color PTZR: This key is a toggle that selects the parameters that will
be copied when updating a grade. Generally, all aspects
|- :- :- ¦- |'| ¯¯¯¯ | | s|
you may wish to copy only the grade and not the sizing
parameters. In this case use the Copy Mode to select
:-| ¯¯¯¯ : :- | ¯¯¯¯ ` | s-- |- '¦
timeline toggle between the node selected and the input
¯¯¯¯ ¦:n--:s
Select Node: Use this key in conjunction with the numerical keys to
select any node on the current Node Graph. First select the
|- |n|-: | |-| ‘-'- ¦-’ ¯|- ::-| |- ''
change to the selected node.
Backspace: The backspace key moves you one item left in the
numerical scratch pad display. This permits correction of
your numerical entries.
0 to 9: You guessed it. These are the numbers!
, (Comma): The comma is used just prior to the frame count if you wish
to indicate a drop frame timecode.
: (Colon): When typing in timecode, the convention is to type the
hours followed by a colon, then the minutes, a colon, the
seconds, a colon, and fnally the frames. DaVinci Resolve
does not need to have leading numbers entered where
they offer no value and the default value is 0, so to type
one hour, three minutes, zero seconds and sixteen frames,
| |-- ¦- ¯c n¦' ¦- ¯c |
then press ’Enter.’ This speeds timecode entry.
Clear: Will clear the scratchpad number.
- (Minus): Select the minus key prior to the number to reduce the
number.
+ (Plus): The Plus key selected prior to a number adds the number.
Take/Enter: To accept or enter any input select this Take/Enter key.
DAVINCI RESOLVE CONTROL SURFACE 281
List Marking
The List Marking keys are on the bottom right hand side of the Transport panel. The functions are
replicated on the Fader Bar panel. The List Marking group of keys is used in association with the timeline
and controls the selection of keyframe points for the start and end of dynamic transitions of the grade,
called Dynamics.
Delete: This key deletes the Dynamic.
Start Dynamic: This key is used to select the frst keyframe in a transition, a Dynamic.
The transition may be a grade change, a sizing, the addition of a
matte, or any number of 100 variables all of which are associated with
the Node Graph and the clip or Track timeline.
Trim: This key is used with the numerical keypad to trim a mark position.
Ripple Value: If you have a grade, or effect, or just an adjustment and you would like
to ripple this effect over another or a large number of other clips, use
Ripple Value.
Mark: Like the Start Dynamic key, Mark is a major key. It places a keyframe
on the clip timeline and between the Start Dynamic and Mark, or
between multiple Marks you can change the grade.
Scene (Shift Down Mark): To quickly switch to the Scene Cut Detection screen select Shift
Down then Mark.
Lift Mark: Often you may place a mark in the wrong spot so place your cursor
on the mark and use Lift Mark to remove it.
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19
Menus, Soft Keys and Soft Pot Controls
All three panels have liquid crystal displays (LCDs) and within this display, a selection of soft keys and
soft pots for variable control of different parameters. The functionality of these keys and pots is based
on the menus displayed on the LCD and changes dynamically with the operation of DaVinci Resolve.
The soft menu structure is designed to offer simultaneous control over multiple functions and a fast,
logical and effcient way to move between the menus. Each of the menus with the applicable control
functions is described below.
The LCD has a two-line title description of the menus main function and there are two lines of text above
each pot or switch describing the control. The Fader and Transport panels can have quite independent
controls compared to the Trackball panel. For example, the Fader panels default menu is for Windows
adjustment while the default menu for the Transport panel is Sizing. This allows users to control windows
or sizing full time, regardless of Trackball Panel mode and eliminates the need to change the work
surface to adjust window position or input sizing.
Soft Key and Soft Pot Control Conventions
Below is a typical soft menu from the Fader panel. The title bar shows the menu mode, in this case
Circular Power Window. The top row of legends refers to the soft pots beneath it, in this case the
| ¦s| ¯| | ¯'` ¯n | |-ss |:'s / “n:-” |- |- :| |-s- |:'s
(not shown) allows you to access a second level of soft pots for Aspect and Rotation. Both side panels
have a ’More’ key, which provides another layer of menus, if applicable.
The second row of legends refers to the soft keys beneath them, which in this case select the desired
window for adjustment. The bottom row of legends refers to the bottom row of soft keys, which control
the state of the window and allow you to enable the windows as desired. The controls are always
located very close to the label, so there are no parallax errors and learning the panel is an easy task.
Stereoscopic Viewer Right Click Options
DAVINCI RESOLVE CONTROL SURFACE 283
In this mode, the Fader panel soft menus are used for window control. When windows are selected on
the Trackball panel, these menus do not change. This allows the user, for example, to select PowerCurve
windows on the Trackball panel and adjust its parameters simultaneously with a Circular PowerWindows
on the Fader panel.
The Transport panel soft menus are used to control input or output sizing, which provides a way to set
sizing without changing the main work surface. These menus can also be used simultaneously with
sizing menus on the Trackball panel, offering a full suite of controls at your fngertips.
Soft menus use full-color LCDs that allow users to set the brightness and color of the displays to suit
their taste and working environment. The panels offer feedback to let you know at a glance the relative
settings of these controls, and also highlight the last control touched. For example, if a control is out of
Base Mem, the panels show this with a selectable color highlight.
In the image shown above, Aspect and Rotate are in Base Mem, while Softness is the last control
|- s|H- | |- -'' s-| |: | ¯n s | ¯s- `-n s|H- | |- |
color of the setting indicator.
The panel LCD and key brightness and color settings are adjusted in the Resolve Confguration screen
on the Panel Tab.
Menu Layouts
The DaVinci Resolve Control surface has a number of menus and many are selectable via different
paths to match the operational workfow of colorists. Selection of a key on one panel may update the
menu and soft keys and soft pots on one or more panels.
Often the update is to a section of the panel display so you can quickly switch back and forward to
different modes as you grade. The menus are shown here identifed by their core functionality.
CHAPTER DAVINCI RESOLVE CONTROL SURFACE
DAVINCI RESOLVE CONTROL SURFACE 284
19
PRIMARY
PRIMARY
CHANNEL OFFSET / CUSTOM CURVES
PRIMARY
YSFX
VECTOR QUALIFIERS
HSL PARAMETERS / QUALIFIER BLUR
MASTER
OFFSET
LUM
YSFX
HUE
SHIFT
RED
OFFSET
RED
YSFX
SAT
GAIN
GREEN
OFFSET
GREEN
YSFX
LUM
LIFT
BLUE
OFFSET
BLUE
YSFX
LUM
GAIN
LUM
CURVE
RED
CURVE
GREEN
CURVE
BLUR
BLUE
CURVE
OFFSET
NODES CLIPS SIZING
CURVE
MONITOR
PRIMARIES
TRACK-
BALL
OFFSET
KEY
MODE
VECTORS POTS
PRINTER
LIGHTS
PRIMARY / POTS
PRIMARIES
LUM / GREEN POTS
PRIMARIES
RED / BLUE POTS
PRIMARIES
HSL PARAMETERS / QUALIFIER BLUR
MASTER
OFFSET
RED
OFFSET
HUE
SHIFT
LUM
BLACK
RED
BLACK
SAT
GAIN
LUM
GAMMA
RED
GAMMA
LUM
LIFT
LUM
GAIN
RED
GAIN
LUM
GAIN
GREEN
OFFSET
BLUE
OFFSET
GREEN
BLACK
BLUE
BLACK
GREEN
GAMMA
GLUE
GAMMA
BLUR
GREEN
GAIN
BLUE
GAIN
OFFSET
NODES CLIPS SIZING
CURVE
MONITOR
PRIMARIES
KEY
MODE
VECTORS MAIN
PRINTER
LIGHTS
PRIMARY / CLIPS
PRIMARIES
SCENE WHITE CLIPS
PRIMARIES
SCENE BLACK CLIPS
PRIMARIES
HSL PARAMETERS / QUALIFIER BLUR
MASTER
CLIP
MASTER
CLIP
HUE
SHIFT
RED
CLIP
RED
CLIP
SAT
GAIN
GREEN
CLIP
GREEN
CLIP
LUM
LIFT
BLUE
CLIP
BLUE
CLIP
LUM
GAIN
MASTER
SOFT
MASTER
SOFT
RED
SOFT
RED
SOFT
GREEN
SOFT
GREEN
SOFT
BLUR
BLUE
SOFT
BLUE
SOFT
OFFSET
NODES CLIPS SIZING
CURVE
MONITOR
PRIMARIES
TRACK-
BALL
KEY
MODE
VECTORS POTS
PRINTER
LIGHTS
DAVINCI RESOLVE CONTROL SURFACE 285
PRIMARY / KEY MODE
PRIMARIES
CHANNEL OFFSET / CUSTOM CURVES
KEY PROCESSING
KEY PARAMETERS
PRIMARIES
HSL PARAMETERS / QUALIFIER BLUR
MASTER
OFFSET
HUE
SHIFT
RED
OFFSET
POST MIX
GAIN
SAT
GAIN
GREEN
OFFSET
POST MIX
OFFSET
LUM
LIFT
BLUE
OFFSET
LUM
GAIN
LUM
CURVE
QUALIFIER
GAIN
RED
CURVE
QUALIFIER
OFFSET
GREEN
CURVE
EXT KEY
GAIN
BLUR
BLUE
CURVE
EXT KEY
OFFSET
OFFSET
NODES
MATTE
/ MASK
POST MIX
INVERT
SIZING INVERT PRIMARIES
MATTE
/ MASK
VECTORS INVERT
PRINTER
LIGHTS
PRIMARY / KEY MODE
EXTERNAL MATTE SIZING
PAN TILT ZOOM ROTATE
X - SIZE Y - SIZE
NODES H - FLIP SIZING V - FLIP PRIMARIES VECTORS LOCK
OUTPUT SIZING
STANDARD PRESETS
MASTER + RED + GREEN + BLUE +
MASTER - RED - GREEN - BLUE -
MORE
PRIMARY / PRINTER LIGHTS
CHAPTER DAVINCI RESOLVE CONTROL SURFACE
DAVINCI RESOLVE CONTROL SURFACE 286
19
VECTORS / IMAGE MODE OR QUALIFIER MODE
IMAGE BLUR
GAUSSIAN IMAGE BLUR
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
IMAGE
BLUR
HUE
CENTRE
LUM
LOW CLIP
H / V
RATIO
HUE
WIDTH
LUM
LOW SOFT
HUE
SOFTNESS
LUM
HI SOFT
QUALIFIER
BLUR
HUE
SYMMETRY
LUM
HI CLIP
SAT
LOW CLIP
S & G
OFFSET
SAT
LOW SOFT
S & G
RADIUS
SAT
HI SOFT
QUALIFIER
BLUR
SAT
HI CLIP
H / V
OFFSET
NODES PRESETS
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
VECTORS / IMAGE MODE OR QUALIFIER MODE
IMAGE BLUR
COLOR IMAGE BLUR
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
RED
BLUR
HUE
CENTRE
LUM
LOW CLIP
GREEN
BLUR
HUE
WIDTH
LUM
LOW SOFT
BLUE
BLUR
HUE
SOFTNESS
LUM
HI SOFT
HUE
SYMMETRY
LUM
HI CLIP
RED
H/V RATIO
SAT
LOW CLIP
S & G
OFFSET
GREEN
H/V RATIO
SAT
LOW SOFT
S & G
RADIUS
BLUE
H/V
RATIO
SAT
HI SOFT
QUALIFIER
BLUR
SAT
HI CLIP
H / V
OFFSET
NODES
SIX
VECTOR
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
VECTORS / IMAGE MODE OR QUALIFIER MODE
IMAGE SHARPENING
IMAGE SHARPENING CORING
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
SHARP
AMOUNT
HUE
CENTRE
LUM
LOW CLIP
HUE
WIDTH
LUM
LOW SOFT
SCALING
HUE
SOFTNESS
LUM
HI SOFT
SOFTNESS
HUE
SYMMETRY
LUM
HI CLIP
SAT
LOW CLIP
S & G
OFFSET
SAT
LOW SOFT
S & G
RADIUS
SAT
HI SOFT
QUALIFIER
BLUR
LEVEL
SAT
HI CLIP
H / V
OFFSET
NODES
SIX
VECTOR
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
DAVINCI RESOLVE CONTROL SURFACE 287
VECTORS / IMAGE MODE OR QUALIFIER MODE
IMAGE SHARPENING
IMAGE SHARPENING CORING
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
RED
SHARPEN
HUE
CENTRE
LUM
LOW CLIP
GREEN
SHARPEN
HUE
WIDTH
LUM
LOW SOFT
BLUE
SHARPEN
HUE
SOFTNESS
LUM
HI SOFT
SOFTNESS
HUE
SYMMETRY
LUM
HI CLIP
RED
RATIO
SAT
LOW CLIP
S & G
OFFSET
GREEN
RATIO
SAT
LOW SOFT
S & G
RADIUS
BLUE
RATIO
SAT
HI SOFT
QUALIFIER
BLUR
LEVEL
SAT
HI CLIP
H / V
OFFSET
NODES
SIX
VECTOR
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
VECTORS / IMAGE MODE OR QUALIFIER MODE
MIST EFFECT
MASTER MIST
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
MASTER
HUE
CENTRE
LUM
LOW CLIP
H / V
RATIO
HUE
WIDTH
LUM
LOW SOFT
SCALING
HUE
SOFTNESS
LUM
HI SOFT
MIX
HUE
SYMMETRY
LUM
HI CLIP
SAT
LOW CLIP
S & G
OFFSET
SAT
LOW SOFT
S & G
RADIUS
SAT
HI SOFT
QUALIFIER
BLUR
SAT
HI CLIP
H / V
OFFSET
NODES
SIX
VECTOR
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
VECTORS / IMAGE MODE OR QUALIFIER MODE
MIST EFFECT
COLOR MIST
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
RADIUS
HUE
CENTRE
LUM
LOW CLIP
H / V
RATIO
HUE
WIDTH
LUM
LOW SOFT
SCALING
HUE
SOFTNESS
LUM
HI SOFT
MIX
HUE
SYMMETRY
LUM
HI CLIP
RED
RADIUS
SAT
LOW CLIP
S & G
OFFSET
GREEN
RADIUS
SAT
LOW SOFT
S & G
RADIUS
BLUE
RADIUS
SAT
HI SOFT
QUALIFIER
BLUR
MIST
PARAM-
ETER
SAT
HI CLIP
H / V
OFFSET
NODES
SIX
VECTOR
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
CHAPTER DAVINCI RESOLVE CONTROL SURFACE
DAVINCI RESOLVE CONTROL SURFACE 288
19
VECTORS / IMAGE MODE OR QUALIFIER MODE
IMAGE SHARPENING
IMAGE SHARPENING CORING
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
SHARP
AMOUNT
RED
LOW CLIP
BLUE
LOW CLIP
RED
LOW SOFT
BLUE
LOW SOFT
RED
HI SOFT
BLUE
HI SOFT
SOFTNESS
RED
HI CLIP
BLUE
HI CLIP
GREEN
LOW CLIP
S & G
OFFSET
GREEN
LOW SOFT
S & G
RADIUS
GREEN
HI SOFT
QUALIFIER
BLUR
LEVEL
GREEN
HI CLIP
H / V
OFFSET
NODES
SIX
VECTOR
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
VECTORS / IMAGE MODE OR QUALIFIER MODE
IMAGE SHARPENING
IMAGE SHARPENING CORING
VECTOR QUALIFIER
KILOVECTOR HSL QUALIFIERS
VECTORS QUALIFIER
KILOVECTOR HSL QUALIFIERS
SHARP
AMOUNT
SOFTNESS
LUM
LOW CLIP
S & G
OFFSET
LUM
LOW SOFT
S & G
RADIUS
LUM
HI SOFT
QUALIFIER
BLUR
LEVEL
LUM
HI CLIP
H / V
OFFSET
NODES
SIX
VECTOR
QUALIFIER
MODE
SIZING
COLOR
PICKER
HIGH
LIGHT
PRIMARIES
IMAGE
MODE
INVERT VECTORS
MASTER
/ COLOR
KEY
MODE
VECTORS / PRESET
HIGH
LUM
BACK RED
LOW
LUM
MAGENTA
HIGH & LOW
LUM
GREEN BLUE YELLOW CYAN
DAVINCI RESOLVE CONTROL SURFACE 289
SIZING
REFERENCE WIPE SIZING INPUT SIZING
PAN PAN TILT TILT ZOOM ZOOM ROTATE ROTATE
INPUT
PRESET
H
SIZE
H
SIZE
V
SIZE
V
SIZE
NODES OUTPUT
SOURCE
BLANKING
SIZING
REF ADJUST
ENABLE
MODIFY
PAR
PRIMARIES
REF ADJUST
H - FLIP
H
FLIP
VECTORS
REF ADJUST
V - FLIP
V
FLIP
SIZING / OUTPUT
OUTPUT BLANKING OUTPUT SIZING
LEFT PAN RIGHT TILT TOP ZOOM BOTTOM ROTATE
H
SIZE
V
SIZE
NODES INPUT
USE
DEFAULT
SIZING
OUTPUT
PRESET
ASPECT
MATCH
PRIMARIES
H
FLIP
BLANKING VECTORS
V
FLIP
PVW
MODE
HSL
+
HSL
-
SOFTNESS
+
SOFTNESS
-
VECTOR / COLOR PICKER
CHAPTER DAVINCI RESOLVE CONTROL SURFACE
DAVINCI RESOLVE CONTROL SURFACE 290
19
WINDOWS / CPW
PRIMARIES
CHANNEL OFFSET / CUSTOM CURVES
POWER WINDOW
CIRCULAR
PRIMARIES
HSL PARAMETERS / QUALIFIER BLUR
MASTER
OFFSET
ZOOM
HUE
SHIFT
RED
OFFSET
ASPECT
SAT
GAIN
GREEN
OFFSET
SOFTNESS
LUM
LIFT
BLUE
OFFSET
ROTATE
LUM
GAIN
LUM
CURVE
PAN
RED
CURVE
TILT
GREEN
CURVE
QUALIFIER
BLUR
BLUE
CURVE
H / V
OFFSET
NODES CPW CLIPS SIZING LPW
CURVE
MONITOR
PRIMARIES PPW
KEY
MODE
VECTORS PCW
PRINTER
LIGHTS
OUTPUT SIZING
STANDARD PRESETS
1.33 1.66 1.78 1.85
2.35 USER
MORE
SIZING / OUTPUT / BLANKING
OUTPUT SIZING
USER PRESETS
USER 1 USER 2 USER 3 USER 4
USER 5 SAVE BACK
MORE
SIZING / OUTPUT / BLANKING
DAVINCI RESOLVE CONTROL SURFACE 291
WINDOWS / LPW
PRIMARIES
CHANNEL OFFSET / CUSTOM CURVES
POWER WINDOW
LINEAR
PRIMARIES
HSL PARAMETERS / QUALIFIER BLUR
MASTER
OFFSET
ZOOM
HUE
SHIFT
RED
OFFSET
SAT
GAIN
GREEN
OFFSET
SOFTNESS
LUM
LIFT
BLUE
OFFSET
ROTATE
LUM
GAIN
LUM
CURVE
PAN
RED
CURVE
TILT
GREEN
CURVE
QUALIFIER
BLUR
BLUE
CURVE
RESET
H / V
OFFSET
NODES CPW CLIPS SIZING LPW
CURVE
MONITOR
PRIMARIES PPW
KEY
MODE
VECTORS PCW
PRINTER
LIGHTS
POWER WINDOW
CIRCULAR
ZOOM ASPECT SOFTNESS ROTATE
CPW LPW PPW PCW
MATTE
/ MASK
KEY
INVERT
INVERT
MIX
INVERT
MORE
POWER WINDOW
CIRCULAR
PAN TILT SOFTNESS ROTATE
CPW LPW PPW PCW
MATTE
/ MASK
KEY
INVERT
INVERT
MIX
INVERT
MORE
20
Glossary
CHAPTER GLOSSARY
GLOSSARY 293
20
Glossary
¯ ¯|- -|H| : .¯ '--'s || |- ' s|'
.=¦ ¯|s s .= :n- ¦::-ss- :n
c ` 3 ¯|s s -:n | -s:|-s - s:--| -'-s|
format that has the measurements of 16 X 9.
.¦ / ': ::-| ss-n --'¦- | ¯| s-ns
It is also a data fle with the resolution of 2048 X 1556.
.¦ ¯'s / ': ::-| ss-n --'¦- | ¯| s-ns
=¦ /| ||:-| : H'- | |- :-s'| =3c
X 3112.
=.. ¯|s :--:s ' s|' | |' |:n||-
resolution and full luminance resolution.
=== ¯|s :--:s ' s|' | '' '--'s 'n||-
and chrominance information.
A
/-ss ¯n- ¯|s -:n :--:s |- n| n- | s |---
load information from a data storage device.
/·¯ ¯|s s | ||:-| : |- /n-:| ·|-n ¯:s
/|n:¦| / -:n || :--:s s--.- : |n:¦| n-
which is either unsqueezed with a lens during projection
or by using a special video monitor. In regards to motion
picture applications, the term is generally applied to
wide-screen formats such as CinemaScope, Panavision or
SuperScope.
/:|- ¯|s -|-:'' :--:s |- s:- |:n| ¯|s |
apply to either flm or data storage.
// / n-s:-n-| H'n s-|s --'¦- | |-
American National Standards Institution.
/· /| ||:-| || s s|: : |- /n-:| -
Cinematographers.
/ss-n|'- ¯ ¯|s :--:s - - || ¦|s ¦ -: |-
completion of previously recorded material on the tape.
/s¦- ¯ / -:n | :--:s |- |-| | | n-
/¯· /| ||:-| : |- /|- ¯-'-s| s-ns
Committee.
B
¯|:| ¯:-ss| / -:n | s ¦¦'- n¦-: ¦-:| || s
performed at the same time when another operation is
being carried out.
GLOSSARY 294
¯-s ¦| ¯|s -|-:'' :--:s ': ::-| || s |
quite a scene-by-scene color correction and not a one-
light color correction. It’s generally a correction which is
designed to be fnished later in a tape-to-tape correction.
¯ / |n- || s ¦¦'- |- :n-| '
¯-: ¯|s -:n :--:s s:- || ¯/`
¯- / |n- || ¦-:|s :¦ -| n-n: |s
C
·|-n¦- / :-n:|- |n- : | |n:¦| - s:--|
process originally developed in France by Professor Henri
Chretien. The rights to the format were later purchased
by 20th Century Fox Film Corporation in 1952. The basis
for the process involved shooting material with special
optics that recorded a squeezed or anamorphic image on
the flm. When the image was projected, another lens was
applied to the projector which un-squeezed the material
and displayed a wide screen image.
·|-| / -:n || s -|-:'' ¦¦'- H'- | “|”
extension. It is a 10-bit log fle.
·'¦¦-:|: / -:n || s ¦¦'- |: || s s||
at the beginning of each uncut flm scene. It is used
for the purpose of identifcation and manual sound
synchronization.
·'¦ / -:n || s ¦¦'- s|'- H'- : s-|- ||
non-linear timeline.
·'¦¦- \|-s / -:n || s ss- | 'n||- ::-|
that is so high that the detail is cut off or clipped.
·': ¯'|- ¯|- -:'' sn-| |- s-|-’s ': |:n|
·'¦¦| ¯--:s n-| :-|| '--'s || '-' 'ns
·': ¯:s / -s s|' n- ¦ -| ': |:s || s
recorded on a tape to ensure the levels remain consistent
when played on other equipment.
·': ¯-¦| / -:n || ¦-:|s |- n-’s :|- ':
·': ·::-| ¯|- ¦:-ss s| | n-’s ': |'|-
·': ·::-| ·n¦-: / -- s- : s| | s:| ': ::-|s
·': :| ¯|s -|-:'' :--:s |- ¦:-ss |'|| |-
image’s color balance.
CHAPTER GLOSSARY
GLOSSARY 295
20
·': ¯-n¦-::- / -:n || :--:s |- n-s:-n-| '|’s
color. Warmer colored lights measure out to a lower color
temperature, while bluer illumination measures out to a
higher color temperature. The measurement is carried out
on a scale known as Kelvin.
·': ¯n| / |n- || s ¦¦'- |- |'|| n- |
color in motion picture laboratories by a color timer.
·:s|- ¯'|s \|-| |- n- s |'|- s | |- |'| : '
control causes the detail within the black information to
be lost, this is referred to as crushed.
·|:n ¯|- n-| ss-n|'| s-|-s : '¦s | | :-:
defned by an Edit Decision List.
·n¦:-ss| / -:n || s ¦¦'- |- :-| | H'- s.- | |-
removal of un-needed information.
·¯' ¯|s s | ||:-| : ·-|:' ¯:-ss| '|
·¯¯ / -:n || s s|: : ·|- ¯ ¯|-
D
¯' / |n- || s ¦¦'- ¦s- H'n ¦:| || |s
been made in order to see the results of the day’s shoot.
¯ / -:n || s ¦¦'- n¦-: : ' |:n|
¯¯¯ / |n- || s ¦¦'- ¯' ¯s| ¯-:-:
¯-' -| / -:n || s ¦¦'- s-| || |s |--| ¦:-
defned by the manufacturer.
¯-|sn--: ¯|- |n- n-s:| -- | s|s |- |-’s
amount of transmitted light.
¯¦ / -:n || s s|: : ¯-s|- |s:- ¦:n s
used for measurement of flm speeds.
¯¯ / -:n || s s|: : ¯:-: ¯|:¦|
¯¯` / H'- :n || s s|: : ¯' `| ¯:-
Exchange and developed by the SMPTE. The fle has the
extension of “.dpx” It is similar to the Cineon fle format
except that it can be either a log or linear.
¯: | ¯:¦ / -:n || s ¦¦'- |- n-| n|
information within an application by using the mouse to
drag it to the desired location and letting go of the mouse
button which drops it into the area.
GLOSSARY 296
E
¯¯' / -:n || s s|: : ¯:¦-| ¯:s| '||
¯¯' ·': ¯:s / ': |: s|' || s :-- | |- ¯:¦-|
Broadcasting Union.
¯¯' ¯n- ·- / .¯ :n- ¦-: s-| n- - s|: || s
created by the European Broadcasting Union.
¯ ¯-s| ¦s ¯|s s 's | | ¦|s || |s |--| :--
| | -| ss-n s 's ||| s | ¯¯¦
¯¯¦ ¯|s | ||:-| : ¯ ¯-s| ¦s
¯/ /| ||:-| : -'-s| | s|:s 's|
association, Electronic Industries Association.
¯/ ·': ¯:s / s--| ': |: -s |: || s :-- |
Electronic Industries Association.
F
¯·· /| ||:-| : |- ¯--:' ·nn||s
Commission.
¯-' \|| | |-:'- s|' - :n- s n¦:s-
two felds. One feld contains even numbered lines, while
the other contains odd numbered lines.
¯'- ¯-|s| / -:n || :--:s |- 's ¦: H'- s| s
.cin or .dpx.
¯'n ¯-:-: / -- || s s- :-:| n- H'-s ||
to flm.
¯'n ||-: / -- :|s-::| H'n :ns | ||
resolution.
¯¦s / -:n || :--:s ¯:n-s ¦-: -|
¯:n- :| / -:n || -|-:'' ¦¦'- s:| :n- :
comparison.
G
| / -:n || s ¦¦'- |- 'n||- |:n|
within an image.
|- / ¦- n-s:-n-| || s |- |s| n''|
bytes.
- / -:n || s ¦¦'- |- | H'n s|
'|' / ::-| || s ¦¦'- s-:-s '¦s : --|s
:|s ¯|- |' :|s || |- s::- H'n s|
CHAPTER GLOSSARY
GLOSSARY 297
20
¦ ¯|s -:n s s|: : |- s-n ¦-:| | s
high speed network standard.
' / -:n || s s|: : :¦| 's-: |-:-
H
=|'-s / -:n || s ¦¦'- |' n-:' ||
is required beginning and end of each clip. It is usually
required when effects such as dissolves are to be added.
=¯¯ / -|-:' -:n || ¦¦'-s =| ¯-H|| ¯-'-s|
=- ¯|s :--:s |- |-||| :'' H'n
=s:n / s¦' || s|s |- |n :|- | |:s
of an image. The X axis within the display shows the
luminance of the pixel, while the Y axis displays the
amount of pixels.
=¯¦ / -:n || s|: : =| ¦-- ¯ ¦||
I
''-' - / -:n || s ¦¦'- s|' '--'s || | ''
within a broadcast standard range.
n¦: ¯|- ¦:-ss n¦:| | | ¦¦'|
|s-: ¯ /| -| n- || :-:s |: - |
pre-striped videotape.
|-:'- / -:n || s ¦¦'- |-| |- n- ||s
felds, one with lines which are even numbered and the
other with lines which odd numbered.
|-:|-- / |-- || s ¦:- | '|:: | n-
from an Interpositive for the expressed purpose of
eventually making release prints.
|-:¦s- / ¦s- n- | |-- '|- H'n s| || s
made directly from the original negative for the expressed
purpose of creating an Internegative.
¯¯ ¯|s :--:s | n-s:-n-| --'¦- | |-
Institute of Radio Engineers.
· / -:n || s ¦¦'- | s'| ¯--' s 's
an abbreviation for the International Organization for
Standardization.
¯'¯ c ¯|s s s|: -H|| n¦|-| ' -
standard created by the International Telecommunications
Union.
GLOSSARY 298
J
¯¯ ·n¦:-ss| ¯|s :--:s 'ss n¦:-ss| ':|n n-|
JPEG is an abbreviation for Joint Photographic Experts
Group.
K
¦-'| ¯|- |n- : s'- | n-s:-s |- ': '|
source.
¦- :n-s / -:n || -|-:'' :--:s --|s : n:|s ||
clip or scene.
L
¦--: / s-| H'n |- |-||| H'n :'' ¦--: |
be in the form of blank flm, a countdown or even a clock.
¦--:| ¯|- n-| s¦'| |- -|:- |-|s -
screen image on a television monitor. This will show the
entire image within the center of the display and there will
be black borders on the top and bottom.
¦ss'-ss n¦:-ss| / n-| H'- n¦:-ss| || ¦-::ns |-
function without loosing any information.
¦ss ·n¦:-ss| / ¦- n¦:-ss| | s:s |:n| |
order to complete the function.
¦s ·n¦:-ss| '||- n¦:-ss|
¦¯· /| ||:-| : ¦||' ¯n- ·-
¦'¯ ·|-:s- ||| s ¦|¦ ¯|'- s -ss-|''
conversion table. It can be used to perform a conversion
between color spaces.
M
`: / || : |- || s ¦::nn- :: s|
which was normally done by pressing a series of buttons
`s| / n-| ns|| : s'| :-| || | n-
by using a source such as a Power Window.
`- / s|' || s s-| |- n- : |- ¦:¦s-
of replacement with other information.
`:- /| -- || s s- | '|-s || |- n-:' |
confict with the scan lines.
`||:n- /||-: -:n : |'| : |- H'n s|
CHAPTER GLOSSARY
GLOSSARY 299
20
`· /| ||:-| : “n s|” n-|| “|
sound”.
`¯¯ ¯|s s | ||:-| : `| ¯:- ¯¦-:s :¦
and is associated with a group of compression standards.
N
¦:- / -:n || :--:s ·-'''s- ¦:- H'n s| / s|
which was used until the mid 1952 and was highly
fammable.
¦- / |||-' ¦:-ss| || ||'|-: ':
enhancement system which can be used for primary or
secondary color correction.
¦|¯:¦ ¯:n- ¯n- ·- /| ¦¯· ¯ :n- ¦-: s-| n- - --'¦- |
the SMPTE.
¦||-:'- - / -:n || s 's ||| s ¦::-ss- s| -
Each video frame contains one feld of full resolution
information.
¦¯· / -:n || s | ||:-| : |- ¦|' ¯-'-s|
Standards Committee. It is a 525 line system which is used
in the United States, Canada, Japan and in some areas of
South America.
O
·'|- ¯| /| -'-:| - || :--s ¦:-- : :|
the program. An EDL is produced upon completion which
allows the user to assemble the program in the on-line
suite.
·|- ¦| / -:n || s ¦¦'- s|'- ': ::-| ||
is used throughout the flm.
P
¯/¦ ¯|s s | ||:-| : ¯|s- /'-:|- ¦|- | s
a 625 line interlace system which is utilized throughout
Europe and Australia.
¯||:n / -:n || :--:s n||:n- : |'| | |-
flm stock with is sensitive to all color.
¯:- ¯s¦' / s¦' || s|s s-¦:- :- :--| | |'-
channels on a waveform monitor display.
¯:n: ·': ·::-| ¯|- s| |- -:'' ': ::-| :
the entire image by adjusting the lift, gamma and gain
balance and level.
GLOSSARY 300
¯:n: ·':s / -:n | s ¦¦'- |- |:-- ¦:n: ':s :-
green and blue.
¯::-ss- | / s||| n-| || |s -| - :n- | |-
feld of full resolution information.
Q
·' ·|:' ¯|- |s¦-| ¦::n -|s:- | s :--
from defects or problems.
R
¯/` ¯|s 's ||| s ¯|n /-ss `-n: s
computer memory which is unsaved.
¯-' ¯n- ¯-s / -:n || s ¦¦'- --s || | |- '.-
without rendering.
¯-'-s- ¯:| / ¦s- H'n ¦:| || s :-- : |- -¦:-ss
purpose of being projected in a theatre.
¯¯ /| ||:-| : ¯ ¯:--|
¯¯ /| ||:-| : |- |:-- ¦:n: ':s ¯- :--|
and Blue.
S
- ¯'n / H'n s| || s -|-: ¯'-s-: : /-- |s-
:| / -:n || :--:s |- n| |:n |:n|
¯·/` / c.¯ '|- ss-n || s s|: : “--|' ·'-:
Avec Memoire”.
-|: ·': ·::-: ¯|- n-| s| |- ¦:': ': || |-
image without changing the image’s overall color.
-¦ / -:n || s -|-:'' ¦¦'- |:| s| |
is applied to a black and white image. It is generally
associated with old images.
`¯¯¯ /| |:-| : |- - `| ¯:- |
Television Engineers organization.
/ -:n || s ¦¦'- | n- || s | | s
or un-sharp.
--.- / |n- | s -|-:'' ¦¦'- |- |n:¦|
squeezing of an image such as with CinemaScope or
Panavision.
:|: / s-:-s :|s || -¦ -| s-|- ||
project.
CHAPTER GLOSSARY
GLOSSARY 301
20
T
¯/¯ /| ||:-| : “¯-'-|- /|'ss ¯'n” s -s H'n
used widely in telecine suites.
¯' / -:n || s ¦¦'- |- -| :'' H'n
¯-||': / :-n:|- ': ¦:-ss : n| ¦:-s
¯-'-|- / n||- || s s- : :|s-::| n| ¦:-
flm to video.
¯|-:' ¯-'-s- ¯:| / ¦s- H'n ¦:| || s :-- : |- -¦:-ss
purpose of being projected in a theatre.
¯|:-- ·': `--: / n--: | n-s:-s ': -n¦-::-
¯| / |n- || s ¦¦'- | n-’s ': s : --|
wash which may have been applied to the image.
U
V
·¯ /| ||:-| : - ·ss-- ¯-:-:
-: ¯|s -|-:'' ¦-:|s : ': || |s |--| -H|-
for correction with a secondary color corrector.
-:' |-:' ¯n- ·- / :n n- - || s 's ||| | n| s ¯·
It is time code which is recorded in the vertical blanking
area of the signal.
/ / -:n || s ¦¦'- :¦|s s¦' :n 's
known as Video Graphics Array.
|-- / -:n || s ¦¦'- :| :': ns|
¯· ¯|s -:n s|s : -:' |-:' ¯n- ·-
¯¯ /| ||:-| : - ¯¦- ¯-:-:
W
\-:n `|: /| s| |- s|: ·s''s¦- | s s- :
monitoring a video signal.
\-s:--| / :n : s¦'| | n- | - |:.|'
dimensions such as CinemaScope or Panavision.
\| ¯| / -¦- || |s n- - :-:- s|' ||
the picture.
\:| ¯:| / -:n || s ¦¦'- |- '| ¦:| | s |-
used for editing.
\`\` / -:n || s s|: : “\| ` -- s \| ` -”
GLOSSARY 302
X
`s ¯|s :--:s |- |:.|' :-¦s|| | n- :
shape.
`/ /| ||:-| : ¯-|- :¦|s /::
Y
`s / -:n || s ¦¦'- |- -:' sn-| |
image or shape.
`·` /| ||:-| : |- ':s `-'' ·| | `-|
`·:·| ¯|s s 's ||| s `' ¯|- ` s |- 'n||-
information and the Cr and Cb are the chrominance
information.

Welcome to DaVinci Resolve

The world’s most powerful color correction now on Linux and Mac! DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci is the name behind more feature films, television commercials, documentaries, television production and music videos than any other grading system. When you’re in a room full of demanding clients with conflicting ideas, colorists know that DaVinci Resolve has the quality, real time performance, creative features, and powerful control panel you need to work fast! DaVinci Resolve is now available for both Mac OS X and the clustered super computer power of Linux!

CONTENTS

USER MANUAL

DaVinci Resolve 7.0
Chapter 1

Introduction
DaVinci Resolve 7.0 Release Notes New 7.0 Features DaVinci Resolve

11
12 13 19

Chapter 2

System Setup
Media Storage Volumes Video Capture Hardware Control Panel Type

20
21 22 22

Chapter 3

Quick Start Guide
Quick Start Project

23
31

Chapter 4 Chapter 5

Control Panels Getting Started
Starting DaVinci Resolve User Login Screen Login To An Existing User Exiting Resolve Creating A New User Deleting An Existing User Changing A User Password Multiple Database Support Selecting the Database Creating a New Database Create a New Database Image Remote Database Server

32 34
35 35 35 35 36 36 37 37 37 38 39 39

Chapter 6

Configuration
The User List The Configuration List Modifying and Saving an Existing Configuration Creating a Facility Default System Configuration Projects List Shared Database And Locked Projects Configuration Screen Tabs Project Tab Timeline Format Image Format Scaling Common use of Input Format Preset Deck Capture and Playback PowerMastering – Grading and Formatting Directly To Tape Input Scaling Low Resolution Proxies Timeline Conform Options

40
42 43 43 44 44 46 47 48 48 49 50 50 52 52 53 54

DAVINCI RESOLVE USER MANUAL

Conforming by Reel Number Reel Number Support from Final Cut Pro EDLs Changing the Conform Frame Rates Video Monitoring LUTs Tab Timeline Lookup Tables Generate Soft Clip LUT Generate LUT from Current Grade Apply LUT to Waveform Printer Light Step Calibration Settings Project Settings Dynamic Profiles Timeline Ripple Mode Working Folders Control Panel Autosave Tab Source Tab Master Decode Settings Image Decode Settings Project Image Decoder Settings
Chapter 7

55 57 57 58 60 60 61 61 63 63 64 65 68 68 69 70 71 72 73 74 75

Browse
Media Storage Splitting Clips Based on an EDL Add Material into the Media Pool Based on an EDL Offsetting the Source Timecode from a Clip Copy and Paste Function For Clips Disk Speed Benchmarking Clip Details Add as an Offline Clip Add into Proxy Manager Scene Cut Detector Changing the Source Timecode In Header Converting a Clip to another File Format Add as Matte Extract Audio From QuickTime The Media Pool Media Pool Folders Media Pool Clips Remove selected Clips Remove from Master Session Remove all Clips Change Pixel Aspect Ratio Change Input Format Preset Change Parent Directory

77
79 80 81 82 82 83 84 85 85 85 86 87 87 88 89 89 90 91 91 91 92 92 93

DAVINCI RESOLVE USER MANUAL

CONTENTS

USER MANUAL

DaVinci Resolve 7.0
Switch Parent Directory The .deleted Folder Clip Replacement and Automatic Proxy Generation Viewer Window Browse Screen Buttons Clip Task Manager Proxy Manager
8 Chapter 7

94 94 95 96 97 97 98

Conform
Reel Folders Media Pool Folders and Clip Displays Timeline Management Session Selection Create Default Load AAF/EDL Pre-Conform Delete Offline Clips Creating a Conform with handles EDL Display Viewer Displays Online and Offline Comparison Mode Fixing Offline and Online Offsets Source Clip Editing Timeline Displays Editing Editing An Existing Timeline Building Your Own Timeline Locks Enable Snapping Deleting Clips – Adding Black Speed Changes Audio Conform Tools Re-conform from Reels Saving EDLs Track Marks Export CDL Conflicts ColorTrace ColorTrace CDL ColorTrace2K Session

99
101 101 102 102 103 103 105 105 106 106 108 109 109 111 111 112 113 114 115 115 115 116 116 116 118 119 119 120 121 123 125 127

Chapter 9

Color
Viewer Interactive Dirt & Dust Removal Tool Viewer Window Options

128
130 132 133

DAVINCI RESOLVE USER MANUAL

Viewer Stills Display PlayHeads Waveform displays Stills, PowerGrade and Memories Stills Stills Import and Export Sorting Stills Other Still Options Searching For Stills PowerGrade Memories Node Graph Managing Nodes Corrector Node Parallel Mixer Node Layer Mixer Node Key Mixer Node LUT applied within a node External Matte Support Timeline Clip Thumbnails/VSRs Correction Management with the Thumbnail Timeline Display Clip Thumbnail Indicators Local and Remote Versions Group Versions Batch Versions Display Node Graph Wipe Timeline Update All VSRs Edit PAR Value (Pixel Aspect Ratio) Change Input Format Preset for Clips Switch Parent Directory DaVinci Revival Render Cache Clip View Clip Details Audio Timeline RED r3d Clip Decoder Control Master RED Decoder Settings Image Decoder Settings Clip Decoder Settings Primary Tab Primary Slider Controls Input Sizing Controls Primary Tab System Status Primary and Qualifier Control Sensitivity Curves Tab Curves

134 135 137 138 139 142 142 143 143 144 145 146 147 148 149 150 151 152 153 154 154 155 155 158 159 160 160 160 160 160 161 161 161 162 163 163 164 165 167 168 170 170 171 172 172 173 173

DAVINCI RESOLVE USER MANUAL

CONTENTS USER MANUAL DaVinci Resolve 7.0 Custom Curves YSFX Clip Tab Secondary Color Correction Hue. Saturation and Luminance Qualification RGB Qualification Luminance Qualification Qualifier Blur Color Picker Mode Power Windows Adjusting PowerWindows Inside and Outside Window Grades Circular Power Window Linear Power Window Polygon Power Window Power Curve Windows Power Window 3D Object Tracking Blur Sharpen Mist Key Dynamics Timeline Dynamics Indicators Adding Dynamics Render Cache Options Other Color Screen Features Switching Between Conforms within the Color Page Scroll Mode Scroll Controls Chapter 10 173 174 174 174 175 177 178 178 178 179 179 180 180 181 181 182 183 184 185 185 185 186 187 188 189 190 190 190 190 Viewer Full Screen Viewer Interactive Dirt & Dust Removal Tool Viewer Window Options Viewer Stills Display PlayHeads Waveform displays Object Tracking Screen View Interactive Tracking Controls Single Tracking Points Interpolation Between Keyframes 191 193 194 195 196 197 198 199 201 201 201 Chapter 11 Gallery Gallery Database Browser Gallery Database Tabs Stills Memories 202 204 205 205 205 DAVINCI RESOLVE USER MANUAL .

PowerGrades Orphan Stills Current Project Stills Switch Wipe Mode Trace Timeline One Still Per Scene Apple Display LUT Sorting Stills Stills Import and Export Still Properties Adding Gallery Pages Chapter 12 206 207 208 208 208 209 209 209 210 210 210 Format Input Input Transform Presets Input Transform Controls Convergence for Stereoscopic 3D Source Blanking Reference Still Resize and Reposition Output Output Transform Presets Transform Controls Output Blanking Output Format Slate Custom Text 211 213 213 213 214 214 214 214 215 215 215 216 216 217 218 219 Chapter 13 Deck Deck Viewer Ingest Source Timecode Clip Name Batch List Settings Audio Options Folder Options Capture Disconnect EDL Ingest Scan list export Record Clip Information Timecode on Tape Audio Options Batch Output Handles Source Selection 220 222 223 224 224 224 225 225 225 225 226 226 227 227 228 228 228 228 DAVINCI RESOLVE USER MANUAL .

0 Recording Batch Output Chapter 14 230 230 Revival Marking clips for Revival restoration Revival Grain Settings 231 233 233 Chapter 15 Scene Scene Cut Detector Loading Clips for Scene Cut Detection Scene Cut Viewers Scene Cut Detector Controls Automatic Scene Detection Scene Marks Export/Import List Scene Cut Detector Graph Cut List Reviewing the Detected Cuts Splitting and Saving Cut Lists 236 237 237 238 239 239 239 239 240 241 242 243 Chapter 16 Render Render Timeline Render Properties Output File Formats Recording Mode Commercial Workflow Stereoscopic Render Other Render Properties Settings Render Path Settings Batch Render Render Queue 244 246 248 248 248 250 251 252 253 254 255 Chapter 17 Stereoscopic Grading Creating a Stereoscopic Project Grading Stereoscopic 3D Color Screen Viewer Stereo Display Options Color Screen Status Display Thumbnail Timeline Menu Options 256 257 257 258 259 260 Chapter 18 Remote Grading Requirements Setup Restrictions 261 262 262 263 Chapter 19 DaVinci Resolve Control Surface Shift Key Convention 264 265 DAVINCI RESOLVE USER MANUAL .CONTENTS USER MANUAL DaVinci Resolve 7.

Soft Keys and Soft Pot Controls Soft Key and Soft Pot Control Conventions Menu Layouts Chapter 20 266 266 268 269 269 271 273 274 276 276 278 280 281 282 283 283 284 Glossary 292 DAVINCI RESOLVE USER MANUAL .T-Bar Panel Mode Control Group Session Management Marking Dynamics Memory Access Menu Navigation and Node Control Reference Configuration Trackball Panel Transport Panel Reference Configuration Transport Control Keys Memory Access Keys Numerical Entry Key Group List Marking Menus.

Introduction 1 .

Each node can also have image and matte defocus as well as custom curves. native file support for a number of camera and image formats. DaVinci Resolve provides the most efficient work flow for television long form. nodes are used to create and control the color correction and to enhance the image by simply adding a series of nodes together.CHAPTER 1 INTRODUCTION Introducing DaVinci Resolve Welcome to the DaVinci Resolve user manual. Linear. and real time SD and HD tape ingest and playout. or Power Curve Window. or even Open File System LAN or SAN storage with DaVinci Resolve and connection to the control panels is as simple as plugging in the USB connection. powerful EDL and conforming tools. combined with DaVinci’s Emmy award-winning image enhancement expertise along with the latest GPU technology. You’ll soon learn that it’s the most powerful and easy to operate color enhancement system that has ever been introduced. Shown with Blackmagic UltraScope 12 INTRODUCTION . We invite you to read on and discover all the features of this exciting new system. Color enhancement in DaVinci Resolve centers around clip-based color correction and real time conforming process. You can use internal. DaVinci Resolve carries the tradition of DaVinci color correction into the next generation of color enhancement. DaVinci Resolve also includes an automatic image tracking tool for PowerWindows. a primary and/ or secondary YRGB correction may be applied and combined with a Circular. TV commercials and feature film digital intermediate color grading and finishing applications. Within each node. Within each clip. Polygon. external direct attached. DaVinci Resolve carries the 25 year tradition of DaVinci color correction.

New Control Surface with USB 2. upgraded to improve visibility of all control elements. • Internal USB 2. Output and Slate tabs. Offset. • New Blur tab with control for Radius. vectorscope and histogram displays on the second monitor. H/V ratio. • New interface for resolving timecode conflicts. Coring and Mist.What’s New in DaVinci Resolve 7. • Menu bar and keyboard shortcuts for Mac. • Real time grading of 4:4:4 SD. Updated User Interface • Enhanced user interface. where you can select the correct source clip. now on the color screen. • Dual monitor support on Mac for internal waveform.0 • Complete redesign for greater reliability and serviceability. • Now for Mac Pro and MacBook Pro for studio and on-set use. vectorscope and histogram displays when changing to and from the Color and Viewer screens and other screens.0 hub for connecting your mouse and tablet. parade. • System status indications on new Primary control tab. • Auto switching of internal waveform. HD and 2K without disk caching. • Supports 1920x1200 and 1920x1080 monitor sizes. INTRODUCTION 13 .0 connection from workstation to panels. • New Format screen with separate Input. parade. • New Remote Grading interface so you can connect to a remote Resolve quick and easily.0 Launch of DaVinci Resolve on Mac • Fully featured professional color correction for Mac OS X. Third Party Panel Support • Support for Tangent Devices ‘Wave’ panel. • USB 2. • Input image sizing controls replicated. • Perfect for multi system shared project environments.

NVIDIA 12 bit RGB Monitoring Support 14 INTRODUCTION . 4:2:2 (Proxy) and 4:2:2 (LT). 10 bit @ 2048x1556 @ 23. and Linux for 2D configurations.CHAPTER 1 INTRODUCTION Apple ProRes read and write support on Mac • Apple ProRes files supported on Mac computers with Final Cut Studio installed. 4:2:2(HQ). Avid DNxHD® MXF support update on Mac and Linux • Avid MXF version available from Blackmagic Design.264 read and write support on Mac. RED Rocket support on Mac and Linux • RED Rocket card support on Mac Pro.98. • And support for 2K-SDI using 3Gb/s 4:4:4. 5D and 7D. • Dual RED Rocket card support on Linux for 3D configurations. • New MX color space and user controls. read support on Linux • Suitable for Canon 1D. 25fps. DeckLink HD Extreme 3D Enhancements • With support for HD-SDI 4:4:4. Cineform read support on Mac and Linux • Single eye and stereoscopic 3D Cineform file read support. 4:2:2. H. 24. Uncompressed QuickTime read and write support on Mac • Includes 8 and 10 bit. • Includes 4:4:4:4. • New support for SI-2K camera files. 10 bit on 3Gb/s single link.

• Now you can save timeline thumbnails with projects. • Gallery support for 3D stills/memories. project export. • Apply Ripple Grades to both eyes.Database Optimization • New PostgreSQL database engine. Includes selectable pixel size for checkerboard. • Generate a Stereo EDL. . Now colorists can add and manage local and remote databases. import and also backup. • Now you can resize your image using sharp or smooth filtering.Compare left and right eye with checkerboard display.Now you can compare two folders of clips and simultaneously generate an EDL for each eye. • New database manager user interface. • ColorTrace Both Eyes. INTRODUCTION 15 .Includes selectable option of convergence with auto zoom control. Easily manage all your mismatched clip lengths and start times. Enhanced GPU processing for image sizing • The highest quality simultaneous real time resizing. this grade will ripple to the other eye automatically. Offers reliable project sharing between users and systems. • New progress-bar when loading or saving projects. • Now you can display Stereoscopic 3D. for both input and output sizing. .When you apply Ripple grade to one eye. .Now can see and change convergence on Format screen. .Now you can apply the same edit to both left and right eye. .3D stills can now be stored in both Gallery and Memories. • Auto save with progress bar. • Editing for 3D projects.Now you can display side-by-side or line mesh on your 3D grading monitor. . . . . Stereoscopic 3D Enhancements • New Convergence control offers independent Pan and convergence adjustments.Now you can ColorTrace both eyes simultaneously.

. .Save PowerGrades for use in all your projects as they are accessible every time you login. • Show Offline clip through conform gaps. . . 16 INTRODUCTION . .DaVinci Resolve now features and option for automatically finding the current clip in the media pool. Gallery Enhancements • Naming Stills. .Display filter of either current session stills. . • Individual Offline clips remember the assigned offset.Now can display the offline image when there is a missing clip or a hole in the timeline. . • Locate clip in media pool. . • Offline/online sync within color page.Multiple offline clips can be used for a timeline with individual offsets. • Filter mode for showing clips from your current session. • New Clip info window. • Every user can now have their own PowerGrade library.Now you can adjust the offline and online sync right from the color page. . .Right click and type to name stills. Conform Enhancements • Frame Syncing Between Sessions.Search for stills based on name. or all stills for the entire project.Now you can display source clip details from the Browse or Color Screen.Stills can be named for quick reference.CHAPTER 1 INTRODUCTION Spatial Interlacing Support • Now you can use progressive or interlace image processing.Resolve will now cue to the same source frame when switching sessions. .Your PowerGrade Library of stills include the image node graph.

. . • Add clip options. • Tracking metadata can now be found easily.PowerMastering will now support source clip with handles. • Now you can easily switch to the last node by pressing ‘0’ on the DaVinci Resolve control surface followed by ‘Select Node’. PowerMaster Enhancements • Source mode PowerMastering. file name and user defined text. This includes timecode.Generate a Master Session with user defined handles on the Conform screen to include all source clips and their current grade.Jump from any node in the graph to a new node placed at the end of the node graph. .New right-click option to add clips to the current location on the timeline or to append to the end. Editing Enhancements • Treat holes as black. . . . • Apply a Ripple by adding a node to the end of node graph.Now you can save your LUT for Nuke and Adobe After Effects using the popular .Now you can quickly identify clips with tracking.Now you can treat EDL holes as black when editing ripple mode.cube format. . . • PowerMaster support for burn-in text. • See record and source code simultaneously. using the new second timecode window.A user defined text burn-in can now be applied during PowerMastering. using the icon on the timeline thumbnail. Includes duplicate timecode protection. • Grade and save a LUT with the internal 33x33x33 LUT generator. INTRODUCTION 17 .Color Control Enhancements • Now you can append a node and apply a color correction.Automatically ripple a grade to any number of clips by adding a node to the end of each clip’s node graph with the ripple grade. by scanning the timeline thumbnail. .

Now can automatically manage your render path using tags. Tag Description %T Reel Number %E Event Number %V Version Name %I Clip Index • Stereo Image Render. 18 INTRODUCTION . such as Reel Number into render path using appropriate tag.Now you can render stereoscopic projects with side-by-side (left and right eye) in the one file.Enter the desired description. .CHAPTER 1 INTRODUCTION Render Enhancement • Render Tags. . .

System Setup 2 .

select the DaVinci Resolve menu. or mount point to the list of disk storage for your media. The first location in the storage list will become the default location for images. The three items to establish are: the location of your media images. Often this is the internal RAID you have established. folder. Start the application. all proxies. and choose Preferences. This location should have plenty of storage capacity and be permanently connected to your Mac. if any. but it can be an external drive too. if any. folder or mount point from the list of disk storage. cached files and gallery stills. and the type of control panel that will be connected to your system. Click on the ‘-’ (remove) button to remove a volume. DaVinci Resolve Preferences Media Storage Volumes In the Media Storage Volumes window select the ‘+’ (add) button to add a volume. the video capture card. 20 SYSTEM SETUP .CHAPTER 2 SYSTEM SETUP System Setup DaVinci Resolve on Mac systems require three simple hardware items to be configured when you start the application for the very first time.

SYSTEM SETUP 21 . it has either not been detected by DaVinci Resolve or it is not currently supported. This is used for engineering and is not required for general use. After you have made each of these selections select ‘Save’ and then restart the DaVinci Resolve application. You may have noticed a ‘Debug’ tab. select it from the pulldown list. so if you do not see your card on this list.Video Capture Hardware If you have a video capture and playback card. Control Panel Type Finally. The options include supported cards. select which control panel hardware you have connected to your DaVinci Resolve from the list provided.

Quick Start Guide 3 .

User Login 23 QUICK START GUIDE .CHAPTER 3 QUICK START GUIDE Quick Start Guide Before getting into the details of grading with DaVinci Resolve let’s have a quick look at each of the main application screens and their functions. When you start DaVinci Resolve the launch window opens and each software module reports its loading status. Mac Start-Up When the start-up is complete the User Login screen appears. Double click on a User icon to switch to the Configuration screen for that user.

Configuration Screen QUICK START GUIDE 24 . Use a left mouse click on this bar to switch to each screen. With the five tabs located on the right half of this screen you can set up new projects. load existing projects. Navigation Bar The Configuration screen shown below is used to configure projects based on the user. this navigation bar appears at the bottom of every main screen. and select the format and connection type for deck capture and playback.After you login to Resolve.

organize clips into a numbered order designated by an edit decision list and to confirm the edit via an offline video.CHAPTER 3 QUICK START GUIDE Use the Browse screen shown below to select and review clips that are in your media storage and to mark the individual clips you need for your project. Browse The Conform screen is used to establish your Master Session/ timeline. Conform 25 QUICK START GUIDE . On the Browse screen you can create a Master timeline. load your EDLs and compare the hi-res source clips to your offline video from the edit system.

Most of your grading time will be spent here. This includes a viewer. a project and clip timeline and all the tools you need to create a master grade. and controls for the automatic image object tracker. at the Color screen. Viewer QUICK START GUIDE 26 . gallery of stills. Color The Viewer screen provides a full screen view of your images with transport controls.

Gallery The DaVinci Resolve Format screen interface makes it simple to format an image. Here you can move them between different folders and name them as you like. even zoom and rotate. Format 27 QUICK START GUIDE . pan and tilt the image. You can adjust input and output image formats and size.CHAPTER 3 QUICK START GUIDE When you capture or import stills. they are all displayed in the Gallery screen. all while seeing your changes in the viewer in real time.

Ingest from. Deck If your DaVinci Resolve is connected to a DaVinci Revival image restoration system you can use the Revival screen shown below to manage interaction between the systems. Revival QUICK START GUIDE 28 . or record to videotape all your SD and HD images using the Deck screen. There is also a batch capture option to speed up those otherwise cumbersome ingests from a long list of clips.

No problem. Many systems limit the render of clips to the settings used in the timeline.CHAPTER 3 QUICK START GUIDE Sometimes you have images to grade but no EDL to split them into clips. It works five times faster than real time so you can start grading faster. Scene Cut The Render screen is used to set up the configuration and initiate rendering of the timeline images. Resolve is not restricted by this limitation and this provides you with significant workflow advantages unmatched in the industry. Render 29 QUICK START GUIDE . just use the Scene Cut Detector to find those scene cut points automatically and split the source clip.

as detailed in Chapter 2. and select the folder ‘Sample Images’ that you copied from the DVD. Select a cyan anchor point and click and drag to change the size or aspect. if necessary.’ Using the navigation buttons. You can jump to clips by selecting them on the Thumbnail Timeline or use the transport controls under the Viewer. Click and drag the Luminance Lift a little lower and the Luminance Gain a little higher. Select the Conform navigation button and. You are ready to switch to the Color screen. on the left in the Timeline Management display. click on the Windows tab and select the circular window. ‘Add Folder Into Media Pool.’ You will see the Media Pool populated with a few files. and control panel type. and note the window cursors on the Viewer. click and drag the red.’ Use Mac Finder or your Linux Browser to copy this folder and contents to your media storage. the final preparation step is to put some images on your media storage drives.Quick Start Project This Quick Start overview is designed to skip past much of the detail and get you quickly to the Color screen so you can learn how to login. The timeline will be populated and the Viewer will show the first frame of the first clip. QUICK START GUIDE 30 . create a master timeline and start grading. Assuming you have installed the DaVinci Resolve application and used the Preferences menu. Expand the folder view. Now right click on the folder and select the second item in the options list. In the window enter the new project name. To the left of these is the Luminance Gain. Select the ‘Add’ button on the bottom left of the screen in the Project List display. select ‘Create Default’ and confirm ‘OK. Once you have these basics understood. which will show as clips on the Master Session timeline. video capture hardware. select clips. Within the Primary tab. The Configuration screen will automatically open after the login. select the Browse screen and look for your media storage at the top left. or Gain display. configure and load a project. Now adjust the primary controls or curves and note that the grade you apply is inside the window. On the DaVinci Resolve application DVD there is a folder called ‘Sample Images.’ At the bottom you will see the EDL display list the events. ‘Sample Project’ and ’Save. 3: 4: 5: 6: 7: Follow the rest of this User Manual to learn the full power of DaVinci Resolve. Gamma. to set up your media storage. To add a PowerWindow. you can continue learning the details of DaVinci Resolve operation as you reference each of the chapters in this User Manual. turn it on. At the Login screen double click on the Guest icon. green or blue slider within the Lift. 1: 2: Start DaVinci Resolve.

Control Panels

4

CHAPTER

4

CONTROL PANELS

Control Panels
While DaVinci Resolve can be operated with a mouse and keyboard, the full creative power of the system is unleashed when used with the DaVinci Resolve Control Surface. The DaVinci Resolve Control Surface consists of three panels. The center Trackball panel is used for most grading operations and includes a slide-out keyboard and trackballs. The two side panels are interchangeable for left- and right-handed operation. The Transport panel includes a jog/shuttle control and is often placed on the right (for right-handed colorists) with the T-bar panel on the left. The panels are usually located some distance from the Resolve workstation, however it is very simple to connect them together with a USB2.0 cable.

Details of the panel operation and menus are found later in this guide. DaVinci Resolve also supports third party panels; the first available is the Tangent Devices ‘Wave’. This panel offers significantly improved creative control compared to using a mouse, however there are a number of features offered with the DaVinci Resolve Control Surface panels that are not possible on the Wave. Check the Blackmagic Design web site for details of other supported panels.

Tangent Devices Wave

32

CONTROL PANELS

Getting Started

5

CHAPTER

5

GETTING STARTED

Getting Started
Starting DaVinci Resolve
Click the DaVinci Resolve icon to start the application. As the system is starting the launch window opens and each of the software modules reports its loading status. When the start-up is complete the User Login screen will appear. You can close DaVinci Resolve using the ‘Exit’ button, which is on the User Login/Exit page.

Colorist Login

User Login Screen
DaVinci Resolve uses a database to store grading information for each project and each user. Each user’s file contains stored color corrections and system configurations for your projects.

Login To An Existing User
The User Login screen displays an icon for Admin, Guest, and all other users. To login without a password, simply double click on the Guest icon. If you double click a password protected user, just enter the password and continue. If needed, easily create a new user as indicated below. As all projects require pre-configuration prior to grading, once the login is successful, DaVinci Resolve will automatically switch to the Configuration screen.

Exiting Resolve
When you have completed your work, save the project, use the log out button on the Configuration screen and then Exit on the User screen.

34

GETTING STARTED

Creating A New User
To set up a new user select the Admin icon and then the + button on the bottom left of the screen. . The administrator can use password protection to lockout the New User function. When DaVinci Resolve is first installed the Admin password is left blank. If the Administrator has protected the operation with a password please see your Admin to gain access. You may also change the graphic for each user by right mouse clicking on the icon and selecting ‘Change Picture’.

Deleting An Existing User
To delete a user select the user’s icon and then the - button at the bottom of the screen. Confirm the Admin password and then a prompt will appear asking you to confirm the user deletion. Don’t worry if you have done this accidentally as DaVinci Resolve stores the old user information in an Inactive User file so you can recall the data whenever you need to. By clicking on the ‘Inactive Users’ button at the bottom of the Login screen (you must have Admin privileges), the Inactive User List will appear and allow you to either reactivate or permanently delete the users listed.

Inactive Users List

This permanent deletion of the user is final! Be sure you really want to delete the user and their projects, stills, configurations, etc.

GETTING STARTED

35

CHAPTER

5

GETTING STARTED

Changing A User Password
Change your user password by simply selecting your User Icon to make it active and then the ‘Change Password’ button. In the Changed User Password window enter your old and new passwords and confirm.

Change User Password

Multiple Database Support
DaVinci Resolve works from an internal database server so it’s possible to have multiple databases for maximum flexibility in organizing your projects. You can create a database for each year, or whatever timeframe you desire. Keeping the database size small makes loading and saving faster. Facilities with multiple systems can implement a shared Remote Database Server.

Selecting the Database
You don’t need to do or know anything about databases to use DaVinci Resolve. It’s all set up for you when you install the software. To make a database your active working database, click the ‘Database Manager’ button on the Login screen. Select a database from the list and confirm with the Select button. This database will now be used for saving all new projects. The other databases that are connected, the internal and also remote databases, will continue to appear in the list and you can import projects from those databases. However when you save a project, regardless of its origin, it will save into the active working database you selected.

36

GETTING STARTED

Database Manager Creating a New Database On the Database Manager window select ‘Create New’ to create and add a new database to your available database list. New Database Popup GETTING STARTED 37 . Enter a label name to help identify the database in DaVinci Resolve and a unique database name. All of the old projects are still available. How to import them is found later in this guide. This new database is now available and you can add your user as detailed above. in lower case. If you are using the database on this workstation leave the other items unchanged and confirm OK.

managing the VFX replacements or using the system to do dust busting repairs. Enter the remote database name and select ‘postgres’ for all new databases with full read/write access or ‘MySQL’ for read only access to legacy DaVinci databases. Just fill in each item and confirm OK. Remote Database Server Multiple DaVinci Resolve systems can also work on the same project at the same time using the shared database. For example an assistant could be working with the colorist to prepare files for the next reel by conforming shots. Resolve automatically prevents two users working on the exact same item by opening a copy of a project if one is already in use and will advise you when the other session is closed. change the IP address from the local machine address. etc. We highly recommend the use of a separate workstation to operate as the Remote Database Server for facilities with more than two DaVinci Resolve systems.CHAPTER 5 GETTING STARTED Create a New Database Image If you are connecting to a Remote Database Server. which we show as default to your Remote Database Server. 38 GETTING STARTED . By selecting ‘Connect’ in the Database Manager you can enter the information relating to the remote database.

Configuration 6 .

Configuration At the commencement of every project a number of user. 40 CONFIGURATION . You can open the default or an existing project and/or may change the various parameters of the configuration in order to accommodate the project needs. project and operational configurations should be set to provide the correct environment for your color-grading project. You can also assign a name to the project. These tasks are performed on the configuration screen which is the first screen always opened by Resolve. You can open the default or an existing project and/or may change the various settings to accommodate the project needs.CHAPTER 6 CONFIGURATION Configuration At the commencement of every project a number of user. project. These tasks are performed on the Configuration screen which is the first screen always opened by DaVinci Resolve after you log in. deck and monitor configurations should be set to provide the correct environment for your color-grading project. You can also assign a name to the project within this page.

User List CONFIGURATION 41 .The User List This screen lists all available databases with the users and their associated projects and system configuration files. Expand the list to find and select the project or configuration and select the ‘Import’ button. Note that you will not see your user ID within the current database. This list allows you to simply import projects from other database or from other users into the current database and user. DaVinci Resolve will import that project or configuration and place it in your active database.

. Save these settings to the configuration or cancel to revert to the original.CHAPTER 6 CONFIGURATION The Configuration List The Configuration List will show all configurations saved within the current database for the current user. To save configurations with an alternate name and thus create a new configuration file use Save As. Modifying and Saving an Existing Configuration To modify an existing configuration. select the config with your mouse and then the ‘Delete’ button. highlighted) configuration file are saved. Load: Save: Save As: 42 CONFIGURATION . Any changes that have been made into the existing (i. As the Admin you can define a User Default Config that can be used as a default system configuration for all new projects. or modify the project configuration. Configuration List Within the Configuration List window you can: Add: Delete: This allows you add a new config with the current settings. This will load the selected configuration file.e. Further details on the Configuration screen tabs and their operation follow later in this section of the guide. highlight the configuration and make the changes. To delete an existing config.

then select ‘System Config’ within the Configuration List. first login as Admin. that project will be deleted from the database. Please be sure you wish to delete the project. When you select a project. the project file and any associated sessions (EDLs) are also revealed. It also shows the date on which the project was modified and the project resolution. To modify a System Configuration and save it as the default configuration for all new users. Add: Delete: Create new project. Load: Save: Save As: Project List CONFIGURATION 43 . make the changes to the project and user configurations and select ‘Save’. To save a project with an alternate name and thus create a new project file use Save As. By selecting the ’+’ that is located to the left of the project name.Creating a Facility Default Configuration There are two default configurations in DaVinci Resolve: a User Default and a System Configuration. The selected project in the project list will be loaded. Projects List The logged in user has a Project List to show all projects associated with that user. All new users that are added to the system will automatically inherit these User default settings which can then be modified by the individual users and saved on a per project or configuration basis. Any changes that have been made into the selected project file are saved. There are a number of user controls in this window. then delete. Clicking on the ’+’ located to the left of the User ID will reveal the projects associated with that user.

Use this to rename an existing project. You can save a project with a new name. but only after checking if the current project has been saved. If you wish to create a backup of this project with the grading metadata. This feature is used for loading a locked project when in a shared database environment. DaVinci Resolve allows you to Import and Export projects and will package all the project metadata. you must manually manage the required images. Like Load. If it has not been saved. depending on the status of the current project. To refresh the display simply right click and select Refresh. Often ideal for creating multiple versions of projects or versions for export. this will recall the project and load it into the system. A simple way to make sure your project uses the correct settings. LUTs and audio material into a compressed file which may be easily imported or exported between systems. or export it for use elsewhere use Export +. Allows you to delete a project. it will give you that option. Use Import + to bring projects into this database. EDLs. New: Opens a window to create a new project name for the new project. If the project images are not on a shared SAN. Uses the configuration selected in the configuration list to replace the current project’s configuration. Will recall the project configuration and sessions. You are not permitted to save any changes to the project in this mode. If you select a project and right click the pop-up display will provide the following options. Load: Load in Read Only Mode: Save As: Delete: Rename: Import +: Export +: Load config to current project: Refresh: Project List Options (Right Click) 44 CONFIGURATION .CHAPTER 6 CONFIGURATION There are also a number of features available via a right mouse click within the Project window.

login as Admin and then click on the ‘Unlock’ button. Read-Only Confirmation Dialog CONFIGURATION 45 . For example. often the project is split into logical segments so users can work simultaneously in different suites. For large projects that are being worked on in parallel. Each segment can use grades from the other segments as required to keep the shots in balance. A locked project is loaded in read-only mode and changes must be saved to a new file name. To unlock the project. Once a shared project is loaded.Shared Database and Locked Projects If you are using a shared database with other DaVinci Resolve systems some of the projects will have a lock icon to the left of the project name. a feature film may be split into reels. it is automatically locked in order to prevent multiple users from accessing the project at the same time. or the film separated from the trailer and video press kit.

the ‘Apply’ and ‘Cancel’ buttons located at the bottom of the tabs save or cancel any changes made. Other formats will be added in the future. including the default dynamic profile and automatic dynamic ripple features. While DaVinci Resolve’s default file format is the SMPTE standard dpx file. Select. This tab provides system based configuration and adjustments for the RED camera r3d files. trim and generate look up tables and define where they are used. are made in the Settings tab. Displays the auto project backup information. many other formats are processed natively within Resolve. You may also choose to change the standard for monitoring as well as Deck standards for importing and exporting material. Config page tabs The tabs are: Project: Provides the main configuration settings for DaVinci Resolve to process your images. LUT’s: Settings: Autosave: Source: 46 CONFIGURATION . The first step in setting up the configuration for any project is to determine which resolution you will use. Selections for many user and project variables.CHAPTER 6 CONFIGURATION Configuration Screen Tabs Using the five tabs on the Config screen you can make changes to the configuration to suit your project or files. In each case.

The controls are: Timeline Resolution selects from a preset list and then displays the resolution selected for image processing while grading. When you render the files. setting the system resolution to 1920x1080 provides automatic up or down sampling of the source images on the grading display. You can change the setting for resolutions not found in the presets. For example. including resize a HD to SD image. If you want to see the playback at a slower rate set it here and DaVinci Resolve will make the appropriate calculations and drop or repeat frames as necessary. DaVinci Resolve uses 32 bit floating point processing for all grading calculations and this currently is the only option available as is the legendary and unique DaVinci YRGB color science. You can customize the timeline format settings or use the templates provided. Project Tab CONFIGURATION 47 . You can apply a 16:9 anamorphic pixel aspect. a 4:3 for SD images or Cinemascope ratio. Playback framerate is often based on the setting of the grading monitor so a 50Hz monitor will need a 25 fps playback speed for a synchronous display without dropping frames. If your source format and record format are the same. Resolves interlace image processing consumes significantly more GPU power to maintain the high picture quality so enabling this checkbox will result in a slower playback speed or a reduced number of nodes at real time.Project Tab Timeline Format The Timeline Format section defines the parameters used for image processing during grading. even for projects that have 100% interlace material. if you use a HD grading monitor. or to make significant image sharpening or blur processing you may wish to ‘Enable video field processing’. the render resolution can be set to any other parameter so this system resolution is just to set the working specification for the system while grading and it does not limit the settings for deliverables. you may use Resolve in its native frame based configuration. If however you use the image resizing engine to change the image size. for example HD in and HD out. This can be handy to see how images look in slow motion. The Pixel Aspect Ratio is used to select other than the normal square pixel format. Resolve is a frame based system but it can process interlace video material.

If you select ‘None.CHAPTER 6 CONFIGURATION Image Format Scaling You can set Input and Output Format Presets that can be used with session clips or for a complete timeline. Instead of having to resize every clip independently you can resize a clip and use the preset to apply to all. There are more details on presets later in this guide. for example. Format Preset Selection 48 CONFIGURATION . Presets may also be applied from within the Format screen or even by right mouse clicking on a thumbnail within the Color or Format screens.’ this will indicate that no settings have been applied. if the check boxes are activated next to each option. These presets may be applied as Global presets from the Configuration screen or a Clip preset within the Media Pool which you will find on the Browse screen. These user-defined presets are settings for various image sizes and are very useful. Within the ‘Image Format Scaling’ selections. the programmed settings will be overwritten with the newly selected presets. when a film has been over scanned.

Save this new image size as an Input Format Preset and select this preset. To create an Image Format Preset. Deck Capture and Playback CONFIGURATION 49 . This means you will see the full open gate image and depending on the scanner. enter a preset name. and save. click on the ‘Save As’ button. simply create a resize of a reference image. or even sometimes the round corners or distortion in the corners of the image. and often to make sure all the image area is captured the image is slightly over-scanned.Common use of Input Format Preset If your project originated on film it will have been scanned at some time prior to editing and grading. some of the edges around the image. The optical quality zoom and positioning controls will produce outstanding results. select the ‘Apply’ button at the bottom of the Config screen. on the fly. Deck Capture and Playback The deck window is used to select the format of video that will be either imported or exported from the system when using a video tape recorder. To avoid the time prohibitive process of manually resizing every shot so that it matches every other. so you don’t need to pre-render and you can always make further adjustments during your grading session. simply make a size change with the formatter on the Format screen. You should set these parameters before selecting the Deck screen and once set.

If deselected. This will remove the 3:2 sequence on ingest or will add 3:2 on export to tape. RGB 444 Dual Link and 444 single link using 3 Gb/s. Enable for working with NTSC/59. If your deck supports it. With the Decklink this is set to Auto. 10 bit is the current option. or Crash record edit mode. DaVinci Resolve normally uses computer RGB levels internally and so the normally scaled legal video option will perform a color mapping conversion to and from the SMPTE video levels when ingesting from or recording to tape. but with some other capture cards you may wish to set the sync source to ‘Reference’ for playout and ‘Input’ for ingest. Selects between the available connections: YUV 422 SDI. Assemble. a basic the Edit On/Off mode can be used. Adjusts the edit synchronization for the deck when auto edit is not selected. Colorspace Conversion: Video Bit Depth: Edit mode for recording: Auto Edit: Non Auto Edit timing: Deck Preroll: Add and remove 3:2 pulldown: Video output sync source: 50 CONFIGURATION . this is the best method to record video to the deck.94i-based material. Set the number of seconds for preroll depending on the performance of your deck.CHAPTER 6 CONFIGURATION The Deck Capture and Playback controls are as follows: Video capture & playback: Video connection: Selects video standard from the pulldown list. Select whether to record the material to tape in Insert. By selecting the Unscaled full range data no scaling will be performed in either ingest or playout. Note these options depend on which video capture card you are using and are all available with the Blackmagic Design DeckLink HD Extreme 3 and 3D.

This is because the clip has a complex grade or a high resolution. It can also be used for dailies operations. You should check the playback of each of these clips and select the clip for render cache. Then apply to save the configuration. To output a color corrected and resized timeline or clip directly to tape you must be in the PowerMastering mode which is selected in the Settings tab. right click option.PowerMastering – Grading and Formatting Directly To Tape PowerMastering is intended for creating tape deliverables quickly without the need to render. A key feature of PowerMastering is the ability to work on 2K files or mixed resolution and then output an HD and SD master without the need to render saving not only valuable time but also a lot of disk space. and your hardware configuration is not likely to be able to process the clip in real time for the tape output. first preselect the option to use the high quality GPU for output sizing on the Settings tab. After enabling Power Mastering some thumbnails on the Color screen timeline will have a small red square icon to the left-hand side of the timecode indicating that this clip may need caching prior to PowerMastering. You will see a message alerting you that the output sizing will be disabled in this mode. If you have a number of GPUs or if you need output sizing and PowerMastering. Input Scaling When your source images are of a different size or aspect ratio to the grading timeline you need to select how DaVinci Resolve will scale the images so they all match. if it needs caching. Input Scaling CONFIGURATION 51 . There is more information about PowerMastering in the Deck screen section of this guide. or both. Resizing requires significant GPU processing and for a system with just a single GPU it’s common to inhibit output sizing to PowerMaster. PowerMastering can be enabled at the beginning of a new project or for existing projects.

Scale to full frame with crop Scale entire image to fit Stretch frame to all corners Low Resolution Proxies The proxy mode can be enabled from the Project tab or on the DaVinci Resolve control surface. When this occurs. the frame edges will be stretched to the corners and no information will be lost. Alternatively. When you select this option. which is often exactly half the system resolution. A simple crop is used from the center of the source image if it’s larger than the timeline format. In this mode.CHAPTER 6 CONFIGURATION The options available are: Centre crop with no resizing This option makes no attempt to resize the image to fit the aspect ratio selected. the proxy mode can be activated in order to see the results running in real time. In some cases. Proxies on DaVinci Resolve are made with our optical-quality resizing engine and have been used for major-budget film outs. The Low Resolution Proxies display shows the resolution of the generated proxy and the ’Use real time proxies’ checkbox allows the operator to activate the Proxy mode. Low Resolution Proxies Proxies are generally used when a complex color correction is created and the system begins to run a little slower than real time. There are two types of proxies. DaVinci Resolve will fit the frame to the output aspect ratio. However. You can reposition the image using the Input Format sizing controls within the Format screen. this option can also result in squeezing or stretching of the image in order to fit the output format. The image will be resized in order to completely fill the frame. you can cache the clip to gain real time performance again. When using the Low Resolution Proxies section of the Project tab. a part of the image will be cut from the left and right sides of the source image or the top and bottom. 52 CONFIGURATION . select the resolution for the proxy. The traditional pre-generated proxies which are managed from the Browse screen and often used for 4K projects where the system hardware only permits real time 2K performance and the advanced ‘On the Fly Proxy (OFP) which DaVinci Resolve generates in real time. Automatically inserts blanking within the image area to compensate for a difference in the source to timeline aspect ratio.

Low Resolution Proxies Sometimes you will also need assistance in conforming using reel numbers. It is important to select the conformed frame rate of the clips and how the header or file metadata will be used.Timeline Conform Options DaVinci Resolve will make a conformed timeline of the selected clips using a number of parameters to make it easy to deal with missing timecodes or conflicting reel names. Use timecode ‘embedded in the source clip’ for most projects. This is particularly helpful when working with projects that have a large number of source reels or when the source clip file path is complex. These parameters must be set PRIOR to selecting source clips in the Browse screen as they impact speed and frame rate calculations used in DaVinci Resolve when establishing metadata for the grades. and as long as DaVinci Resolve can reference the header metadata (i. Media pool Folder Name. If the source clips frame count is all that is available. When this checkbox is enabled DaVinci Resolve offers a number of options. The ’conform partial clips with black gaps’ option will allow you to conform a clip that may not contain all the required frames. or from the DPX Header select the appropriate option. You can re-conform shots. Many other formats have options for timecode and other metadata to be recorded with each frame and DaVinci Resolve uses these on a number of occasions. select the ‘From the source clip frame count’ option. within the thumbnail of the clip that it is lacking frames . or even completely change the image material. This permits DaVinci Resolve to generate complex metadata and reference the source clips via the timecode in the DPX header. representing a partial clip. CONFIGURATION 53 . SMPTE-standard DPX files contain both image and metadata for every frame independent to every other frame.. To obtain reel number information from the Clip’s Path name. When this option is selected you will be alerted in the Conform screen by seeing a ‘P’.e. so that conforming and applying grades to the material will be automatic. the timecode) for that clip. especially those that have DPX files. the grading metadata will automatically re-align to the new and correct position in the timeline.

There are three options for this operation.CHAPTER 6 CONFIGURATION Conforming by Reel Number DaVinci Resolve can conform clips by reel identification. Examples of Reel Number Path Extractions In order to better understand how this process works. This wildcard will create matches for any sequence of zero or more characters. Here are a series of search characters that may be used. there are several examples showing the various methods of reel number extractions. The extraction pattern is interpreted from right to left. If you use the source clip file pathname for extracting the reel number. ? * %R This will look for matches of any single character. The / is used as the separator between control parameters. Use this option in order to specify the reel number’s location. 1) Use reel number from the source clip file pathname: The reel number is derived from the information in the directory path or the name of the file. This will match any directory name or file name. If the reel number information extracted proves correct. It will not include a forward slash. Press the ‘Test’ button to view the result of the extraction test. be sure to define the search pattern that enables DaVinci Resolve to extract the reel name. 54 CONFIGURATION . Enter your test patten using the search characters and then the path to a clip you wish to extract. It is important to note that the reel numbers retrieved from the header should match the reel numbers within the EDL. but should not contain any directory separators. %D To test the extraction path select the pulldown arrow next to the current path and a dialog will open. 3) Use reel number embedded in source clip file: When this option is selected the system will search for the reel number in the ‘Input Device Name’ field in the header of the DPX file. 2) Use reel number from the Media Pool’s folder name: The conform operation will use the folder identification within the Media Pool. select the apply button to place the pattern into the ‘Timeline Conform Options’ display. It is important to note that reel numbers may contain any character. This pattern consists of a series of text characters and “wild cards” that are unique to your facility.

Example 2: ere we see the reel number stored in the parent folder name of the clip along with being H prefixed by reel number.dpx Reel number: 004B This example is again similar to example 1. Pattern: */%R/%D Clip Name: vol0/MyMovie/Scans/004B/Frame[1000-2000]. we see the reel number that is embedded within the clip name of the material. In this case the %D matches to the file name “FrameNNNN.dpx) and the frame number portion of the file name. Pattern: */????%R/%D or alternatively */Reel%R/%D /vol0/MyMovie/Scans/Reel1234/Frame[1000-2000]. The * at the beginning of the pattern will match a file path any number of directories deep in front of the file name.dpx 004B This example shows a method for extracting the reel number for the file name of the clip. The difference is that the reel number is the directory name two levels above the clip. The reel number is still in the parent directory name but in this case it will have the fixed characters “Reel” prefixed in front of the reel number. Pattern: Clip Name: Reel number: */Reel%R_* /vol0/MyMovie/Scans/Reel004B_[1000-2000]. CONFIGURATION 55 . The first pattern with ???? would actually match with any 4 character in front of the reel number. Example 4: Finally. Then the * at the beginning of the string says match any pathname in front of the directory name that has the reel number. the reel number was in the directory name only one level up. Pattern: */%R/%D/%D Clip Name: /vol0/MyMovie/Scans/004B/134500-135000/Frame[1000-2000]. Which in this case will pick up the file extension (.dpx Reel number: 004B Parsing takes place from right to left so to analyze this pattern start at the right end. This string would find the parent directory regardless of how many levels deep it is nested on the directory path. the /%R/ section of the string is next. This specifies that the reel number will be the entire name of the parent directory immediately above the file. Next. the “/Reel%R” characters indicate the reel number is the characters between the ‘/Reel” and _ character. starting at the right the two pattern characters “_*” match any series of characters up to the first underscore character. Again. The second pattern is more specific and would only match the word “Reel” in the directory name. Moving left of the file name.Example 1: This example shows the reel number stored within the parent folder name of the clip.dpx Clip Name: Reel number: 1234 In this example both of these extractions patterns produce the same result. They are also similar to the first example. Example 3: This example will show the reel number stored within the parent folder name two directory levels up.dpx” where NNNN is the frame number in each file of the clip. In the example 1.

select the option called “Extract Reel Names from EDL comments”. On the settings tab of the config screen. DaVinci Resolve supports extraction of the reel name using the comments. If you enter an incorrect frame rate in the Timeline Conform Options display.g. it is important that you apply the correct frame rate for the material within the Conform Options display prior to adding material into the Media Pool or creating a Master Session within the Conform page. this control within the Configuration screen will become unavailable. Changing the Conform Frame Rates As mentioned.CHAPTER 6 CONFIGURATION Reel Number Support from Final Cut Pro EDLs To be able to handle larger than 8 character reel numbers from Final Cut Pro EDLs. the resulting source timecodes that are calculated will be incorrect.MOV DaVinci Resolve will read the reel name as REEL02_TEST This option is especially useful for conforming CMX EDLs generated with reference to RED r3d clips. To change the value within the Timeline Conform Options display you must delete the Master Session and remove any information in the Media Pool. Consider the following event in the CMX EDL 001 REEL02_T V C 01:02:54:24 01:02:50:24 01:00:54:24 * FROM CLIP NAME: REEL02_TEST. 56 CONFIGURATION . e. which have longer than 8 character reel numbers. Once information is added into the Media Pool or a Master Session is created.

CONFIGURATION 57 . For example. as the 3D processor and display device.Video Monitoring The Video Monitoring display should be adjusted to reflect the monitor you use for color correction. It will select between internal and external bi-level or tri-level synchronization. and can process. The output video sync source control is used with some video I/O cards but not required with all. so making the correct selection is important. If the Colorspace conversion is set to the normally scaled legal video then the data range is scaled down to video range (64-940/960). If applicable to your system. you may select the 12-bit option. simply change the colorspace conversion to unscaled full range data. This is particularly relevant when two NVidia SDI optional cards are installed for Stereoscopic 3D grading as they both must have the same physical input sync. you should select the appropriate HD standard for that monitor. If you wish to monitor the full 10-bit data range (0. The settings here have frame rate and screen refresh implications. This is often used when monitoring through a projector capable of accepting a 12-bit HD-SDI input. RGB444 dual or single link. There are many options for the video monitoring format. or the XYZ option. Remember your images are often stored in full 0-1023 data but the monitor is generally expecting. if you are working with 2K files in a 2K environment but color correcting using a high definition monitor. Then select the video connection to operate as YUV 422. Video Monitoring With some video I/O and monitoring cards there is an option for 12-bit monitoring.1023) of the monitoring output. the 64-940/960 video levels as specified by SMPTE. The Colorspace conversion selection will perform a color mapping conversion to work with data to video level translations. so first select one from the pulldown list.

This may also be noticeable if you have a 2K or HD project but are monitoring on a SD monitor. 59. Bicubic and Bspline will have different impact depending on your display device so you may need to test each to verify which is best for your facility. 58 CONFIGURATION . Normally this should be in the basic mode. Bilinear. The 3:2 Pull down switch can be utilized for monitoring in NTSC while the user grades 24fps material. The other options.CHAPTER 6 CONFIGURATION The filter selection for monitor scaling is usually set to basic and only enabled to smooth edges when viewing with a video projector and a very large screen. If you have selected NTSC. These settings minimize any high frequency artifacts that may be seen.94i or a playback rate of 24fps will automatically activate this option.

3D LUTs that are generated in DaVinci Resolve are in the . Resolve uses both 1D and 3D LUTs.LUTs Tab From the LUTs tab on the Configuration screen you may select various Input. LUT Tab Timeline Lookup Tables Within the Timeline Lookup Tables display are the factory preset lookup tables along with those that have been generated or imported into DaVinci Resolve. the Update lists button should be clicked to refresh the contents of the pull down menus. or Display lookup tables or LUTs. DaVinci Resolve can also read and use LUTs in the Cinespace format. There is also an option to ‘Apply LUT to Waveform’. will apply the selected LUT to the DaVinci Resolve Waveform display. If new lookup tables are imported into the system. This can be useful when working in Video grading mode when a 3D LUT has been applied. Output. LUT Table CONFIGURATION 59 .cube format and are configured as 33x33x33 cubes in 32 bit floating point. when checked.

. Before you can use this feature. and generate by click on the ‘Generate LUT’ button. The new LUT will be available the next time you update the LUT list. which is readable by the Blackmagic Design HDLinkPro. you need access to a unique DaVinci Resolve Trim LUT DPX image. select either the 1D LUT or 3D LUT option then the original LUT from the pulldown list. Save LUT as 60 CONFIGURATION . Generate Soft Clip LUT Generate LUT from Current Grade DaVinci Resolve offers a LUT generation and trimmer tool that you can use to tweak existing LUTs or build new LUTs. The 3D LUT generated is in the . which is available from your application DVD. Type in a name for the new LUT. These LUTs can be used internally or for other LUT management products as “Looks”. 940) for the maximum 10-bit video level as well as the minimum clipping level.e.cube format.CHAPTER 6 CONFIGURATION Generate Soft Clip LUT To edit an existing LUT by adding soft clipping to it. The clipping softness controls allow you to apply soft ramps to the high and low clip level. You can then scale the new LUT to a clipping range (i.

click on the clip you just graded with the desired offset grade. select the Trim LUT clip on the thumbnail timeline with your mouse to make it the current clip. Using an external software/product capable of applying a color correction effect which you want to capture as a LUT. 5.There are two workflows for generating the LUT: Workflow A. assign a name to the new LUT to be generated using the ‘Save LUT as’ window. The new LUT will appear in the 3D LUT options and can be used in any of the places DaVinci Resolve normally uses 3D LUTs. 7. Once done. Within the Color screen you will now see the Trim LUT file within the thumbnails. You can grade this image like any other. It is also possible to capture an external Trim LUT or generate one with the Resolve LUT configuration and resolution by placing this Trim LUT Clip into an external device that applies a LUT. Workflow A: 1. Clicking on the Generate LUT button will create the new LUT that is an offset grade. It’s the grade you made to the original image. This LUT can now be selected like any other. using the center mouse button. 2. Set your resolution to High Definition within the Config screen. 3. Update the LUT list that’s at the top of the LUT tab and select as an input. Select a normal image clip on the timeline and color grade the desired offset or effect. within the Config screen LUT tab. This offset grading will now be applied to the Trim LUT file. (This is a standard DaVinci Resolve copy grade operation). Load the trim lut0. Workflow B.dpx file into the Browse screen’s media pool. output or display LUT as required. Using the color correction controls and the Trim LUT DPX image within Resolve to generate the LUT. With the Trim LUT file as the current clip. Then. 4. You can also use the LUT on the color page in any node. Trim LUT Clip (One Frame) CONFIGURATION 61 . 6.

4. 5. and the Density Increment adjustment. etc. the Steps adjustments. Connect the output video from the external device to the input video of DaVinci Resolve. Make sure the external device is outputting HD in ‘Full data levels’ mode. of the image and are not subjected to the limitations of the grading monitor calibration or the film out/film lab/print stock limits. you can select to apply or not apply the LUT to the waveform displays by using the checkbox.CHAPTER 6 CONFIGURATION Workflow B: 1. Printer Light Step Calibration For film projects. 2. Of course often you don’t want this LUT to influence the waveform monitor displays as these are providing an accurate indication of the levels and phase. Using the deck Input interface on DaVinci Resolve. You should work with your lab technician to set up the Lab Aim settings. Generally the Step and Density values will be identical. film lab and print stock used for a film out to ensure the print shown in the cinema will appear the same as the image on your grading monitor. it is possible to adjust the printer light calibration sets to match the lab you are using. what you see is what you get. but this will be up to your lab and your preference. You only need a few. With DaVinci Resolve. when you have a tight integration with a film lab. crash record or capture a few frames. Apply LUT to Waveform Often when grading feature films you will use a LUT in the grading monitor path to emulate the film recorder.dpx image into the external device or feed the external device the image via an HD-SDI connection. 3. Load the provided trim lut0. which is the amount of correction applied within each step. Use the captured frames as the test pattern in Workflow A above to generate the new LUT. Printer Light Step Calibration 62 CONFIGURATION . but the principle is that with the film out 3D LUT in the Display path. which is an incremental value. Physical and hardware exceptions apply.

Project Settings CONFIGURATION 63 .Settings Tab The Settings tab displays a number of checkboxes used to customize the operations within DaVinci Resolve for the current project.

When enabled. Allow power mastering for RT processing to tape: DaVinci Resolve is unique because of its PowerMastering feature. The operation is dependent on the hardware being used and the image resolution a well as the grades applied to each clip. Reload last working project when logging in: With this box checked. the next time DaVinci Resolve opens and you log in. This mode is helpful when complex grades are used on low processing power systems or when working with higher resolutions. field one is displayed followed by field two. 64 CONFIGURATION . high contrast) rather than the standard grey matte when highlighting a secondary color correction isolation.e. Dont update interface icons in playback: Selecting this option forces a priority to update the playback image at the selected frame rate by reducing UI updates.. When viewing interlaced material in stop or pause mode. This provides you with a way to display a Stereoscopic 3D project without the expense of a full 3D system. This is important when working with SD images which do not have a square pixel aspect ratio. nor can you use output resizing. it will automatically launch the last project. pre render or even render the final grades. offering real time play out and recording to tape of grading material without the need to render cache. In this mode there are no wipes or cursors available on the grading monitor.CHAPTER 6 CONFIGURATION Project Settings The first section within the Settings tab is for Project options. Resize image in viewer for correct aspect ratio: This control will select between using a square or non-square pixel aspect ratio within the viewer. Output fields when paused: This setting will reduce flicker when grading using a computer monitor or when working with interlaced material. field one will only be shown on the monitor in still mode. however both fields will be shown when the clips are played. this can result in a flicker on the display. Use dual outputs for 3D monitoring: All DaVinci Resolve systems can generate a side by side display that can be sent to a Stereoscopic monitor via the DeckLink HD Extreme HD-SDI card. Depending on the image. Mattes display high contrast black and white: This option will show a black and white display (i.

When this option is selected. as often used in an FCP EDL. This option allows DaVinci Resolve to extract the reel names from the EDL comments. When this option is selected. Normally. high quality GPU processing is used to maintain maximum quality. 2) Clicking the RGB reset button will find the average value of RGB. the GPU is used during grading preview and also rendering for output processing. a reset will return the primary correction values to their default values. Show offline clips through conform gaps: Normally.Wipe wrap when viewing reference stills: With this option the stills wipe mode will wrap around rather than stop at each side of the screen. Luminance mixer defaults to zero: Selecting this option sets the Y of the YRGB value for all grades to zero. and set the RGB to that value. Master reset maintains RGB Balance: This control defines how the panel reset buttons reset the primary color correction. and also complex file name structures. High quality GPU output resizing when grading: With this deselected the graphics card is used for output sizing during the grade preview with occasionally noticeable artifacts. This is needed for export of an ASC-CDL and will have an impact on all your grades if you have used the Lum Mix control. Split source clips for Pre-conform: Select to split the source clip in the Media Pool and the master session when using the “Preconform” operation. Extract reel names from EDL comments: Some file formats have reel names longer than eight characters. This option permits the offline clip. reset will function as follows: 1) Clicking the master reset key will reset the YRGB values so that the overall values are kept and the ratio of YRGB to each other is maintained. with the appropriate timecode synchronization. The RED r3d file is an example. to be displayed in place of the black or to ‘shine through’ the hole made by the missing clip. However when the images are rendered. if there is a missing clip in a conformed timeline the position of the clip is shown on the thumbnail and viewer as black. CONFIGURATION 65 .

The four options below determine which node is selected: Last Adjusted Node: Each clip retains its node settings. however some colorists who are familiar with the legacy 2K prefer the DaVinci 2K mode. you may want to change the resizing filter from the normal ‘Sharper’ setting to a ‘Smoother’ filter. The same node will be selected. We advise that you review the ‘Sharper’ and ‘Smoother’ filter settings to select your preference. Remember. that this is a resize of the image to SD. Show the current frame in the master session: When selected. The first node is selected as the current node. if available. the first frame of the clip. Use color picker: The Color Picker Style setting changes the manner of selecting colors within the Secondary color correction controls. DaVinci Resolve will auto cue to the same frame within the master session. The last node is selected as the current node. 66 CONFIGURATION . particularly with SD images. This is particularly helpful when working with multiple sessions and local versions of grades. to some number of frames after the first. This is the normal setting. Switching clips selects: First Node: Last Node: Same Node: Resize scaling uses: When resizing images with DaVinci Resolve. Always highlight the current clip in the media pool: If you select this option. if you have HD images and are making an SD playout to tape.CHAPTER 6 CONFIGURATION Automatically cue number of frames into timeline clips: Use this control to change from the default cue point operation. the current frame for the current session will automatically be identified on the master session. DaVinci Resolve is the normal and modern mode. This is handy if the source material has black or camera rollup flashes at the beginning of each clip. If you are in the Color screen with an EDL/timeline open and you switch to the master session. When switching clips. any clips that are current on the Color or Conform screen will be automatically identified in the media pool within the Browse screen. DaVinci Resolve can switch to the same or another node in the node graph.

Dynamic Profiles Using the slide controls you can adjust the default curve for the start and end parameters of for all dynamics.Render cache frame limit: Many storage supervisors manage the impact on the shared storage so that all users have good speed and capacity for their work. If you select the checkbox. Dynamic Profiles Timeline Ripple Mode This section determines the default setting for a correction ripple. Timeline Ripple Mode CONFIGURATION 67 . but takes much longer to complete and uses more hard disk space. The Render Cache Limit setting is normally set at 10000 and the function of this is to limit the amount of images (frames) cached.. This provides a good history of the project. If you need to make this setting higher be sure to leave room on your storage for these cached frames. you should leave this checkbox un-checked. Save timeline thumbnails with project: To minimize project size and maximize speed of your project Save and Load operations. Individual adjustments for clips can be made in the dynamic timeline on the Color screen. all of your timeline thumbnails will be stored with every project (Save and Auto Save).e. i. how to copy grades or ripple them from one clip to another.

If this happens it’s likely your computer will not boot the next time you start. then each rippled scene will have a relative reduction of 10 percent in its Master Gain level. if Master Gain in the current scene is changed and set to 75 percent of its range. No comparison is made with the original scene memory. Any change made to the current scene is rippled to the additional scene(s) by the same percentage of change. each scene rippled will then have a Master Gain setting of 75 percent. Cache and Gallery storage data. For example. Resolve Working Folders 68 CONFIGURATION . So if a particular rippled scene originally had a Master Gain level of fifty units. Percent value changed: Unit value changed: All values are copied: Working Folders These controls are used to change the file path for Proxy. This modification is based on the Master Gain level in the rippled scene(s) before the change. if the current scene has a Master Gain level of eighty units and is increased to ninety units. each rippled scene’s master gain level increases by ten units.CHAPTER 6 CONFIGURATION In each case the target clips are set to: Exact values changed: Changes made to the current scene are rippled to the additional scene(s) using the exact control setting changes. The current scene grade is rippled. This is useful for setting consistent levels throughout the entire list. or copied. For example. and all memory parameters are rippled. if the current scene has a Master Gain level of a hundred units and is changed to ninety units. For example. It is important that these settings are not set to the computer’s system disk as it will quickly fill up with proxies/cache. Any changes made to the current scene are rippled to the additional scene(s) by the same number of units of change. the relative change of 10 percent would reduce the rippled scene’s video gain level to forty-five units. to other events.

Most users will be familiar with the standard DaVinci controls as this mimics the Vectorscope. If you move the trackball to the right. the Cursor trackball offset and master. and Luminance qualifiers. a little. so this option is for users who are familiar with color controls that the Rank control system offered. There are also settings on this screen for the DaVinci Resolve Control Surface LCD brightness and the color of the key backlighting. CONFIGURATION 69 . move to the top for more red and to the lower left for more green. and also the Hue. Gamma and Gain balance and master. the image will become more blue. Control Panel Layout There are two options for the trackball Grading style. The Rank settings are somewhat different. Saturation.Control Panel These controls set the sensitivity of the primary grading controls for Lift. labeled DaVinci and Rank. and lower.

CHAPTER 6 CONFIGURATION Autosave Tab Your project database is extremely valuable. so DaVinci Resolve has an Autosave feature that will make copies of your active database while you work. Simply click on the ‘Load’ button to recall a project from this list. Autosave tab 70 CONFIGURATION . On the Autosave tab you will see the list of files that have been stored and you can set the interval for auto saves.

shoot day. etc. When processing r3D files from the RED camera you can set the control variables from the RED sub tab within the DaVinci Resolve Source tab. In the Media Pool you can select clips by various criteria and assign settings specific to a given camera. Individual controls are also available for each r3d clip on the Color screen. and you can select the DaVinci Resolve config settings as well. You may also select a clip or number of clips in the Media Pool and access the settings that way.Source Tab DaVinci Resolve natively supports a number of file formats. some of which require you to set decoder parameters. The same settings found on the Config page are available per clip on the timeline pop-up. RED File Decode Settings CONFIGURATION 71 .

You can set the decoder for the entire project using these controls. Timecode: Audio: Decode Clips Using: Master Red Decoder Settings 72 CONFIGURATION . which is the time of day timecode. DaVinci Resolve offers RED decoding on all of its systems using the onboard CPUs and can also decode in 4K Premium quality on a suitably equipped system using the RED Rocket card.) This is a key parameter to define. then use the config settings to switch to a higher quality/resolution for rendering.CHAPTER 6 CONFIGURATION Master Decode Settings DaVinci Resolve provides RED source clip settings in two ways: project and clip based. or use the RED default settings. or Edge code which is the timecode that defines each frame. so you may want to grade in a resolution which provides real-time playback. Bit Depth: Resolve will decode the r3d files and generate an 8. Performance will depend entirely on the hardware capabilities of your system. Decode the RED images using the projectbased settings found on this screen (made active by choosing ‘Project’ here). (This feature is to be implemented in a future release. Using 16-bit for maximum quality may impact playback performance on some hardware. 10 or 16-bit image file. Decode Quality: The decode quality will have a direct impact on the performance of the system. or the metadata recorded by the camera when making the clip. Enable or Disable audio playback. Edge timecode is particularly valuable for off-speed recordings. the Absolute code. You may set DaVinci Resolve to use either the Camera timecode.

The PDLog 685 and 985 offer alternative white points for the gamma curve. The default is REDgamma. Red offers a number of color space options when decoding the RAW images: REDcolor. where no gamma adjustment is applied. which is a log gamma with a smooth highlight roll off. which is a color space used for monitors. which offers users an alternative LOG curve. similar to Cineon.709. The Gamma selections include: Linear. Image Decoder Settings Color Science: Color Space: The original REDone camera builds used a different color science to the more recent builds.Image Decode Settings If you chose to modify the decoding parameters for your RED files by choosing the ‘Project’ option in the Decode Clips Using setting. There are four options with Off being the default. Select here as appropriate. Camera RGB. REDSpace. which is default color space. often used for film work. Gamma Curve: OLPF Comp: Image Detail: Denoise: CONFIGURATION 73 . which is the standard HDTV gamma.709. Select from the low.709 color space with slightly different gamma. which extracts a color space larger than REC. and also provides for custom adjustments as described below. REDlog. which maps the native 12-bit RAW image data into a standard 10-bit Log curve and Custom PDLog. There are seven settings from mild to maximum to adjust for the best noise reduction without image degradation. sRGB which has the REC. printers and the Internet and REC.709. REDSpace. which bypasses the matrix in the camera and uses uncorrected sensor data. which is the standard for HDTV. which is a higher contrast color space than REC. REC. sRGB.709. The OLPF compensation sets a low pass filter to reduce color moiré. medium or high sensor detail extraction options. the following controls become active.

The RED default values are shown on the right hand column for your reference and each control is adjustable to establish the project-based decoder values. the following controls become active.CHAPTER 6 CONFIGURATION Project Image Decoder Settings If you have set the Decode Clips Using parameter to decode clips using ‘Project’ settings. Just like the other project settings these can be set for each clip in the Color screen and also in the Media Pool. Project Image Decoder Settings for RED Files 74 CONFIGURATION .

Exposure increases or decreases the image lightness and clips the data levels at each end. Green and Blue Gain controls adjust each color channels gain with 0 being the reference point. White Point and Gamma are adjustable from their respective default values of 95. up to very over saturated at 5. Ideal to correct fluorescent or sodium vapor lamp problems. Use in conjunction with ISO. Use the tint control to adjust the yellow parameters of the RGB matrix. 320 is the default. Color Saturation is varied from monochrome at 0 value. to the default (or unity) of 1. The Floating Point Look-Up Table controls operate within the new color space to give cleaner and finer ISO and mid grey variation without introducing clipping. Black Point. this control adjusts gain from the black point to white in a linear manner. but unlike Exposure. the Contrast control adjusts the number of discreet steps in the grey scale by changing the slope of the response curve. The Custom PDLog parameter. Sometimes referred to as Kelvin. Calibrated to replicate industry standard f-stops. Common values are 3200 for Tungsten lighting and 5600 for daylight. Provides adjustments at the toe of the FLUT. DRX: Shadow: Exposure: Brightness: Contrast: Color Temp: Tint: Saturation: Custom PDLog: Gain: CONFIGURATION 75 . DRX is a dynamic range control that takes into account Color Temp (degrees Kelvin) and Tint. This also adjusts the image brightness by changing the black level.6 gamma. 685 and 0. With the midtones maintained. The Red.ISO: FLUT: Similar to exposure. the color temperature adjusts the RGB matrix to consider the blue/red ratio. this control will compress the image at each end of its range. One (1) is unity gain and the maximum 10 is ten times greater amplitude than unity.

Browse 7 .

The files are not physically moved or copied into the media pool. if required. Browse 77 BROWSE . A virtual path to each clip is created so it’s easy to identify all the clips needed for the project. The Browse screen gives you a number of ways to manage what clips are placed in the media pool and then to configure them for grading. Simply identify each clip (or folder of clips) and place it via a smart link into the active image storage area called the media pool.CHAPTER 7 BROWSE Browse One of the fantastic features of DaVinci Resolve is that clips can be in any folder or volume that is connected to the system. All clips that are to be graded must be in the Media Pool as they are used to form the Master Session that is used to associate all color grading decisions within the DaVinci Resolve database.

Click on each folder to expand and view the clip metadata and the actual content in the Viewer display. The sub folders or clips within folders will be visible on the Clip Details window directly to the right of Media Storage display.Media Storage The upper left of the Browse screen displays all the media storage drives and folders within the storage that you selected using the Preferences window. You can expand the folder structure to display folders within folders. Or simply double click and the clip is then placed into the media pool that will make it available for grading. Folder Tree Expanded BROWSE 78 .

and ’Confirm’ to split the clips. right mouse click on the desired clip or folder and select ‘Split and Add Folders and Sub-Folders into Media Pool’ or ‘Split and Add into Media Pool’ from the pop-up menu. 79 BROWSE . Splitting Clips Based on an EDL To split a clip based upon an EDL so that only the required material is placed within the Media Pool. When prompted.CHAPTER 7 BROWSE Browse Right Click over Folder Window A right mouse click within the Media Storage display reveals a number of options. select the handle size you need to be added to the clips: 5 frames. Then from File Browser window select an EDL to use for splitting the source material and click on ‘Open’. You will now see them in the Media Pool. or 15 or 30.

Specify one or more EDLs. DaVinci Resolve searches the entire directory tree starting from the selected directory for any clips referenced by source timecode and the reel ID in the EDLs. This automation does away with having to manually find and add clips to the Media Pool.Add Material into the Media Pool Based on an EDL Similar to the ‘Split and Add’ function above. Reel number sourcing is controlled in the same manner as Reel number conforming. you can automatically add material into the Media Pool based upon an EDL. however with this selection you can use multiple EDLs and many source folders. Click on the directory where the required material is located and right click to select ‘Add Folder and SubFolders Based on EDLs’. It is these settings and the conform frame rate that you made in the Configuration screen previously that are now utilized to place images correctly into the Media Pool. The EDLs will reference clips via their timecode and sometimes Reel name and path. Close up view of Browse screen right mouse click over the folder window BROWSE 80 . a laborious task for large conforms.

Clip Task Manager Dialog 81 BROWSE . Highlight the desired clip within the Media Pool and right mouse click.CHAPTER 7 BROWSE Offsetting the Source Timecode from a Clip Sometimes source clips have an offset timecode due to a mistake made prior to introducing the images to DaVinci Resolve. right mouse click on the clip or folder and select the ‘Copy’ function. Locate the destination folder. Remove or Move items within the display by using the editing tools on the right hand side of the display. rename them. or files and folders are added to the storage you may need to right click on the Media Storage display to ‘Refresh’ the list. To Copy a clip. The Clip Task Manager will open and allow you to start or prioritize the Copy procedure. Copy and Paste Function For Clips You can create new folders. Select ‘Offset Source Timecode’ and then the desired offset timecode value within the display. You can select ‘Add Folder with Source Offset’ and then used the pop-up dialog to enter the required frame count/timecode to offset the clips prior to loading into the Medial Pool. Click on ‘Apply’ to confirm. You may start the process by clicking on the ‘Start Processing’ button or Cancel. move folders and their clips to the deleted bin or permanently delete the files with the Browse screen using the Clip Task Manager. right mouse click select ‘Paste’. If changes are made in the folder structure.

Disk Speed Benchmarking On Linux systems. if you right click within the Media Storage display. The I/O Benchmark Dialog Display   BROWSE 82 . you can select the ‘Benchmark Folder’ tool that will benchmark the speed of the storage/SAN for either new or existing clips. The ‘Use Direct I/O’ check box should be checked for CXFS/XFS/NFS file systems and should not be checked for ADIC file systems. This tool may be used to ascertain whether fragmentation may be causing playback problems or if the storage is fast enough.

resolution. The file name will also include the post-fix identification of the file type. (DPX. the starting frame number and count. r3D. Clip Window Options 83 BROWSE . there are some extra functions found in Clip Details. Clips will be identified by the film icon on the left-hand side of the file name. At any time a double click on a clip will put it in the Media Pool.CHAPTER 7 BROWSE Clip Details When you select any folder within the Media Storage window the folders and clips within that folder will be visible in the Clip Details window.). Clip Window The purpose of the Browse screen is to identify clips to place into the Media Pool. etc. MOV. While some of the options here are the same as the right click over the Media Storage display. When an individual clip is displayed in the Clip window you will also see metadata extracted from the clip relating to timecode. bit depth and the date the file was modified. You may select multiple clips by holding down the shift key on the keyboard and selecting the desired clips.

By selecting this option the clip will be loaded into the Scene Cut Detector screen and be ready for processing. Please review the Scene Cut Detector feature details in the Scene chapter. BROWSE 84 . A DPX or MOV clip can be added to the Media Pool as an Offline clip and it will be designated by a Magnifying Glass icon.Add as an Offline Clip Selecting a clip to add to the Media Pool as an offline clip makes an important distinction to these clips. please review the operation details later in this chapter. If you have imported a clip with numerous scene changes and it does not have an EDL. the fastest way to split the clip is with the Scene Cut Detector. which is at the top of the Browse screen. Clip Window – right mouse click Add into Proxy Manager The Proxy Manager can also be accessed from the Media Pool and the Proxy Manager button. will allow DaVinci Resolve to treat this clip differently in the Conform screen where you want to compare the high-resolution Online clips with the Offline. Scene Cut Detector All color corrections in the DaVinci Resolve database are related to individual source clips and their timecode (and as selected file name and path). to establish that the EDL matches the Offline clip. Identifying an Offline Clip. As this functionality is considerable.

or you can alter the existing timecode to whatever number may be required. If there is no timecode present in the clip header you can insert the timecode of your choice.’ Change Timecode In Header 85 BROWSE . then click ‘Update.CHAPTER 7 BROWSE Changing the Source Timecode in Header Previously. we discussed the option to add clips to the Media Pool with a frame offset. In the ‘Change Timecode’ window select the new timecode for the first frame of the clip and also the frame rate. First select the file. DaVinci Resolve is capable of changing or assigning a different timecode to a clip. quite often you will find that your clips have no timecode or the wrong timecode. While that is a commonly used feature. then right mouse click and choose the ‘Change Timecode’ option.

shown as a Mask icon so that DaVinci Resolve can use the file as a Matte. it is linked to the main clip.’ Add as Matte If you have a clip from a VFX system there is occasionally an associated matte file. Format Conversion BROWSE 86 . In the new window select the Target format for the clip and ‘Start Conversion. The Format Conversion pop-up allows you to change the file type.’ In the Media Pool. right click on that matte and select ‘Add as Matte. By using the ‘Add as Matte’ you place the file in the Media Pool with the correct identification. highlight the clip. Then find the matte in the Clip Details display. the main clip will have a cyan box just before the clip name and if you double click the main clip. After you have placed the main image clip into the Media Pool. Simply select the clip within the Clip Details display. right mouse click and select Format Conversion.Converting a Clip to another File Format You may find that clips come in a file format that DaVinci Resolve does not play natively in the timeline. the associated matte will be shown with the Mask icon.

If the QuickTime audio track is encoded with incompatible audio codec. Audio Extraction from QT files. Clip window – right mouse click over QT file Specify where the extracted audio file should be stored and then select the ‘Extract’ button to start audio extraction.wav or AIFF audio files. To extract audio from a QuickTime file into a separate . 87 BROWSE . you can attach the extracted . After audio extraction is complete.wav to a session in the Conform screen. but it also offers synced audio playback of . right click on any QuickTime file in the browse screen and select ‘Extract Audio’ to bring up the Audio Extraction window. an error message box will be displayed to notify the user.CHAPTER 7 BROWSE Extract Audio from QuickTime DaVinci Resolve is a color correction and enhancement system.wav file for synced playback.

We can apply an EDL to all clips in the Media Pool to create a new timeline (Session) or to only those clips in one of the virtual folders. Adding folders is easy. or in the case of a Stereoscopic project. These virtual folders could be associated with the clip’s reel names or numbers. The Media Pool Folders display allows you to place clips into the Media Pool in one or many layers of virtual folders. just select the specific folder to which you wish to add clips. The Media Pool display is in two parts: Folders. Right mouse click within the display and select ‘Add New Folder’ or ‘Rename Folder’ to change the name of an existing folder. feature or video press kit. which actually is the top level of the Media Pool structure. and Clips. all clips that are destined for color grading must be in the Media Pool. segmented by images for the trailer.The Media Pool Media Pool Folders As previously noted. used to manage the workflow transition from VFX wireframes to VFX shaded and then fully rendered VFX images. separated into left and right eyes. Media Pool Folder Display BROWSE 88 . When you have your folders set up. Another key benefit of separating source files into virtual folders within the Media Pool will be seen later when we are on the Conform screen. so all grading metadata can be associated to the clips with clip timecode on the frame reference.

it does allow you to verify that all the clips in the Media Pool. While this may seem redundant. actually need to be there and can therefore. reduce the render and playout time if you are rendering all the source clips. you must right click over this window and select ‘Update Information’ for the Usage information to be valid. the Media Pool has its own. This column will display how many times a clip is used within the EDL. Media Pool 89 BROWSE . so this column may be blank. and even then not all have KeyKode. actual number of frames. start and end frame number. the date the file was modified.CHAPTER 7 BROWSE Media Pool Clips The Media Pool Clips display shows each clip with its name. identifies the type of file. Not all files are from film scans. shown on the next page. You will also notice a column labeled Usage. The last two columns are PAR (Pixel Aspect Ratio) and Start KeyKode. the master Session timeline. and the file name itself. its resolution and bit depth. After you have loaded the EDL on the Conform screen. start and end timecode. Just as there are right-click pop-ups on the other windows. and thus.

This can be helpful when changing source images with the same timecode. but with a blue cross over the clip indicating that the clip is no longer in the Media Pool. Remove all Clips This operation will remove all of the clips from the Media Pool but not from the Master Session. Remove from Master Session This operation will remove the clips from the Media Pool and also remove them from the Master Session. BROWSE 90 .Media Pool – right click options Remove selected Clips This action will remove these clips from the Media Pool. The Master Session Timeline will display the clip position and duration.

Place your mouse over the clip and right click to show the options and then select ‘Change Input Format Preset for Clips’ and select from the preset formats you made in the Format Screen. On the Config screen tab you can set the default Input and Output format presets.CHAPTER 7 BROWSE Change Pixel Aspect Ratio You can change this for any clip with the right-click option. then select the appropriate PAR. Change Input Format Preset 91 BROWSE . Change Pixel Aspect Ratio Change Input Format Preset The Media Pool right-click allows the selection of the Input Format Preset to be changed. Within the Media Pool you can set the Input format for each specific clip.

’ A window will display the original path for the material and let you enter or browse to the new path. If there is no match found. Highlight one or more clips within the Media Pool and right click to select ‘Change Parent Directory of Clips.Change Parent Directory When the location of the source clips has changed. This will automatically search for the new parent location of the clips that have been placed into the Media Pool. use the ‘Change Parent Directory’ option to relink to the new clip location. The Change Parent Directory Dialog BROWSE 92 . no change will occur. Select the Change button to start the relink.

During this operation the clips or folders will be deleted in the background and a prompt will appear to inform you when the process is complete. DaVinci Resolve allows easy toggling of different versions of conform using switchable parent directories from the right-click menu in the Media Pool.deleted folder. select ‘Delete Permanently’ when right mouse clicking upon the clip within the . browse to the pre-conform directory folder and click the right arrow button to add the selected directory into the Parent Directory List. A prompt will ask you to confirm or to Cancel the operation. Click the left arrow button to remove the selected directories from the directory list. open the .deleted’ from the File Administration menu. Right mouse click and select ‘Restore Clip.deleted folder and highlight the clip.deleted folder or within any of the other files or folders. In the Parent Directory window.deleted folder. File Administration within the Media Pool 93 BROWSE . Confirm your selection with the ‘OK’ button.CHAPTER 7 BROWSE Switch Parent Directory With a pre-conform workflow.’ To permanently delete a clip or folder.deleted Folder To move a clip to the . The . If you wish to remove a file or files from the . right mouse click on the file and select the option ‘Move to . You may select the option of deleting material in the background without the user interface being locked during the delete process. there are often different versions of edits that are in separate folders.

either select the ‘Replace Master’ button or the ‘Replace Master and Proxy’ button. Then. right mouse click on the master clip within the Media Pool and select ‘Select for Clip Replacement. The Replace Shot Display BROWSE 94 . First. build a replacement shot list by right mouse clicking on the required clips and select the ‘Add to Replace List’ option. use the Replace Shots tool. This option comes in handy when you modify a subset of a clip using different tools and want to merge their modifications in the current clip.Clip Replacement and Automatic Proxy Generation To replace sections of a master clip with frames from another location or to automatically generate proxies for the selected frames.’ Next.

CHAPTER 7 BROWSE Viewer Window The Viewer window is used to preview clips located either in the storage area or within the Media Pool. Reverse. Viewer Window 95 BROWSE . The bottom of the window has transport controls for Stop. The clip’s timecode is also displayed. If you right mouse click on the image you can superimpose KeyKode information if it is in the file. Fast Forward and Fast Reverse. This slider will display the relative position of the frame within the full clip. Below the transport controls is a slider bar that can be dragged with the mouse to scroll through the clip area. Forward.

Clip task manager BROWSE 96 . To close the Clip Task Manager display.Browse Screen Buttons Located at the top of the Browse display are two buttons used to select either the Clip Task Manager or the Proxy Manager. simply click on the ‘Close Dialog’ button. or if a clip Copy and Paste operation is initiated. or via the Proxy generation config. Clip Task Manager The Clip Task Manager can be selected from the Browse screen buttons.

and ‘Cancel Selected Tasks’ will cancel only the selected proxy generation. If generating proxies. If you prefer. Located at the top of the Proxy Manager window.CHAPTER 7 BROWSE Proxy Manager The Proxy Manager lets you control the proxy generation process. you can throttle proxy generation speeds. proxies may be pre-generated before a session. The use of proxies is generally required when a highly complex color correction causes the system to run slightly slower than real time. DaVinci Resolve will generate them on the fly. is the current proxy width and height.’ To add the entire contents of a folder into the Proxy Manager. ‘Generate All Proxies’ will generate proxies for all files within the Task Manager window and ‘Generate Proxies’ will generate proxies for the files within the Task Manager that have been highlighted. The ‘Cancel Tasks’ button will cancel all proxy-generating processes. The Proxy Manager display has five buttons to manage the generation of proxies. right click within the Media storage section and select ‘Add Folder Into Proxy Manager’ from the options. then select ‘Add Into Proxy Manager. or Media Pool. DaVinci Resolve will use them automatically. ‘Remove Tasks’ will clear all clips that are present within the Task Manager window. If there are pre-generated proxies. Just as DaVinci Resolve allows throttling of render speed. the Proxy Status shows the name of the selected clip. This enables you to control SAN bandwidth utilization and select the speed of proxy generation your storage system can manage. To send a clip to the Proxy Manager right click on the selection from the Folder and Clip Windows. 97 BROWSE . ‘Check Proxies’ looks for the existence of the generated proxies. Proxy Manager Display The Proxy mode may be activated by checking the ‘Use Real Time Proxies’ option that is located in the Configuration screen or by pressing the ‘Proxy’ button on the Resolve control panel. ‘Check Selected Proxies’ will check for the existence of only the selected files. Also shown. a half or quarter of the resolution is recommended for maximum speed. otherwise.

Conform 8 .

Also. The Conform screen has a number of windows and each have multiple operations. so ensure it is set correctly for your current project. Conform 99 CONFORM . and to confirm the edit via an offline video.CHAPTER 8 CONFORM Conform The Conform screen is used to establish your Master Session or master timeline. to organize clips into a numbered order designated by an edit decision list (EDL). some of which reference the Browse and Configuration screens. you may load as many EDLs as required for the project and also load offline clips that may be used for comparison. note that the conform frame rate set for the Project in the Configuration screen is used for calculations in the Browse and this Conform screens. With DaVinci Resolve. In this chapter we will be referring to those screen settings with the understanding that you are familiar with them. All clips required for your timeline must be in the Media Pool and there are various ways to conform the clips to suit different EDLs.

You can also create virtual folders in the Reel Folders section and add new clips there to make finding the new clips easy. Simply. You can also select a clip to preview in the viewer. including right-click menus. This operation can only be performed when ‘Editing’ is enabled for the timeline. The display and functionality found on this screen. One additional operation of the Media Pool Clip Folder is a fast way to add new clips or replacement clips to a session. select a clip by highlighting it and drag it to the Conform timeline.Reel Folders Media Pool Folders and Clip Displays The top left of the Conform screen displays the Media Pool Folders tree and the list of Clips as per the Media Pool Clip folder. are the same as for the Media Pool on the Browse screen. The Media Pool Reel and Clip Folder CONFORM 100 .

indicating that this is the Current Session. Clip.) A green outline surrounds the Master Session in the Timeline window. then the User login. Version. and opened or started a Project. logged in as a User. just click on it in the timeline. and then metadata relating to the PTZR and color correction. Timeline Management New Session Dialog After creating a Master Session. DaVinci Resolve’s operation is based on saving clip metadata into a database. To reselect the Master Session. Session. Subsequently you can load EDLs to create any number of new Sessions. the green box will automatically switch to the new session and display the first clip in the viewer.CHAPTER 8 CONFORM Timeline Management Session Selection Directly below the Media Pool display. (More details on this window later in this manual when we review the Viewer operation. You have already connected to the Database. Timecode. the Viewer window will display the first clip in the timeline. You will now use this window to create a Master Session. which includes four buttons and a list of the Sessions that are open and active for the current project. The hierarchy for information is: Database at the top. Project Name. 101 CONFORM . so this box outline indicates which is current. DaVinci Resolve enables you to have many open sessions. you will see the Timeline Management display. or in the Timeline Management window. If you use ‘Create Default’ to open a new session.

a dialog will ask for confirmation that the conform parameters are as you expect. It is common. confirm the frame rate for that EDL and select ‘Import. After the Master Session has been created you can also create a default timeline and select the checkbox to open an Empty Session. Load AAF/EDL Many grading projects start without an EDL. go back and change the settings on the Config screen before proceeding. alternatively.’ CONFORM 102 . EDL and Timeline displays will be detailed later in this chapter. In each case. Grading metadata is associated to the source clip timecode. however. When you subsequently select ‘Create Default’ DaVinci Resolve recognizes that it already has a Master Session so it then opens a new default session. so you can bring in an EDL later and move all the clips . It is key to the operation of DaVinci Resolve as the grading metadata always relates to this Master Session. If you have one long clip. an AAF file. If the parameters are not as you need. which will default at one hour if you do not alter the window.Create Default When you select the ‘Create Default’ button for any new Project. which will allow you to click and drag clips manually from the Media Pool into the session timeline. The exception is the offline and matte clips you may have added to the Media Pool. The first session you create using these Media Pool clips is called the Master Session.and DaVinci Resolve will move all the grades to match. These clips are displayed as an EDL in the display directly below and as a timeline in the Timeline window at the bottom right of the Conform screen. all the clips within the Media Pool are conformed or sorted in an ascending order of timecode. If you respond ‘OK’ the next prompt is to locate an edit decision list (EDL) or. you can name the session and enter the starting timecode. When you find the EDL. DaVinci Resolve permits color grading to begin as soon as you have the source images. Conform Settings Dialog When you select the ‘Load AAF/EDL’ button within the Timeline Management display. Select the appropriate file by using the ‘Browse’ button to search your computer. This operation is covered in the Scene chapter later in this manual. to have an EDL for your project and the ‘Load AAF/EDL’ button lets you use the EDL to sort the clips to ‘Conform’ the source clips duration and position on the timeline to the EDL. but do not have an EDL. you can manually split the clip or send it to the Scene Cut Detector.

The EDL will be used to cross-reference the clips in the Media Pool and generate the new timeline. but it can be changed by typing a new name. enter a Session name. If you have no more EDLs to load. close the Import Session window. The EDL file name will be shown as a default. Please note that 25fps to 24fps is not currently supported. This is useful when the offline/edit was done at 30fps with 3:2 added.CHAPTER 8 CONFORM When loading an EDL you can convert the EDL frame rate from 30 to 24fps if you have set the system frame rate to 24fps and if the EDL frame rate is chosen as 30. This EDL is also loaded into the EDL viewer at the bottom left of the Conform screen (more details follow later in this manual). Session Name Dialog 103 CONFORM . The Session name has been loaded into the Timeline Manager and the conformed clips are at the top of the Timeline Viewer window. There will be a green box surrounding the timeline indicating it’s the current Session and the Viewer will display the first clip in the timeline. Selecting an EDL and Importing a Session   Next.

Delete The ‘Delete’ button.Pre-Conform As mentioned earlier. With DaVinci Resolve you can still grade this material. you may have a single long clip . Select the ‘Pre-Conform’ button within the Timeline Management display and you will be prompted for an EDL associated with the project. also within the Timeline Management area. and load the EDL. select. will delete the selected Session. It will remove the Session from the timeline. If you have an EDL you can use the Pre-Conform feature to split and load the clip automatically into the Master Session.a finished project or maybe just the offline. CONFORM 104 . Often you want to delete the Session but maintain the stills for later reference. but before doing so will prompt you to either Save or Not Save the stills for the Session. Browse. You also have the opportunity to save any Session changes.

select the Session you wish to compare to the Offline.CHAPTER 8 CONFORM Offline Clips The Timeline Management window also provides the option to associate an Offline Clip for comparison to the EDL and Online images. right mouse click on the Conform Session to which handles should be added (it can be the Master Session too!). Within this window. Using your mouse. Session with Handles Setup display 105 CONFORM . This is particularly helpful if you plan to record the timeline to tape and need pre-roll time. Then select the Offline Clip label. it displays the first frame within the right side Viewer window. and select the correct clip to associate. First.’ Select the length of handles to be added. enter a value for the Pre and Post Handle size (frames). Offline Clip Selection Creating a Conform with handles You can create a version of a timeline with handles. Please refer to the Viewer Display section later in this chapter for details on reviewing the Offline Clips. you may also select ‘Source Mode’ to apply handles to the clips and then sort them in source timecode order. When you select the Offline clip. pulldown arrow. and click ‘OK’ to confirm. You can also ’Force Black Handles’ rather than use the clips images. From the list of options select ‘Create Session with Handles.

a Conform Settings window will ask you to confirm the conform settings are correct. select ‘OK’ to proceed or ‘Cancel’ to abort. If so.After you confirm the handle size. Conform Settings Confirmation Dialog CONFORM 106 .

The columns are: Event Number. Editing features will be covered later in this chapter. those changes will also be reflected within this EDL display. REC In is the record timeline in-point timecode and REC Out is the record timeline out-point timecode.CHAPTER 8 CONFORM EDL Display The EDL display. etc. Comments. SRC In is the source image in-point timecode and SRC Out is the source image out-point timecode. the material may be re-conformed from information contained in other Reel folders.. but if you decide to use the Edit functions to modify the Conform. from RED). Video/Audio designator where ‘V’ indicates video transition.g. located at the bottom left of the Conform screen displays the conformed EDL in a simple column-separated format. EDL session and the actual EDL event that uses the clip. When you are in any Session other than the Master Session. to the Master Session. This can be done by right mouse clicking within the Conform Timeline display and selecting ‘Re-conform from Reels. EDL Display above and raw EDL text below   If you right-click on this event and select ‘Locate in Master Session’ or ‘Locate in Media Pool’ you can cross reference source clips all the way from the Storage volume and folder and file name. Source Reel Number.). Event Type (Cut. Dissolve. The final column. is useful for conforming when Reel Names are longer than 8 characters (e. the Dissolve Length if there is a Dissolve.’ 107 CONFORM .

Play Forward and Step Forward buttons. Source Clip View. height or automatic alignment for the best comparison. Most times the Offline comparisons are shown in Side-by-Side mode with the Online on the left and Offline on the right. clip transport controls with Step Reverse. Also below the Viewers. These buttons are used in the second mode of the Viewer Display.Viewer Displays The Viewer display at the top of the Conform screen has two main modes. is for selecting and reviewing clips and subsequent marking of In and Out points. Vertical Wipe. Sometimes the other wipe comparison modes show errors more apparently. You can find these selections by placing your mouse over the Viewer display and right-clicking. however if you right click within the Viewer you can select one of the options. there is a ‘Mark In’ and ‘Mark out’ button for selecting clip In and Out points. Additional modes are: Horizontal Wipe. The Conform Page Viewer Display Under the Viewer images in the display is the control panel with timecode indications. Online and Offline Comparison Mode The standard setting will show the two images side by side. Stop. There is also a scroll bar which you can operate with a mouse or use as feedback indicating the position of the displayed frame within the full clip. One compares the Offline and Online images to make sure the EDL that was used to generate the conformed timeline matches the Offline video. Mixed Wipe with Align by width. Play Reverse. The second mode. CONFORM 108 .

Refer to the instructions later in this section as to how to fix Offline mismatches.CHAPTER 8 CONFORM Note: If the Offline does not display it could be because the timecode is completely unmatched to the EDL. Side-by-side comparison Horizontal Wipe Comparison 109 CONFORM .

When this occurs.’ The source clip that will be displayed. If the timecode is completely in error. go back to the Browse screen clip window and initiate a ‘Change Source Timecode in Header’ to make the timecode correct. Another white mark will appear on the status line showing the Out point. Viewer Display – Right Click Options Source Clip Editing Instead of showing your Online and Offline side-by-side. first play the conformed material to find an easy scene change. then inch forward to the first frame of that scene change. you may receive an Offline recording which may have a timecode offset. Use the Transport controls to move the clip to the In point and select ‘Mark In’. the Scroll Bar display will show a white mark indicating that a Mark has been selected. Right mouse click within the Viewer display and select ‘Add to Timeline’ from the options available. CONFORM 110 . Use the right-click option labeled ‘Toggle Offline/Source Clip. You may also edit or select the In and Out points of a clip in this mode. This traditionally happens when the Offline clip is recorded to tape and the tape operator did not accurately set the VTR timecode. Play the clip to the desired Out point and press the ‘Mark Out’ button. is the one selected in the Media Pool and selecting any clip there will update the Viewer. You can use the arrow up and down buttons below the offline window or type in a value in the display to the left of the up and down arrow indicators to find the first frame of the scene which matches the scene in the conformed material viewer display on the left. Adjusting the frame slip indicator below the Offline display will compensate for the timecode offset to get to the same scene change.Fixing Offline and Online Offsets Occasionally. you can select the right Viewer to display selected clips from the Media Pool.

The white vertical line in the thumbnail timeline shows you the position displayed in the Viewer. and as previously mentioned. Most are applicable for both the Master Session and the Default and EDL sessions.CHAPTER 8 CONFORM Timeline Displays The Master Session is located at the bottom of the Timeline display. while holding. Conform Timeline Right Click Options 111 CONFORM . the green outline will move to that timeline and that version will be seen in the Viewer window. A green outline on the timeline indicates the current Session and it will be displayed in the Viewer window and have the EDL listing to match. or the control panels may also jump from one clip to another within the Conform display. It’s this active timeline that is also used in the Color screen. Alternatively. The mouse. keyboard short cuts. the scroll wheel on the mouse can be used. If you click once with the mouse on another thumbnail timeline. You can change the timeline scale by selecting the scroll bar at the bottom of the timeline and. it shows the clips that are in the Media Pool in ascending timecode order. scrub to the right or left. This permits you to identify a single frame with great accuracy even if the Session is hours in length. Conform Timeline There are also a number of right-click options for the Timeline display. On the control panels just press the ‘Previous’ and ‘Next’ keys to change clips.

Editing
DaVinci Resolve is a color correction and enhancement system, but sometimes you just need to replace or trim a shot and it is easier to do that here than generate a new EDL. When you right click on a timeline in the Conform screen, other than the Master timeline, a pull-down menu will appear which will allow you to select the ‘Enable Editing’ option.

Conform With Editing Controls Exposed

The Edit mode you select via the radio buttons will manage how your editing operations are performed. ‘Normal’ selects the default editing operation for moving clips. Select a clip with your mouse and slide it left or right within its position on the timeline. ‘Ripple’ will also permit clips to be slid along the timeline but will also slip all clips on the right along with the controlled clip. Under the normal Ripple function moving a clip to the right will join the out point to the next clips in point and then ripple all the clips along the timeline. Moving it to the left ripples all the clips to the left. The exception is when ‘Ripple with Holes’ is selected from the options and in this case the Ripple still occurs for all clips but instead of the respective out and in points joining the black hole that is between shots will remain. To Roll an In or Out point, select the transition point and when you see the white dotted outlines on the timeline you can roll the edit point within that outline. This will change the Out point of the preceding clip and the In point of this clip without changing the clip’s position on the timeline. You can also slip a clip forward or backward within the same edit boundaries with ‘Slip.’ When the timeline has a clip that has in and/or out points that are not the extent of the clip (i.e. handles), a white dotted box will appear to indicate the available slip parameter while maintaining the image within the handles. Just select the clip and slip it along.

CONFORM

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8

CONFORM

Timeline Editing - The dotted line around the clip identifies the total clip length for the selected clip.

Once you begin to edit a clip length or position, the cursor will change reflecting the operation being carried out. In each case the EDL will be updated to reflect the changes made. There are also three buttons on the editing panel: Undo, Redo and History. ‘Undo’ and ‘Redo’ will reverse an editing decision or redo an editing decision, and the ’History’ button will open a dialog to show all editing history so you can quickly see changes that have been made.

Editing An Existing Timeline
Editing and/or adding a new clip to a conformed Session is simply done with the mouse. How the other clips within the timeline are changed depends upon which edit mode has been selected. To edit an existing EDL, load the EDL and enable editing. Choose edit mode – Normal, Ripple, Roll, or Slide, and make your edits. Speed changes can be introduced or changed by right-clicking on a clip, and choosing the ‘Change Speed’ option. After editing, the edited EDL can be saved to the disk using ‘Save EDL,’ which you will find in the right click list.

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CONFORM

Building Your Own Timeline
It is easy to make your own timeline. If the timeline was created as a Default and Empty Session then all clips selected in the Media Pool can be added to create your own EDL. Dissolves may be added by overlapping the transitions from one clip to another. To start building a timeline without a supplied EDL, create an empty timeline by using the ‘Create Default’ function, check the Empty Session checkbox, then enable editing. Drag and drop clips from the Media Pool into the timeline as you wish. If a subselection of the clip needs to be added to the timeline, the Offline Viewer can be toggled to a Source Viewer, the Mark In and Mark Out buttons used to choose a sub-section, and the ‘Add to timeline’ function chosen.

Empty Session Check Box

Locks
When editing you may wish to lock the position of a clip so other editing operations will not change key clips. The ‘Lock’ and ‘Unlock’ and ‘Clear all Locks’ options are on the Timeline right-click list.

Enable Snapping
The ‘Enable Snapping’ option will assist in joining two clips by snapping the clips together when the boundaries are close. You can push the clip past the snap to make a dissolve with equal ease.

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Deleting Clips – Adding Black
To delete a selected clip and leave a hole in the timeline, right click and select ‘Delete.’ There is also the option to add black by right mouse clicking and selecting ‘Add Black Clip’ from the options available. If this is overlapped with another clip, a fade to black will result.

Speed Changes
DaVinci Resolve will handle speed changes from EDLs, but sometimes you may just want to add your own. When you select ‘Change Speed of Clip’ a dialog box will appear reporting the current speed and letting you change the frame rate for this clip.

Audio Conform Tools
Within the Conform screen you can play an audio file and also set the audio synchronization. The Audio can be on a separate audio playback device, like a DAT machine, or can come from the internal hard drive. Right mouse click on the Timeline display and select ‘Audio Options.’ When working with external devices such as a DAT machine, select the LTC tab and enter the timecode into the ‘Start Timecode’ box. Then select any Synchronization Delay and the proper frame rate. Check the ‘Enable’ box when you are done and confirm the settings with ‘OK.’ LTC is available from the video I/O card to lock and synchronize the external machine. Be careful that the audio frame rate is set correctly or there will be a video/audio sync slippage.

Audio Sync Setting Popup

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If you are using On-Disk Audio, select the On-Disk Audio tab and load an audio file with which to sync. The file types supported are: 24-bit, 48 KHz, AIF, AIFF and WAV. Once the file or ‘Start Timecode’ selection is completed, check the ‘Enable’ box, select ‘OK’ to apply, and close the window.

Audio Synchronizing Popup

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Re-conform from Reels
If you have been grading a project with changing source shots, one of the ways to manage which shots are used, is to place them in different folders. ‘Re-conform from Folders’ is another right-click selection that will open a dialog allowing you to select and deselect different source clip folders. If the VFX shots were just wireframes to begin and you used these shots to keep the timeline in context, you can simply put the new shaded shots into a new folder. Then, when the finished VFX shots are ready, put them in another folder, each time re-conforming with the appropriate selection to automatically change the source images. Of course the timecodes need to match for the replacement to drop right in, but otherwise this is a very fast and simple way to update shots.

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Track Marks Sometimes there are Track grades that you need to copy from one Session to another. To copy track grades. Select the active components you need and the ‘Paste’ button. Simply right-click on the new Session timeline and the Paste Grading dialog will appear. a right mouse click will reveal the menu option ‘Save EDL. a prompt will appear asking you to assign a name for the EDL. This EDL can be exported to other systems so if you trimmed the edit in the grading suite you can now supply this to the editors and VFX guys so they too can conform and see the new timeline. use the right-click ‘Copy Track’ and then select the new Session to make it current. See the Track section in the Color chapter for a detailed explanation of Track Marks and their use.Saving EDLs Once your editing is completed.’ If selected. Paste Grading Selection CONFORM 118 .

109563 1. The ‘Make LUM’ parameter should be set to 0. There are a few things to note while using this feature: • Only the primary grades on the first node of every clip are exported.866061)(-0. right click on the active timeline in the Conform page. permits grading information. For convenience. to be passed from one system to another. Grades to be saved for Export into other tools supporting ASC CDLs must conform to the industry standard.384022 0. there is a ‘Luminance Mixer defaults to zero’ option in the Configuration screen settings tab which can be enabled when creating the Project.000000 • • • CDL Export Prompt To export the CDL.390357 0. Color Decision List (CDL). like EDLs. only the parameter values at the beginning of the clip are used. the grade is exported as if the window or qualifier was not present. DaVinci Resolve saves standard CDLs for export and can also import sessions with CDLs. and select ‘Export CDL. or the export will not be accurate. An example of this is shown here: 020 001 V C 03:02:49:13 03:02:53:00 01:01:28:11 01:01:31:22 *ASC_SOP (1.CHAPTER 8 CONFORM Export CDL The industry standard.717648 0. If marks are present. 119 CONFORM .672948 1.238880 -0. If there is a qualifier or window in the first node.889876) *ASC_SAT 1.353743)(0. Track nodes are not used during the export.’ follow the prompts to name the file and choose the Export path. The CDL is exported in the format of an EDL with embedded SOPS values.

This occasionally occurs when shots are added to the Media Pool incorrectly or when replacement shots are added but the original shot still exists. but this should be managed by having these clips in a different folder or with a different Reel name. Timeline with four clips indicating Conflicts in Timecode So if you do have a conflict it will show up in the Session timeline with a ‘C’ within the clip. To resolve the conflict right mouse click on the ‘C’ indicator within the thumbnail. It’s the same concept that prevents you having two files in the one computer folder with the same name. it’s not valid to have two clips with the same timecode within the same folder. As DaVinci Resolve uses the clip timecode for reference when generating the grading metadata. Of course the same timecode often occurs in the normal course of our work.Conflicts Sometimes when an EDL is used to create a new Session there is a conflict in timecodes. C Indicates Conflicting Timecodes Between Two Source Clips CONFORM 120 .

CHAPTER 8 CONFORM If you select the Master Session timeline and right mouse click on the ‘C’ indicator. it will show the conflicting information within a Conflict window and you have the opportunity to copy the correction from the Master Session clip to the conflicting clip in the other timeline. the ‘C’ indicator will be replaced with an ‘R. Resolving Conflicts Upon successfully completing this operation. If you perform the same action on the other conformed timeline.’ indicating that the conflict has been resolved. the same Conflict window will open except that it will allow you to choose the clip within this Conform Timeline to act as the Master by clicking on the thumbnail. R Indicates the Conflict has been Resolved 121 CONFORM .

or even the name of the clip when in Automatic mode. The ‘OK’ button will exit the ColorTrace mode and close the display. CONFORM 122 .ColorTrace ColorTrace is one of the leading features of DaVinci Resolve. It allows you to copy color corrections quickly and easily from one Project or Session to another based upon a source timecode. To use ColorTrace. Within the ColorTrace Setup window. The ‘Undo Last’ button allows you to undo the last action and the ‘Undo All’ button will undo all actions which have been done in Manual mode. ColorTrace Setup At this point. The source and target projects must have the same number of clips in order to successfully perform the Copy and Paste functions. you may select to work in either Manual or Automatic mode. When in Manual mode. The ‘Finished’ button will complete the operation. The range of clips selected to be copied or pasted may be selected either with the mouse or by using the Range controls. Once the grades have been copied they may be pasted by clicking on the ‘Paste’ button. select the Project or Session that will be used with the current Session. then the ‘Continue’ button to open the ColorTrace window or ‘Cancel’ to abort. right mouse click on any timeline within the Conform screen and select the ColorTrace option. the corrections can be moved by the Copy and Paste procedure or by dragging and dropping with the mouse.

and the Red outline indicates that no match was found. A green outline indicates that a perfect match has been found.CHAPTER 8 CONFORM ColorTrace Manual If you decide to use Automatic mode. It will then outline the clip with a color depending on the information available. click on ‘Copy Grades & Finish’ to complete the ColorTrace operation. this will hide all clips which have been successfully matched and only show the clips with multiple or no matches. If you have the ‘Hide Matching Clips’ option checked. ColorTrace Automatic Three color-coded outlines surround clips. ColorTrace will automatically search for matches between the selected Project and the current Project. Once the desired matches have been found. Yellow indicates that multiple choices have been found and the user must select the appropriate one. 123 CONFORM .

6)(1.9 1. as may be the case if there are comments inline within the EDL. except that the user will be prompted for an EDL and then to select the corresponding CDL and CCC files. CCC and CDL files. or even references. here are examples of CMX. Then. Power and Offset information within the comment area.5 0. Here are the supported file formats: CMX EDL: This has comments with CCC/CDL XML files or even Slope. In order to import the CDL/CCC XML correction looks.0 0.5)(0. select ‘ColorTrace CDL’ from the menu which will appear. For formatting reference. When these are imported into the Gallery.8 1. select the ‘Import Stills’ option when right mouse clicking within the Gallery section of the Color page.ColorTrace CDL When you right mouse click within the Conform timeline. Example CMX EDL file: TITLE: Final EDL FCM: NON-DROP FRAME 010 001 V C 01:19:28:16 01:19:28:16 01:00:41:18 01:00:42:18 *ASC_CC_XML test_cc. this prompt may be cancelled.5) CONFORM 124 .102 011 001 V C 00:00:00:00 01:19:28:16 01:00:42:18 01:00:43:18 *ASC_SOP (0. an ASC logo will appear along with them. If there are no CDL or CCC files.4 -0. CCC and CDL XML: In order to use this option. A file that can contain various color correction looks. ColorTrace will operate as mentioned in the previous ColorTrace section. import the CDL/CCC files.2 0. The ‘ColorTrace CDL’ option will allow the importation of ASC CDL file formats. three ColorTrace options will appear. when right mouse clicking within the Conform timeline display.

4</Slope> <Offset>0.5 </Power> </SOPNode> </ColorCorrection> </ColorCorrectionCollection> Example CDL file: <ColorDecisionList xmlns=<94>urn:ASC:CDL:v0.5<94> > <InputDescription> GeneralProducts M1 std thru GP M1 LUT4 </InputDescription> <ViewingDescription> GP P1.0 0.0 1.1920 </InputDescription> <ViewingDescription> for mathematical analysis only </ViewingDescription> <ColorCorrection id=”test_cc.0 1.100”> <SOPNode> <Description> for ref_output_image.3 0.0</Offset> <Power>1.5 0.101”> <SOPNode> <Description> for ref_output_image.0 1.0 1.01 </Offset> <Power> 1.CHAPTER 8 CONFORM Example CCC file: <ColorCorrectionCollection xmlns:”urn:ASC:CDL:v0.0 1.dpx<94>/> <ColorCorrection id=”cc03340”> <SOPNode> <Description>change +1 red.0100 </Description> <Slope> 1.0 </Offset> <Power> 1.0 0.6 </Slope> <Offset> 0.0101 </Description> <Slope> 1.0 -0.0 1. Pathe color emul </ViewingDescription> <ColorDecision> <MediaRef ref=<94>/some/Project/frame%250900-0954%5B. DCI P3.1 0.0 1.2 1.5” > <InputDescription> test corrections for ref_input_image.0</Power> </SOPNode> </ColorCorrection> </ColorDecision> </ColorDecisionList> 125 CONFORM .5 0. contrast boost</Description> <Slope>1.0 </Slope> <Offset> 0.0 </Power> </SOPNode> </ColorCorrection> <ColorCorrection id=”test_cc.0 0.3 1.0 1.

CONFORM 126 . the resulting file will contain a “. source timecodes.ColorTrace 2K Session With the appropriate version of DaVinci 2K Plus software.2kg” extension. a LUT may need to be applied. right mouse click within the Conform timeline and select the ‘ColorTrace 2K Session’ option. When you export the file from the 2K Plus. To import this file. As with other ColorTrace modes. If there are differences. you will have the opportunity to use ColorTrace in either Automatic or Manual mode. it is possible to export primary color correction grades from the DaVinci 2K Plus and import them into DaVinci Resolve. It is important to note that the input for DaVinci Resolve and the 2K Plus should be the same. Reel number information and the grades. The file contains thumbnails.

Color 9 .

Pro-Mist and Aperture Correction Effects to each clip. 128 COLOR . The Color Enhancement screen has a number of areas of display that all work together. In addition to basic color correction you also have the option of applying a PowerWindow or even Blur. Each corrector node can be considered a full featured color corrector and multiple nodes can be applied in either Parallel or Serial. and Node graph. Color screen Most of the controls are active by both mouse and control panel operation. and the dynamics timeline. For example. The color enhancement process is clip based and centers on the usage of nodes. Stills display. Below that are the primary controls. clicking and dragging the controls with the mouse within the Primary Color Correction window will carry out color enhancement adjustments. depending upon the desired correction. Under these displays is the track timeline and the thumbnails timeline. The DaVinci Resolve control surface provides concurrent control over many functions.CHAPTER 9 COLOR Color The Color screen is essentially the heart of the DaVinci Resolve system. secondary controls. From left to right they are: the Viewer with Transport Controls.

DaVinci Resolve uses GPUs for image processing. you can select Render Cache to cache the clip. To the right of the primary timecode display is the ’Clip Loop’ selection button. A full green indication shows there is plenty of GPU headroom. In cache mode. or. Enable this for looped clip playback. You can also select ’Loop’ from the DaVinci Resolve control surface. You can continue with the slower than real time operation.Viewer Located at the upper left of the Color screen. At the top of the Viewer in the center of the window bar. as you add a larger number of corrections. Ultimately. To the left of this is a GPU status display and the Playback Speed display in frames per second. More information on Render Cache options appears later in this chapter. the Viewer displays the current clip and the current frame. the Project and Session names are shown. COLOR 129 . Just like with the top display. once the clip has been played once it will be cached for real time playback. so the GPU status indicates the percentage of use that the current color correction demands of the GPU. you can change the information shown in the timecode section of the Viewer area by clicking on the timecode display with the mouse to toggle the display between the five options as described above. A flashing red indication means that the GPU is unable to consistently process the correction in real time. you will reach the real time limit of the GPU and DaVinci Resolve will then play back at a slower than selected playback speed. Click again to disable. select ‘On the Fly Proxy’ so DaVinci Resolve can generate proxy source images in real time. On the bottom right of the Viewer window is the primary timecode display for the clip being played. As the GPU processing resources are used by additional color correction the green bars will reduce.

Step Forward.CHAPTER 9 COLOR Viewer Located at the bottom of the Viewer display are controls for playing the clip Forward. At the bottom left of the Transport Controls there are four buttons. The next button will change the cursor into the Color Picker mode for selecting a specific color from the viewer image. Reverse. These are accessed by clicking on the appropriate control with the mouse or by using the Transport Controls on the DaVinci Resolve control surface. These viewing options alter what is being displayed on the Viewer. or a standard keyboard. When the third button is activated the Gallery Wipe will be visible to show Stills. Below the transport controls. The button on the left will select and deselect the PowerWindows overlay. 130 COLOR . The right button is used to activate the interactive Dirt and Dust tool. Fast Reverse. and Step Reverse. is a scroll bar for scrolling through a clip by dragging the bar back and forth using a mouse. Fast Forward.

If you select the Draw and Clean mode. this will apply the correction once you click on the object.Interactive Dirt & Dust Removal Tool DaVinci Resolve provides an interactive Dirt and Dust Removal tool which may be accessed from either the Viewer or Color screens by clicking on the Dirt Removal Tool icon. Dirt and dust set up widget Within the Dirt Settings section you can adjust the Algorithm section to select the filtration being used for the correction and also the Aggression and Blend sliders depending on the degree of correction to be applied. A right mouse click on the button will open the setup window. undo to return to the original image. The ROI Settings allows you to select the correction method. If you choose the Click and Clean mode. you can highlight the dirty area with the mouse and then the correction will be applied. Dirt and dust set up widget COLOR 131 . located at the left of the Viewer display. If you are unhappy with your correction select.

right mouse click within the Viewer window and select ‘Reset’ from the menu that appears. To reset the Viewer display to the original size and position. You may Zoom In and Out of the image within the Viewer by using a rotary control within the center mouse button. You may also Zoom In and Out of the image within the Viewer display by using the + and – keys on the computer keyboard. it will move the image position within the Viewer display.CHAPTER 9 COLOR Viewer Window Options There are a number of center and right click mouse options for the viewer. Color screen right-click options 132 COLOR . If you hold down the center mouse button and drag the mouse. A right-click on the mouse while it’s over the Viewer will pop-up an options window.

‘Grab all stills from first frame’ will grab a still from every clip on the timeline using the first frame of each clip.) You will then be able to perform a wipe with the offline recording in conjunction with the clip. The Toggle Wipe Shape option switches between Vertical Wipe.’ The Toggle Wipe mode will select to compare the current timeline clip to either the Gallery Still.Viewer Stills Display The first few of the pop-up options relates to stills. Mix. select a clip on the timeline. select the ‘Still/Timeline’ button on the DaVinci Resolve control surface until the Offline label is seen on the status display. or a Key or Alpha control. The ‘Toggle Wipe’ selection will turn the wipe on and off. (More on this later when we look at green screen keying and display. it will continue until completed. toggle the mode to Timeline and then use the mouse to select the thumbnail of the reference clip. Right click on the thumbnail to select ‘Wipe Timeline’ and the reference clip will be highlighted in yellow when you move to the clip to compare. to compare the current clip to the Offline. ‘Grab all stills from Middle Frame’ will perform the same function except use the middle frame of each clip as the source of the still.) Toggle Invert Wipe will swap the reference and current images in the Wipe display so you can see the other side of the images. the matching Offline frame or another clip on the timeline. which could take some time. Alternatively. Horizontal Wipe. This function on the DaVinci Resolve control surface is called ‘Play Still. To use. This still can then be used as a reference for comparison in other scenes. ‘Grab Still’ will simply grab the current frame to make a still and place it in the Gallery Stills display. Wipe between the current clip and the still COLOR 133 . Once this procedure has started. (More on the Status display later in this chapter.

PlayHeads The PlayHeads selection is most commonly used to compare a reference clip with others playheads and allow you to play up to four clips and display them at the same time. The original setting will display the image pixel for pixel so it is usually used for getting quick zooms to the source image size to look for imperfections in the original image.CHAPTER 9 COLOR The Reset option will set the image to the normal display for the viewer. The ’Show’ checkbox will turn the display of the clip Off and On. Playheads control Once the PlayHeads window appears. On the DaVinci Resolve control surface. 134 COLOR . playhead and VTR linking is performed directly on the panels. Gang them together for synced playback. you may establish which playhead is attached to which clip. Selecting the clips and ‘Place’ will link the clip to the appropriate playhead. Use the ‘Modes’ button and then select ’PlayHeads’ to display the VTRs or use the VTR buttons on the Transport panel.

COLOR 135 . These color coded indications are for Source. The Timeline display within the Color screen will also show the position of each linked VTR that has been created by the user.Color screen viewer with four playheads active When the playheads are in use. It is possible to switch between playheads by using either the PlayHeads window or by using the Job/Shuttle control panel. The color codings are: Red for the current playhead which has all color corrections and formatting. Blue indicating a playhead with an assigned link that is also ganged. The currently selected playhead will receive all color correction and formatting you apply. VTR B and VTR C. VTR A. and Dark Grey for no link assigned to this playhead. Green for a playhead with an assigned link. you will see the letters ‘SABC’ at the bottom of the Viewer display.

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Waveform displays
DaVinci Resolve offers a number of built in waveform displays, all of which work at the native resolution of the system rather than at the video standard selected for clip playout. This means you can see the full data range of the source image with the correction applied, regardless of which video standard you wish to master. The displays Waveform, Parade, Vectorscope and Histogram allow you to monitor the levels of the correction that are being applied to the image. Within each display, there are the controls that allow you to vary the brightness of the scale and information displayed.

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Stills, PowerGrade and Memories
In the center top of the Color screen are the Stills, PowerGrade and Memories tabs. While all of these are managed on the Gallery screen, they are displayed on the Color screen for quick selection and are used for color matching during the grading session. As described in the Viewer section, you may compare the stored images to those being graded by using a Wipe or Mix. This provides a simple and fast method of matching grades between scenes. There can be multiple Stills and PowerGrade tabs. The Memories are shown in the lower section of this window.

Stills, PowerGrade and Memories

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Stills
By selecting the ‘Grab Still’ button on the Control Panel, or right clicking ’Grab Still’ on the Viewer, you are capturing a high resolution still image of the frame currently displayed on the timeline and at the same time capturing the grading metadata information relating to that grade. This means the still can be used for both visual reference and also for direct grade Copy and Paste operations. The still will be added to the current Still tab on the Color screen and also the Gallery screen. You can also Delete stills using the right click option. One or a number of stills can be deleted at once. Right click and use the ’Select Current -> Last’ or ’First -> Current’ selection, or hold the Shift key while selecting multiple stills for an operation to impact more that one still at a time. Stills display a Still Number in the upper left corner that is in the scene number/clip number format. Multiple stills for one scene will be displayed adjacent to each other for quick reference.

Individual Still Right Click Options

Stills can be named/renamed by placing the cursor over the still, right clicking, and choosing the pull down option ‘Change Label’. If your system has Unicode language options loaded you can add names in different languages.

Japanese is one of the many languages supported

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Selecting ‘Play Still’ via right click on the still, or on the control panel will display the still on the Viewer with a wipe to the current scene/frame. The Wipe mode can be a Horizontal or Vertical Wipe, or a Mix; these options are select from the panel directly or via the mouse on the Viewer using the right-click pull-down ‘Switch Wipe Mode.’ If you double click on a stored image, the Viewer will automatically enter into Wipe mode and you may adjust the wipe by using the fader bar. You can also place your mouse over the wipe on the Viewer and click and drag to move the wipe position.

Unicode Name Controls

The ‘Add Correction’ selection will apply the color correction parameters from the still to the current clip. This will include the structure of the grade with each channel, or layer or node of correction. When DaVinci Resolve grabs stills or Memories, it also captures the node graph structure. More details on node Graphs are later in this chapter, but the key feature is that you can copy the complete grade using ’Add Correction,’ or ‘Display Node Graph’ and then select all or any node from this node graph.

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Just select the node with your mouse, click and drag it to the Node Graph display on the right of the main screen, and place it where you would like the correction applied in the image correction path.

Display Node Pop-up

Alternatively, you can select just the color parameters or just the PTZR parameters from the still, or from this window, you can select all. ‘Exit’ to close the window when you have finished.

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Stills Import and Export
To import and export images in a number of formats simply select the still and right click for the Import, Export or Export with Display LUT option. The Display LUT used in this case is the one selected on the Configuration screen. The supported file formats for importing and exporting are: dpx, cin, tiff, jpeg, png, ppm, bmp and xpm.

Export Still Pop-up window with file options displayed

Sorting Stills
These parameters are used by DaVinci Resolve for sorting the stills using the options that are selectable with a right mouse click.

Stills Properties

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the still that’s highlighted will always match the scene selected on the main timeline. if you use this still often. or how many are shown based on the search. Simply place your cursor in the Search window and click.CHAPTER 9 COLOR When stills are added to the Still tab they are placed next to other stills from the same scene and generally in record timecode order. Any clips with multiple stills will retain those stills until you capture another for that clip. If you have multiple sessions in your project you can also select to display stills from just this Session or stills from all Sessions.’ With this selected. Stills Right Click Options Other Still Options Images can be stored in multiple Still pages to make it easier to find or switch between stills. which will show how many stills are in this tab. The ‘One Still per Scene’ selection will force a single still to be saved for each clip. You can also select the stills to be sorted and displayed in the order of the source timecode or the creation date and time. 142 COLOR . then type the name or description you are searching for and DaVinci Resolve will automatically show the results in the tab above. These pages are configurable and while the Gallery screen offers the full suite of still management tools. Just click and drag a still to the Memories section. Note there is also a still count. You will note that there is an option to ‘Trace Timeline. on the Color screen you can add or remove a Stills tab. Searching For Stills You can search for stills within the selected tab by using the Search window at the bottom left of the Stills display. This will give you a one key selection for even faster operation. or by the clip order with the creation date and time.

You can always copy stills from other Users and other Projects. This also makes them ideal for specific ‘looks’ that a colorist makes for later use. complex multilayer grades with LUTs can be saved and recalled with ease. but this is a manual process and there are times when you may just want to have specific stills.PowerGrade The PowerGrade tab shows stills that are always available and referenced to the User Name no matter which Project you have open. that are always available to you no matter which project you have open. The PowerGrade stills are the same as all others in most respects. As the Node Graph is saved with the PowerGrade still. The ability to see these stills when you open another Project provides a simple way to copy grading information between Projects. with their Node Graphs. Normally stills relate to Sessions within a particular project. or save directly to the tab. You can drag stills into the PowerGrade tab from your Memories. PowerGrade COLOR 143 .

CHAPTER 9 COLOR Memories Within DaVinci Resolve. These stills are in most respects the same as the others in the Stills or PowerGrade tab with the exception that you can save and recall the stills from the control panel with great speed. Various sections of the correction can be copied to the current correction by dragging the appropriate nodes to the current Node Graph display. The Still Nodes may be dragged on top of an existing node to replace that node’s enhancement or a node can be dragged and inserted independently into the Node Graph line. Memory Right Click Options 144 COLOR . Comparison of the current Memory and Memories that are used very often. which you will find at the bottom of the Still section. In each case. simply select ‘Current’ and then one of the A to Z Memory keys to save the current scenes grade to that Memory. A key feature for the stills is the capture and display of the Node Graph which will show you how the grades were constructed. You can always clear this Memory to get to a default Memory by using the Base Mem control. The ‘Current’ and A to Z keys are on the fader and also the Transport panel. Colorists consistently refer to this current Memory and compare it to the stills to match grades. every scene has a grade that is stored in an active Memory. simply select that Memory with a one button selection. To recall a grade from the Memory. This also applies to the Memories. Right mouse click on an image within the Stills display. the Memory is seen in the Memory display with a small letter that identifies to which Memory it was saved. On the DaVinci Resolve control surface. or select the ‘Apply Correction’ button to copy the entire correction into the current clip. and the ‘Display Node Graph’ option to display the Node Graph. is easily done using the A to Z Memories.

Node Graph
Whenever a color correction or enhancement is performed on DaVinci Resolve, it must be carried out within a node. The Node Graph, found in the upper right of the Color screen, provides a visual representation of the image processing path and node/layer priority for every correction for each clip. The Viewer display and the grading monitor present the output from this Node Graph. There are three tabs in this window: Clip, Track, and Unmix. Functionally, the Node Graph works the same for each tab, however, each shows a different perspective of Resolves image processing. Detail of this will be covered later in the Dynamics Timeline section of this chapter. On the left and right hand side of the Node Graph is a blue rectangle. Consider these points the Input and Output, respectively. By default, DaVinci Resolve draws the Node Graph with a single ‘Correction’ node from the Processing Input box and the nodes output connected to the Processing Output box.

Node Graph

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The nodes have a yellow dot for the image Input and Output hooks, and a yellow triangle for the Key or Matte Input and Output hooks. It is important that the connecting line from the processing input on the left through the various nodes via the image hooks, is connected to the output on the right. If the connection path is not complete the nodes will not display images, but instead will show an icon and the correction will not be visible on the Viewer or Grading monitor. With the path complete, the image shown in each node within the graph will give you a visual indication of the correction that is taking place within that node. The Node Graph display may be zoomed by using the rotary center mouse button, and moved by dragging the mouse while holding down the center mouse button.

Managing Nodes
The current node will be highlighted with a border. Select nodes with the mouse or on the control panels. On the DaVinci Resolve control surface, select the node number (e.g. 3), then ‘Select Node’ on the Job/Shuttle panel, or use the ’Previous Node’ or ’Next Node’ keys to toggle through the nodes. To add a node, right click on the Node Graph and select ‘Add node.’ Or use the control panels to add a Serial or Parallel node. A node may be deleted by simply clicking on the node image, right mouse clicking, then selecting ’Delete’ from the pull-down menu. The order that nodes are linked may be changed by first right clicking on the links connecting the node and deleting them, then re-positioning the nodes to place them in the new order. And finally, reconnecting the nodes by selecting the node connector with a left mouse click and dragging the link from one node to another. The nodes may also be re-arranged within the graph in order to view them better by simply dragging them with the mouse to the required area. Two nodes can be linked together to provide a PowerWindow inside/outside operation. With a PowerWindow in the first node and the image and key outputs linked to the inputs of the next node, the second node will use the key input and automatically invert, so you can grade inside the window in node one and outside in node two. More details on PowerWindows are found later in this chapter. All of the node corrections in the Node Graph can be bypassed by using the keyboard Up and Down keys and an individual node bypass by simply clicking on the left of the number located at the bottom of each node.

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Right-click over the node graph

Corrector Node
The ‘Corrector’ node has two inputs and two outputs, one each for the image and the key (Alpha or Matte) respectively. The Image Path is via the yellow dots and the Key Path via the yellow triangles, which are grayed out if not active. A Corrector node can best compared to a full-featured layer or channel of color correction. The node can be utilized for primary and secondary color correction and can include PowerWindows, Tracking, Blurs, etc. and can work in Serial mode (otherwise known as cascade), or Parallel mode, depending on the correction required. There is no limit to the number of nodes on a Node Graph and so it is common to use a new node for each layer or element in the image that you wish to enhance.

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Parallel Mixer Node
When nodes are connected one after the other this Serial or Cascade configuration effectively links the output of the first node to the input of the next and so on until the last node, which finally links to the Node Graph output. This is the point where the Viewer and Grading monitor is connected. As each node modifies the image it changes the range of data available to the next node. An example would be a node one that removes all the color in the image. Its output is a black and white image and the following node only has this black and white image to work with. You can not add color on node two by increasing the gain for any color channel as there is no color at the input as supplied by node one.

Parallel Mixer

An alternative way to work is to put the nodes in parallel rather than in series. The nodes can then have a common input, the full range data, and each can produce the individual enhancement and output to a Parallel Mixer node. The Parallel Mixer node is a multiple input and single output node for images. (There is a Key Mixer node we will cover later.) When you add a Parallel node to an existing node, DaVinci Resolve will automatically add one Corrector node below the current node and will also add a Parallel Mixer node. The current node and the new Corrector node will have the same input source, which can be the original file source or the output from another node. Both the current and the new Corrector nodes will have their outputs connected to an input on the Parallel Mixer. If you add one more Parallel Corrector node the Mixer will add another input. A Parallel Mixer node will mix all the inputs with equal processing priority.

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Layer Mixer Node
The Layer Mixer node appears at first sight to be similar to the Parallel Mixer in that it allows for multiple Corrector node outputs to be mixed into one node. While the Parallel Mixer processes all the inputs with equal priority, the corrections in a Layer Mixer are prioritized from top (least priority) to bottom (greater priority). As you add additional Corrector nodes to the Layer Mixer they are placed with a higher priority on the Node Graph below the preceding nodey. Changing the position of the links that are connected to the Layer Mixer node inputs will change the priority. You may also add additional inputs to the Layer Mixer node with a right mouse click on the Layer Mixer node and selecting ‘Add Input.’ Layer node operation is ideal when you have multiple inputs to the mixer and you want some to mask others or have a greater influence over the mixed image.

Layer Mixer

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Key Mixer Node
The Key Mixer node allows you to mix the key outputs from multiple nodes and combine them within the Key Mixer node in order to produce a composite key signal. To create a Key Mixer node, right mouse click within the Node Graph display and add a Key Mixer node by selecting the option within the ‘Add Node’ section of the menu. The Key Mixer node comes with two inputs when first created, but additional ones can be added with a right mouse click within the Node Graph display and choosing the option ‘Add One Input.’ To adjust the parameters of each node, which is fed into the Key Mixer node, use the Input section of the Key tab. The Gain Control within the Post Mixing section can be extremely useful for adjusting the amount of effect the final correction will have within the image.

Key Mixer Node

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LUT applied within a node You can apply look up tables (LUTs) to nodes within the DaVinci Resolve Node Graph display. Simply right mouse click on the desired node and apply either a 1D or a 3D LUT from within the options available in the menu. Adding a LUT to a Node COLOR 151 . The LUT list used here is the same as found on the Config screen. Applying LUTs in this fashion allows you to emulate various effects and can also be used with the qualifiers.

To recall the external matte within the Color screen. right mouse click on the node within the Node Graph display and select the associated matte file or press the M key on the DaVinci Resolve control panel keyboard. Once the external matte has been associated you may apply a grading inside the defined area. a new series of controls will appear on the DaVinci Resolve control surface.CHAPTER 9 COLOR External Matte Support DaVinci Resolve supports unlimited external mattes within a clip. If you select the ‘Ext Matte’ node with the mouse. These external mattes must be linked to the associated image within the Browse screen Media Pool. A second key tab in the UI allows further adjustments to position and size. External Matte Support 152 COLOR . These controls allow you to adjust the matte for optimum results.

The vertical white line will jump to that location. The white vertical line shows the current position along the timeline and this matches the frame displayed in the Viewer. Timeline with clip thumbnails In Record timecode order (A-Mode). Below the timeline is a scroll slider that is used to expand and contract the timeline so you can zoom in to review a single scene or expand to see the whole Project. Select the ‘Page Down’ button on the keyboard to display a source or C-Mode order of clips. The timeline can be sorted in Source (C-Mode) or Record (A-Mode) order. Each clip is not only sorted for order. When you select ‘Play’ on the control panel. If you are in Loop mode the timeline will also display in and out markers and a highlight showing the frames that are in loop play. and Node Graph display is the timeline which shows all the clips in timecode ascending order. to this clip. you can then play the various clips one after another within the Project. COLOR 153 . The current clip is highlighted for easy identification. If you click with the mouse on a thumbnail. or mouse on the UI. When the Project has more than 15 clips. Change the sort mode of the timeline by selecting the ‘Page Up’ button on the keyboard to select the Record or A-Mode. indicating the clips on either side of the current clip. The current clip will have an outline. You can also scroll through the various clips by dragging the vertical white line back forth across the timeline or jump to another clip by clicking on the timecode portion of the timeline. this will automatically cue. no EDL is considered as all clips are placed one after the other in timecode ascending order. or jump. the EDL defines which clip is placed first and the following clip order. or use the space bar on the keyboard. but the in and out points of each clip are use to define the clip length. If there is a dissolve between two clips this is also displayed in the timeline. Stills. the word ‘Source’ will be displayed on the right hand end of the timeline.Timeline Directly below the Viewer. Clip Thumbnails/VSRs Located directly below the timeline scroll slider are the Clip thumbnails. regardless of the length of those clips. the current clip will be positioned in the center of the clip thumbnail display with thumbnails either side. In Source mode. complete with holes in the continuity of the timecode. If Source mode is selected.

a clip number or even by scrolling to another clip. In the screen capture below there are two versions of grade and version two is current. metadata for the change is automatically saved for the clip into the clip thumbnail. Under these numbers is the version name. You can copy any corrections from one clip to another by recalling a Memory. See Versions later in this chapter for additional details. If there are multiple versions of the grade for this clip the numbers to the immediate right of the clip number will show the current version number and how many versions there are. Clip Thumbnail 154 COLOR . making it current. The clip number can be seen on the upper left of the thumbnail.CHAPTER 9 COLOR Correction Management with the Thumbnail Timeline Display When any type of correction is applied to a clip. in this case “DOP’s”. If you have entered one. and copying the correction to the new clip using the center mouse click. Clip Thumbnail Indicators In addition to displaying the color corrected image in the clip thumbnail. this same location would also indicate a local or default version if alternatives are made. each thumbnail has a number of other valuable indicators of the clip and operational status.

When this occurs. This line indicates that the clip has had some alteration from the raw default settings. This timecode updates as you scrub over the clip. you will see the EDL event number followed by frame number of the current frame if anything other than the first frame is shown. another part of the same clip may contain material that is required for later parts of the EDL conform. COLOR 155 . At the bottom of each thumbnail. we are seeing frame 420. you will see a small red box located at the upper center of the clip thumbnail. part of the whole clip may contain material which is needed for one part of the EDL conform. In the case shown above. Red outline indicates grouped clips Normally.On the upper right of each thumbnail. Whichever clips contain this red block will share the same correction as it is the same clip. You may also see a colored rainbow line at the bottom of the thumbnail. or does not represent the key element of the scene. The frame indicator will update accordingly. The rainbow is a quick and clear indication of those clips not at default. For example. The clip thumbnails may also have a red outline. If you click and drag the mouse back and forth over the thumbnail. Colorists compare the current shot to a Gallery Still or to the offline video. Orange outline indicates the clip used for reference wipe When you are working on material that has been conformed based on an EDL. certain clips may be reused within the EDL. This is particularly helpful to locate the key frame. or move off the first frame if its black. but you can select any clip on the timeline to be the reference. This is displayed if the colorist selects the Render Cache mode and it indicates the progression of the render cache for this clip. Below the timecode there may be a white box. you can view the contents of that clip within the thumbnail and even leave it parked on a specific frame. This indicates that these clips are in a group and grading changes to one are automatically made to the others. DaVinci Resolve displays the timecode for that frame of the clip. and will therefore need attention. however.

’ See ’Versions’ later in this section for a description of adding new and switching versions. The green box indicates that the Revival repair has been completed. Common Source Clip Indicator Just to the left of the timecode you may also see a red or green box. Render Cache Indicator 156 COLOR . This identifies clips selected for restoration by a DaVinci Revival system. a disc icon will be placed on the top left of the thumbnail. at the same time the Revival screen lists the actions requested.CHAPTER 9 COLOR Local versions of this clip can be made at any time by the right-click selection ‘Local Version. Red marker indicates clips/frames sent to the Revival repair list If you have selected a clip for render cache. The red box is shown when the clip is selected. Details of this operation and interaction with DaVinci Revival are found later in this guide. You can check and verify the repair or return the image to the Revival operator for further work.

any color corrections that are made to any clip will be automatically applied to the other conformed sessions (other EDLs). these versions are also available for use within the other conformed sessions (other EDLs). Tracker Indicator Local and Remote Versions There are a number of time saving right-click options within the clip thumbnail. This identifies that this clip has Object Tracking. the new version is called a new Local Version (i. This allows you to keep a Master Session grade which is valid for most sessions but also have one that is just for a specific session (e.g. When the project images in the Media Pool are first conformed. but are listed as Remote Versions in those EDLs. you generate a default session or default timeline. all of your grading metadata is automatically applied to the new session/EDL. When you work with the Master Session within the Color screen. the EDLs will be listed by their names after the Master Session in the EDL file label section on the Conform screen. and when changing EDLs using the same clips.. Every Remote Version of a grade made on every session relates to the Master Session. you can make Local Versions that will be available only for that session. This will save you quite a lot of time as you can grade many different versions of the EDL automatically. If you are on a session other than the Master Session. If there is an EDL. or Remote Versions that will be available for all the other sessions (except for the Master Session where it will listed it as another Local Version). called the Master Session. using the ‘Create Default’ button on the Conform screen. that is loaded afterwards. When you are working on the Master Session but want to create an alternate version of a color correction. COLOR 157 . for the Trailer). If you have modified the clip length it is a useful reminder to check that the track now covers the complete clip. you want to keep the original version but also have another).On the right of the thumbnail you will occasionally see the Tracker indication. so if you render each Master Session grade you will have the graded versions for all the various sessions.. regardless of the order of the clips in those EDLs.e. As this is the Master Session.

or to have all values copied. it will first prompt you for a name for this version. When there are changes to the correction that are to be applied to the Group. as defined in the Configuration screen settings tab. then within the pull-down menu choose the appropriate Group Name and move the mouse to the ‘Change Ripple’ selection. Versions of grades can be loaded. or make the change by percentage or unit value.CHAPTER 9 COLOR Timeline right-click option When you access the New Local Version option from the timeline thumbnail pull-down menu. you can define a Group by right clicking on a clip and selecting ‘Add Into A New Group. to make the target clip the exact changed value. another menu joining these menus will appear. deleted. Once this has been done. These additional versions can be named and the names are displayed in the clip thumbnail. use ‘Add Into Current Group’ from the pulldown display. You can create additional versions of corrections that have been made for a particular clip. Each version will be available by right mouse clicking on the clip and selecting the version. you can select how the correction will be rippled to the various clips within the Group. This menu will give you the opportunity to change the ripple type. Right mouse click on a clip within the Group. Once the last clip is selected. hold down the Ctrl key on the keyboard and select the various clips. 158 COLOR . To add multiple clips. You may also de-select a batch version of a conformed list that can then contain an alternate version of corrections.’ Enter the Group Name and you will see it in the group list at the bottom of the pull-down menu. Group Versions If you have multiple clips that share the same color correction. named and selected using the right-click pull-down menus.

If you select ‘Batch Link. and select ‘Batch Unlink. simply select the desired version. Display Node Graph Just as you selected to display the Node Graph from Stills or PowerMaster Stills. Orange outline indicates the clip used for reference wipe Update All VSRs To update the thumbnail images select ‘Update All VSR’. Edit PAR Value (Pixel Aspect Ratio) The PAR (Pixel Aspect Ratio) setting in the Media Pool will always have an indication. all corrections are automatically applied to the other conformed versions. select the Thumbnail with the right-click option. If you wish to create a different version of the color correction in another timeline. Wipe Timeline The thumbnail will display an orange border indicating it is the active reference. then select Edit PAR Value and then select the appropriate PAR from the pop-up box. When you deselect the clip the Gallery becomes the reference.’ This conformed version will not share the same color corrections as the Master Session or any of the other conformed versions. This means that the Master Session is Batch Linked to all the other conformed versions. you can do so from the timeline Thumbnail. To change the PAR for any clip. Batches may also be copied using this right-click option. either square or one of the other many PAR formats offered.Batch Versions When you begin to color correct using the Master Session. COLOR 159 . right mouse click on a thumbnail.’ the corrections within this conformed version will revert to the corrections seen in the other conformed versions.

Presets can also be applied from within the Format screen. Switch selected to DaVinci Revival processed clips. and Switch selected to original clips. Add current clips for Dirt processing.’ this will indicate that no settings have been applied. the user can resize a clip and use the preset to apply to all. DaVinci Revival DaVinci Resolve image storage and its database can be shared with a DaVinci Revival system. 160 COLOR . make the changes from the Configuration screen or for Clip presets. You can select ‘Revival Processed Clips’ or switch back to the original clips if you are not happy with the repair. The DaVinci Revival screen on DaVinci Resolve will list this and all other requests. for example. by right mouse clicking on a thumbnail within the Color or Format screen. Switch Parent Directory With a pre-conform workflow.CHAPTER 9 COLOR Change Input Format Preset for Clips To set Input and Output Format Presets that can be used with Session clips and apply as global presets. Timeline Right Click – Revival Options When the DaVinci Resolve operator sends a clip to DaVinci Revival for Grain or Dirt processing. Instead of having to resize every clip independently. The options are: Add selected clips for Grain processing. DaVinci Resolve allows easy toggling between different versions of conform using switchable Parent Directories. within the Media Pool. when a film has been over scanned. a red indication on the thumbnail to the left of the timecode will indicate the request has been sent. or as identified here. In this configuration the Resolve operator can select a clip for action by the Revival operator. If you select ‘None. The function can be accessed using ‘Switch Parent Directory’ from right-click menus in the Media Pool and the Conform Panel. Add selected clips for Dirt processing. Revival will only process DPX images so to send images to DaVinci Revival for processing you need to render non-DPX images first. Further information on DaVinci Revival operation is available from the DaVinci Revival User Guide and there is more information on the interface with DaVinci Resolve in the DaVinci Revival chapter later in this guide. there are often different versions of conform available on the SAN in separate folders. When the DaVinci Revival operator has fixed the images and marked them as repaired a green indication is shown on the thumbnail. These are pre-defined settings for various image scans and are useful. and also from the Color screen timeline.

Render Cache Clip DaVinci Resolve has a number of Background Render Cache options and one of these options is where the user selects to render cache a clip. The bar will first appear in white and the length of the bar represents the amount completed. Clips marked for ‘Render Cache U’ will render if ‘Cache U’ or ‘Cache +’ or ‘Cache All’ is selected. When the cache process is started by the user. The user may flag clips that should be render cached within a Project. This can be done by right mouse clicking on the clip and selecting the ‘Mark for Render Cache U’ option from the menu. A clip that has been flagged to be Render Cached COLOR 161 . The hard disk icon will appear on the top left-hand side of the thumbnail when the clip is selected by the user to be cached. a status indicator at the bottom of each thumbnail will show the progress of the cache generation process.

Audio Offset 162 COLOR . the audio can be displayed on the Color screen by right clicking on the timeline and selecting ‘Show Audio Waveform.wav or AIFF file is selected in the Conform screen to play with an EDL. Alternatively. Clip Info Audio Timeline While DaVinci Resolve is a color correction and enhancement system. you can select the ‘Audio Offset’ dialog box with a right click on the audio waveform and enter the offset you need.CHAPTER 9 COLOR View Clip Details DaVinci Resolve maintains metadata relating to all clips in the Media Pool.’ Timeline with Thumbnails and Audio The waveform for the audio track can be slipped in time to sync the audio to video by using the control key (Command in Mac) and the mouse to drag the clip up and down the main timeline. This info is accessible using the View Clip Details option. it does play back guide audio. When a .

If your timeline has RED files. or set project based decoder parameters for DaVinci Resolve to decode and debayer the r3d files. right click on the thumbnail to reveal the option ‘Edit RED Codec Settings’ and this will open the decoder control window.RED r3d Clip Decoder Control DaVinci Resolve offers native RED r3d decoding. Color screen Thumbnail Right Click to select Edit RED codec settings COLOR 163 . the camera metadata. On the Color screen you also have an extra layer of control. In the Configuration screen Source tab you can select to use the RED Default decoder settings. a clip-by-clip control.

Source tab for RED. This will depend entirely on the hardware capabilities of your system. These settings include Full Resolution with Premium Debayer. then use the config settings to switch to a higher quality/resolution for rendering. or you can select one of the other debayer and resolution settings. The first is on the top left of the RED Settings window. which is often used when grading RED files on a MacBookPro. so you may want to grade in a resolution which provides real-time playback. Color screen Thumbnail Right Click to select Edit RED codec settings As you assign the decode quality you will have a direct impact on the performance of the system. The Decode Quality setting can be set to use the Project setting as selected on the Configuration screen. down to the One-Sixteeneth Res with Good debayer. the configuration here sets the operation for the balance of this window. to Half Res Premium (as often used for grading). 164 COLOR .CHAPTER 9 COLOR Master RED Decoder Settings There are three sections to the decoder window.

Selecting ‘Clip’ will make all the other controls on this window active and you can set them as you prefer for this particular r3d clip. If you select ‘Camera Metadata. Master Red Decoder Settings . The ‘Cancel’ button will close the window with no changes and the ‘Apply’ button will save the changes made and close the window. The ‘Project’ setting will use the DaVinci Resolve configuration you set on the Source tab.’ DaVinci Resolve will extract the controlling metadata from the r3d file as it was set by the camera. use the ‘Reset’ button. If you make any changes to the clip decoder settings and you wish to revert to the settings that existed when you first opened the window.Clip Selection Once you have selected the ‘Clip’ option there is also a ‘Reset’ button that is highlighted at the bottom of the window. and Project settings for this clip are displayed adjacent to the slider controls for the Clip settings.The second setting in this area is to select to source of the RED metadata for all the other decoder settings. On the right of the window the Red Default. If you leave this setting on ‘RED Default’ then DaVinci Resolve will use the decode settings supplied from RED. Camera Metadata. The ‘Clip’ option provides you with significantly greater control for each clip. COLOR 165 .

REC. which extracts a color space larger than REC. Camera RGB. medium. There are seven settings. printers and the Internet and REC. sRGB. and Custom PDLog. RED offers a number of different color space options when decoding the RAW images: REDcolor. which is a higher contrast color space than REC. The Gamma selections include: Linear. which maps the native 12-bit RAW image data into a standard 10-bit Log curve. printers and the Internet. Gamma Curve: OLPF Comp: Image Detail: Denoise: Color screen Thumbnail Right Click to select Edit RED codec settings 166 COLOR . REDSpace. with Off being the default. There are four options.709. which is a color space used for monitors.709. The PDLog 685 and 985 offer alternative white points for the Gamma Curve. from mild to maximum. Color Science: Color Space: The original REDone camera builds used a different color science to the more recent builds. and also provides for custom adjustments as described below. which is the standard HDTV gamma. Select from the low.CHAPTER 9 COLOR Image Decoder Settings Once you have selected the Clip option in the Master RED Decoder Settings. which is default color space. which is the standard for HDTV. which bypasses the matrix in the camera and uses uncorrected sensor data.709. often used for film work. all parameters in the Image Decoder become active. Select here as appropriate. where no gamma adjustment is applied. REDlog. or high sensor detail extraction options. REDSpace. which is a color space used for monitors. which offers users an alternative LOG curve.709. sRGB. similar to Cineon. The default is REDgamma. The OLPF compensation sets a low-pass filter to reduce color moiré. to adjust for the best noise reduction without image degradation.

With the mid-tones maintained. Ideal to correct fluorescent or sodium vapor lamp problems. Exposure increases or decreases the image lightness and clips the data levels at each end. or unity. Green and Blue Gain controls adjust each color channels gain with 0 being the reference point. 320 is the default. ISO: FLUT: Similar to exposure this control adjusts gain from the black point to white in a linear manner. One is unity gain and the maximum ten is ten times greater amplitude than unity. up to very over saturated at 5. The Red. to the default. This also adjusts the image brightness by changing the black level. Calibrated to replicate industry standard f-stops.Clip Decoder Settings Just as the Source Tab on the Config screen offered Project-based RED Clip Decoder settings. The Floating Point Look-Up Table controls operate within the new color space to give cleaner and finer ISO and mid-grey variation without introducing clipping. the Contrast control adjusts the number of discreet steps in the grey scale by changing the slope of the response curve. You can easily compare the values of the clip settings to the Project. The Custom PDLog parameter. this control will compress the image at each end of its range. Use the Tint control to adjust the yellow parameters of the RGB matrix. this window offers the same controls for each clip. The color saturation is varied from monochrome at 0 value. Sometimes referred to as Kelvin. Black Point. Camera. White Point and Gamma are useradjustable from their respective default values of 95. the Color Temperature adjusts the RGB matrix to consider the blue/red ratio. of 1.6 gamma. DRX is a dynamic range control that takes into account Color Temp (Degrees Kelvin) and Tint. but unlike Exposure. Common values are 3200 for Tungsten lighting and 5600 for daylight. 685 and 0. Provides adjustments at the toe of the FLUT. or RED Default metadata as these are listed on the right-hand side of the clip sliders. DRX: Shadow: Exposure: Brightness: Contrast: Color Temp: Tint: Saturation: Custom PDLog: Gain: COLOR 167 .

CHAPTER 9 COLOR Color screen Thumbnail Right Click to select Edit RED codec settings 168 COLOR .

from left to right. Gamma and Gain trackballs on the DaVinci Resolve trackball control panel. using. Gamma and Gain controls. Saturation and the Pan. The Primary Color Correction display will show the corrections that are being applied. No mouse. these control panel adjustments are reflected in the interface of this Primary tab. of course. Primary Tab on the Color Page COLOR 169 . colorists use a control surface for grading as it permits multiple controls to be adjusted simultaneously. Offsets. but you can also use your mouse to select any of the sliders or color bars to adjust individual parameters. For interactive feedback. the Lift. Tilt. pen. or touch screen allows concurrent. This area displays the settings for the Lift.Primary Tab The Primary tab is located at the bottom left of the Color screen. Generally. Primary Slider Controls Typically. the first node in every scene is used to balance the primary values of the source clip and subsequent nodes are used for effects. but this is. Zoom and Rotate controls for each clip. a user preference. simple and intuitive control of a dozen parameters with just two hands. There is also a status display providing a variety of system status indications.

Gamma. They are also available as horizontal slider controls for the Luminance Lift. Green and Blue values for each. and Gain controls are displayed as vertical colored bars with Red. 170 COLOR . Pan. the Input sizing controls. and Gain. Gamma. mirror those found on the Control Panel. You can grade material by using printer light steps using the offset up and down buttons. On the right side of the right most trackball there are also three controls. one each for Lift. Tilt. Gamma. The first pot adjusts the Saturation of the isolated area. Input Sizing Controls DaVinci Resolve has an optical-quality image resizing engine that can be used to position or resize images with such high precision that you can resize the image using dynamics and see the changes in real time. and Gain Luminance level. Each of these controls mirror the horizontal sliders on the Primary tab.CHAPTER 9 COLOR The trackball Lift. To the right of the Color Level displays are the Offset controls and display. the second pot is a Hue control and the third pot adjusts the Luminance mix control. You can select them with your mouse and adjust or reset any control with a mouse click on the value adjacent to the slider. At the bottom left of the Primary tab. These controls are on the left of the panel trackballs. Zoom and Rotate. Adjacent to the colored bars is the Luminance value grey bar.

as required. Cache D to cache all dissolves. When the desired amount is applied. Stereo Display The display output can be a single eye. where the convergence control moves each eye away or towards each other. Stereo. Vertical. any clip on the Timeline or the Offline clip. and Cache + to cache dissolves plus user-selected clips. COLOR 171 . Within the Panel Control window. when you adjust the convergence of the two eyes there are two modes: Oppose. the user may set the sensitivity for the Lift. or proxies are enabled on the Config screen. Mix. or both eyes (Stereo). Primary and Qualifier Control Sensitivity A right mouse click within the Primary Color Correction window will pop up a menu allowing the user to either reset the primary values or open the Controls dialog for panel control sensitivity. the reference clips can be resized and repositioned.e. i. you can display on the UI viewer and timeline the left eye or the right eye. Cache U to cache individual clips marked by you for caching.Primary Tab System Status On the right side of the Primary tab there is a system status display showing the operational status of DaVinci Resolve. Ref Resize Ref Mode Wipe Type Stereo Pan Stereo Grade Current Stereo Display When grading Stereoscopic 3D. Cache All to cache all clips. Resolve 3D projects can be graded in Solo mode when only one eye is adjusted by the grade or Gang mode when both eyes are graded together. The reference for grading can be the Gallery stills. The available wipe modes are Horizontal. There are five modes to toggle for render cache: Off. The display output can be a single eye (Mono). . Mono or both eyes. When On. Gamma and Gain trackballs on the DaVinci Resolve control panel as well as the sensitivity of the Qualifier controls for the secondaries. this indication will be On. and Key. click on ’Save’ and then close the window. Proxy Render Cache If the ‘On the Fly Proxy’ mode is selected. and Linked Zoom. do not perform any cache. as required. In Stereoscopic 3D operation. where there is insufficient image to fill the screen due to the convergence adjustment and the images will automatically zoom to fill the screen.

All curves can be adjusted separately. Custom Curves DaVinci’s famous Custom Curves are very simple to use and provide clean adjustment of the Y. but you can also copy a curve from one to another.CHAPTER 9 COLOR Curves Tab Curves DaVinci Resolve’s Curves tab is in the lower center section of the Color screen and resides with a number of other tabs used for grading. Center mouse click on the Source Curve. G. simply right mouse click within the Tab background and select ‘Reset Custom Curve. and then release. hold the center button down. Within each primary or secondary color correction node.’ 172 COLOR . move the mouse over the other curve (the destination). Select a tab with your mouse or via the control panels. quite often for every clip. The slider bar at the bottom of each curve is a control to mix in the full influence of the curve (the highest level). to a lower influence. R. There are also Hi-Clip and Lo-Clip control tabs available. To delete all Custom Curve settings. and B levels within each clip. you can add a custom curve or even invert the curve to create an effect comparable to the YSFX feature on the DaVinci 2K Plus. The Reset buttons below each curve will completely reset the curve.

you are making a live key control to cut out the old image and replace it with new. its very common to create a secondary color correction by adding another node so that the first node. In this case the old and new image are the same. use the Clipping Curves controls on the Clip tab.YSFX Also contained within the Custom Curve display is the YSFX operation which allows you to invert the chrominance and luminance to create special effects within the image. first select the Qualifier tab on the user interface. Secondaries are adjustments to a section of the image as qualified by various parameters. used for the overall primary balance of the scene. can remain ‘clean’ of special grades. but with a different grade. YSFX may be combined with Power Windows to further enhance the correction by creating effects such as vignettes. It can now be used as a source of images for future nodes. As with Custom Curve effects. Secondary Color Correction Once the primary color correction has been completed. Clip Tab To adjust the highlight and lowlight clipping on a clip-by-clip basis. The YSFX is controlled by clicking and moving the slope markers on the right of each channel on the Custom Curve display. In effect. where Primary grades are for the whole image. and also to apply soft clipping for either the blacks or the whites within the image. The bottom sliders adjust the slope of the curve transition. To make a secondary grade. The vertical slider control adjusts the curve clipping point for the high clip on the right and low clip on the left of each color graph. Soft clipping can be extremely useful for retrieving details that may be lost when adding extra brightness to the image. COLOR 173 .

The image on the Viewer and Grading monitor will now only display the image that is qualified. the Invert button will invert the Image and Qualifier controls. Highlighting the Qualified Areas 174 COLOR . Saturation and Luminance Qualification To change the grade on a specific section of an image. You can adjust the qualification for the secondary color correction isolation immediately. One selection type is the Hue. place the cursor over the area of the image you wish to qualify. so instead of using the Qualifier controls to select the area to make a change. Saturation. There is a high contrast mode set in the Config settings tab to make this a black and white rather than gray contrast. and select with the left mouse button. you are in fact selecting the areas you will not change. Under the ‘Highlight’ button on the UI. but a simpler way to view the selected area is by pressing the ‘Highlight’ button on the secondary tab. and Luminance (HSL) qualifier. everything else will be replaced with gray. Select the HSL sub tab. you must first select the portion you want to change.CHAPTER 9 COLOR Hue.

First. ‘Width’ is used to narrow or broaden the range of the hues selected.Next adjust the Hue. will make the white border move up and down the display. which is shown as a rainbow colored bar to indicate the range of Hue values available. or one side of the control range can be hard while the other soft. and Luminance Qualifiers to get a cleaner qualification. The ‘Symmetry’ control changes this softness parameter at either side of the hue range. HSL Qualifier COLOR 175 . The ‘Soft’ control will change the attack angle of the qualified hue selection from the normal hard edge to a softer ramp. When you select a color on the image to qualify with the cursor or mouse. Adjusting the ’Center’ control. Balanced symmetry has the soft slope even on each size. the selected color will be indicated within a white border on the Hue display. Saturation. You will see the result on the Grading monitor as well as on the Hue display. start with the Hue Qualifier.

When this mode is activated. Saturation and Luminance values you may use the Trackballs and other grading controls to adjust the color within the qualified area. High and High Soft adjustments. the cursor position will read the Red. 176 COLOR . Once you have finished with the Qualifier adjustments. with the Luminance bar showing a black to white range. Saturation and Luminance qualifiers to Red. press the ‘Highlight’ button once again and the picture will return to a Normal view. Saturation and Luminance values for the selected color. Color Screen Qualifier RGB Qualification If you select the RGB button within the Qualification window the qualifiers will be changed from Hue. Green and Blue qualifiers. You will notice the Node Graph display of this node and the thumbnail under the timeline will update to indicate that a secondary grade is being made in this node. The ‘Low’ and ‘High’ controls adjust the respective Saturation level and ’Soft’ controls the slope to adjust the ramp on either side of this range. the white border is displayed around the pixel value selected. Green and Blue values rather than the Hue. The same group of controls are available for the Luminance settings.CHAPTER 9 COLOR The next color band shows the Saturation range of the hue selected. Now that you have qualified an area by its Hue. Again. Low Soft. These have the same general control operations with Low.

once set. The qualifier. and remove a similar but different hue. The other options change the Picker’s selection of pixel values to modify the qualifier. Qualifier Blur Within the Qualifier tabs there are a number of other controls. the width range will decrease as fewer hues qualify. The blur range is quite large and the radius of the elements and their horizontal and vertical offset range is equally large.RGB Qualifier Luminance Qualification The next tab is for Luminance qualification. Its adjustments are the same as the Luminance parameters on the HSL tab and have the same function. and again. the first control is for Blur and there are two parameters: Radius and Offset. At the bottom left of the Qualifier tab. When selected. COLOR 177 . Color Picker Mode The Color Picker in DaVinci Resolve has a number of trim adjustments to assist in getting the right selection of pixel values to use for the qualification. The second set of sliders is for Shrink and Grow. If you select a Hue. you have a Range and Offset control. however in the LUM tab only Luminance values are used to qualify the image. The ‘-‘ is used to remove some values from the qualified range. The standard picker mode has the Color Picker icon selected. for example. Be sure to return the Color Picker to the standard mode after making the trim adjustments to the qualifier values. ‘+’ will change the Picker mode to add new values to the qualifier range. The controls are at the bottom right of the Qualifier tab. can be shrunk a little or grown a little. The ‘+S’ can add values with softness and the ‘-S’ can remove values with softness. including the Qualifier Blur parameters.

but it’s clear that windows placed on an object to permit grading within or outside the window edge will only work if the object does not move. which provides a number of shapes to use for Matte and Masking of image sections. making DaVinci Resolve Power Windows even more valuable. Using a Power Window in Mask mode is generally used when the window is intended to mask out a portion of another Power Window or a Qualification. To reset the rotation axis to the image’s center position. Window Tab All Power Windows have a center point and a rotation handle. is managed using the rotation handle or the axis point. The object tracker will allow you to create keyframes automatically for the windows to track moving objects. adjusting the grade within the window area. Linear. Change to a Matte or Mask to see the window on the UI display. LPW. The center axis of the Power Window may be moved using the control panel or by holding down the Ctrl key on the keyboard and dragging the vertical rotation line to the area where you would like the rotation axis to be relocated to. and the final result is the image that is seen on the Grading monitor. Polygon PPW. simply hold down the Control key on the keyboard and mouse click on the center rotation point. There are four window types: Circle. and Curve. or moving the window. turn it on. To see the window and adjust. is as easy as moving the trackballs. depending on the type of correction required. PCW (Bezier). 178 COLOR . the aspect. Adjusting PowerWindows Windows can be selected in a number of ways. Rotation. Power Windows may be used to isolate a primary or a secondary color correction. or outside if invert is selected. To alter the size parameters of the Power Window. select the Window tab. and then choose whether to use the window as a Matte or Mask. click on the cyan colored points that can be seen in the Power Window cursor lines in the Viewer display and drag them with the mouse. CPW. then select the desired window style. DaVinci Resolve’s object tracking will be discussed later in detail. They are often used with secondaries to permit fine qualification of the image and in Matte or Mask mode.CHAPTER 9 COLOR Power Windows DaVinci Resolve has the famous DaVinci Power Windows. select to grade Inside or Outside. On the UI. Once you have made the Power Window. size and even the rotation. You will see the result of the window and the correction applied within it on the Viewer display. or alter the softness of the window. This also selects the settings controls for that window type.

You can manually add and link a node. Size and Aspect changed as well as the Softness of the window’s impact on the underling image. Use the CPW in a large wide aspect to make a grading impact on the entire top or bottom of the image. the CPW is use to make a vignette. To add a Matte Link to a second node manually. You can then select the first node and grade the image inside the window and select the second node and correct outside the window. However. and then drag the mouse to the Arrow icon located to the left side of the next node. Quite often. use it on a single eye of the talent to change the look. Circular Power Window Circular Power Window The Circular Power Window (CPW) can have its Horizontal and Vertical Position. DaVinci’s Circular Power Window changed the industry as it permits very small to large size settings with what seems to be infinite softness. or with the DaVinci Resolve Control surface. select ‘Add Outside Node’ on the Windows Soft menu to Add another node automatically and link the Alpha channel. COLOR 179 . connect the nodes by clicking on the Arrow icon located to the right of one node. this is performed in DaVinci Resolve with two nodes with a Link Control that sends the key signal from one node isolation to another node.Inside and Outside Window Grades It is common to grade inside a Power Window to change the image in a particular area. if you wish to adjust the grade both inside and outside the window independently. Or.

Move the point by selecting the point and dragging it with the mouse. To delete a point. you may apply softness to the shape and even apply auto tracking. as well as overall Softness controls. This gives you the ability to create very unusual shapes with LPW. Apply separate inside and outside softness to the shape by accessing the Isoft or Osoft controls with the mouse on the Window tab. As with the other two forms of Power Windows. To add more points. move the mouse to the desired part of the shape and left mouse click on the window line at the position where you need the point.CHAPTER 9 COLOR Linear Power Window The Linear Power Window (LPW) first comes up as a square. press the Control key on the pull-out keyboard and drag the cyan colored center graphic to the desired location. however you may alter the position of the corners and vary the softness for each side. these are often used for masks over circular windows. select the point then center mouse click. Polygon Power Window The Polygon Power Window (PPW) is a window with a maximum of 128 points. To change the center of rotation for the shape. The Polygon Power Window also has individual softness for inside and outside the shape. Polygon Power Window 180 COLOR .

As with all of the Resolve Power Windows. select the central handle of the curve (similar to other windows) and rotate. or Bezier window as some colorists call it. To change the curvature. use the center mouse button over a point. The curvature handles move opposite to each other in a locked fashion. Once the PCW is enabled. To add points. To complete (close) the curve. the inside and outside softness may be altered on a point-by-point basis by dragging any of the magenta reference points to the desired position. the “Curve” may be created by clicking in the Viewer using the left mouse button.Power Curve Windows To add a Power Curve Window (PCW). left mouse click on the curve. PowerCurve Window COLOR 181 . the axis of rotation may be changed by holding down the control key on the DaVinci Resolve keyboard and dragging the center reference point to the desired position. You can adjust the curve using the control panel or the mouse. press the middle mouse button or press the left mouse button on the first point of the curve. Additionally. Unlike the other available windows. the curvature handles for that point are collapsed. to delete points. You can also select the central handle and Pan/Tilt the entire curve. there is no default points or shape for the Power Curve Window. To rotate a curve. You may change the “Power Curve” shape using the mouse. selection of the window style is no different to others for the UI or the DaVinci Resolve control panel. To move a single handle at a time you must keep the ‘Shift’ key pressed while moving the handle. double click on the corresponding curve point. When the edge is straight. select one of the handles attached to a curve point and adjust the curvature by keeping the left mouse button pressed while moving the pointer. If you want to straighten an edge.

Object Tracking 182 COLOR . Fortunately. and enter a mark using the ‘Mark’ button on the control panel. you will eventually need to change the position of the window to follow a moving object within a clip. After the tracking procedure is finished you can still move the window. but here are some basics for the simple operation. The Object Tracking operation is covered in detail within the Viewer screen description. make the necessary window reposition. If DaVinci Resolve loses the object at any point. switch to the Viewer screen and open the Tracking menu on the right. Linear. apply softness or change the aspect and size. press the ‘Stop’ button. The tracking functions can also be selected by pressing the ‘T’ key on the keyboard for forward tracking or ‘Shift-T’ for reverse. or even a Power Curve Window.CHAPTER 9 COLOR Power Window 3D Object Tracking Whether it is a Circular. Start the track again from that point. DaVinci Resolve has a very powerful automatic tracking tool that can be used for tracking the position of an object within a clip. Place the window over the object. Polygon.

The algorithm for calculating this effect is a precision Gaussian filter. Blur Tab COLOR 183 . Sharpen and Mist. DaVinci Resolve will blur or defocus the image in real time. and Blue channels are all affected evenly. so very high quality adjustments can be made. Green. You can deselect Gang mode and make individual adjustments on the UI or on the control panels by selecting the ‘Master/Color’ button on the Primary soft menu to toggle between Gang and individual color controls. and the Horizontal/Vertical Ratio control which changes the balance between the horizontal and vertical influence. Each of these parameters are normally in Gang mode. which means the Red. which holds the controls for Blur. The two main adjustments for blur are the Radius control which changes the size of the image area used by the Gaussian algorithm to calculate the defocus effect. These controls share a common set of parameters and in fact Blur is the inverse of Sharpen so the same control will give you one effect at one end of the range and another affect at the other. Blur When Blur is enabled.The next tab on the Color screen is Blur.

or Blue or. If the control is adjusted in the opposite direction. again with a ganged and individual RGB values. The Coring control will sharpen the image when adjusted counter-clockwise or at the low end of the scale. Green. The scaling adjustments change the recursive filter within the Gaussian algorithm. Key The Key Tab on the Color screen provides controls for adjusting the behavior of the key signals used within the current node. Finally. accessed by hitting the ‘More’ key on the menu and choose the ‘Key Mode’ option. the image will not be sharpened at all. the change will be for all. if Ganged is checked (which is typical). Key Tab 184 COLOR . Mist Mist makes a mix between sharpness and blur based on the luminance value within an image. One of the common uses of this node is used to tone down the color correction effect applied in this node by tweaking the “Gain” control in the “Post Mixing”. These controls are also available from the keyboard control panel.CHAPTER 9 COLOR Sharpen The Sharpen control can be adjusted via the Resolve control panel or with the mouse within the window on the user interface. The Sharpen control will enhance the image and the filters may be adjusted individually for Red. Sharpen also has a scaling control. This control can be used to create Pro-Mist effects. there is also a Coring control that makes this filter behave like an Aperture Correction control.

the correction within this clip will be displayed. This timeline displays and offers control of keframed events such as dissolves or transitions of grades during a clip or for the whole timeline. Unmix: Unmix is essentially the same as the Clip mode. There are three tabs in this section. and Unmix tabs in sync with the Dynamics Timeline. and Unmix tabs synchronized with the Dynamics Timeline. Track: This mode relates to the whole timeline and is useful when you wish to create an overall color trim to all the graded material. Principally. this operation can be performed within the Dynamics Timeline display. Clip: Once the timecode reaches the next clip. but there are number of display changes automatically made in this area as each clip is graded and as the timeline plays. this graphical display shows the all the events for every grade change for every clip. The Node Graph display above the Dynamics Timeline also displays the Clip. Track. you wish to insert a dissolve within a clip. Track.Dynamics Timeline On the bottom right of the Color screen is the Dynamics Timeline. one clip or one track at a time. Many of the operations here are via the UI and a mouse. Dynamics Timeline COLOR 185 . If for example. however no effects such as dissolves or speed changes will be displayed. This display has also been referred to as the List Timeline or the Events Timeline. Note: the Node Graph display above the Dynamics Timeline also displays the Clip.

Dynamics Timeline The next icon to the right indicates that the Auto Keyframing tool has been activated. the corrector (or PTZR channel) will expand to show a number of more lines of grading and sizing parameters. and with a large Node Graph this list can be quite long. Under the Master. each corrector node or mixer node will have an indication of grading changes and at the bottom of the list you will see the PTZR channel. At the far left of the Dynamics Timeline display. timeline. markers will show dynamic transition keyframes. Each is keyframable. check this icon in case it is selected. The white vertical line through all the channels indicates the current frame. You will see the first of what can be many lines of information. the arrow normally points right. matching the timecode. the current timecode matches the timeline position. When activated. each time you adjust the grade the channel indicator will be automatically updated to reflect the correction change. To the immediate right is the clip. To the right of these. or track. and within each channel display. 186 COLOR . but if you select the arrow with your mouse. with the first being the master channel with three icons to the left of the channel name as indications of the selected state possible in the channels below. the radio button will indicate that the channel is active or de-activated. Marks are made for the individual channel elements. for each of the channels. This matches the DaVinci Resolve Control Surface ‘Disable Current’ key and also performs the same function as clicking on the left of the node number on the Node Graph. and timecode display. While useful.CHAPTER 9 COLOR Dynamics Indicators At the top of the tabs. To the right of the Auto Keyframing icon you may see a channel number indicating the correction channel (the node) to which this line of display refers. it can also be distracting to some people. If you seem to be adjusting the grade and nothing is happening. The ‘Lock’ function directly to the right will lock any changes to the grade for this channel when the padlock icon is activated. This mode is typically off. on the left. Every variable is captured here for every clip and stored with the Project metadata.

The dissolve will then appear within the Event Timeline display. The default values may be established within the Configuration page. right mouse click and select the appropriate function from the pull-down menu that appears within the Event Timeline display. If you have an existing dissolve mark you can change it to a standard mark This will change an existing mark to a dissolve mark.Adding Dynamics Dynamics can be added in a number of ways. Add Dissolve: Set to Non-dissolve Mark: Set to Dissolve Mark: Moving a Mark: Delete Selected Mark: Change Dissolve Type: COLOR 187 . you can adjust the start and end profiles of a dynamic or dissolve event. Then play the clip to the point where the dissolve should finish and add Mark. There are a number of different variations for the start and end profiles available. Dynamics Timeline Right Click Add Mark: Will enter an event mark into the timeline. or simply press the ‘Mark’ button on the DaVinci Resolve control panel and a mark will appear in the Dynamics Timeline display. To delete an event. Simply play the clip to the point where the dissolve should start and right click select to add the dissolve mark. To change the position of an event or dissolve. Then right mouse click and select ‘Delete Selected Mark’ from the options. left mouse click on the event in the Dynamic Timeline display which will highlight this event. simply highlight the event by left mouse clicking on the event and then drag it to the desired location. With the UI. When right mouse clicking within the Dynamics Timeline display and selecting ‘Change Dissolve Type’ from the menu.

the frame rate will play slower than normal the first time. the caching process will automatically stop. If you touch any controls or play a clip. This will cache only the dissolves. and finally for image dissolves within the Project. This will cache a clip that has been flagged by the user in the Resolve Color page Thumbnail display.CHAPTER 9 COLOR Dissolve Type Render Cache Options When working with dissolves from one clip to another. you may want to generate a Render Cache. If there are marks within a clip and only new changes occur within that area. as sometimes the two streams of full bandwidth images can not be played or processed in real time. It will then search for user-selected Render Cache clips. Background Render Cache is automatically enabled and will commence in the vicinity of the current clip in the timeline.’ DaVinci Resolve can also automatically perform a Background Render Cache whenever the system is idle. The function will stop at the end of the timeline or when you press ‘Stop. 188 COLOR . You may also pre-render all dissolves within a project by pressing ‘Cntrl-R’ when in the Cache D mode. This will enable the background render cache process. or complex corrections. the Cache file will be created and then the clip will play at full speed. If you select the Cache D mode and play through the clip transition once. Afterwards. This feature is very useful when you are playing a project for a client and don’t want to see any slow downs in the system during image dissolves. There are four Render Cache Options. Cache A: Cache D: Cache +: Cache U: This will cache all material. DaVinci Resolve will then regenerate the cache information for only that section of the clip.

Scroll Controls [Step Fwd] Step to next scene [Step Rev] Step to previous scene [Play] Plays (scrolls) forward through the scenes at 1 scene per second [Rev] Play (scrolls) the scenes in reverse at 1 scene per second [Fast Fwd] Shuttles (scrolls) forward through the scenes at 4 scenes per second [Fast Rev] Shuttles (scrolls) reverse through the scenes at 4 scenes per second [Slow Fwd] Shuttles (scrolls) forward through the scenes at 1 scene per 3 seconds [Slow Rev] Shuttles (scrolls) forward through the scenes at 1 scene per 3 seconds COLOR 189 . On the Legacy 2K panels.e. While scrolling through the timeline. (Default Off. which is different from the current PlayHead cursor position (White line). The timeline will immediately change to the new session.’ The mode also provides backward panel support for the legacy 2K panels with deck control and soft knobs. and the Jog wheel. the [Red Diamond] + [Scroll/Deck] toggles the option to use the transport controls to traverse the reference clips in the thumbnail timeline in addition to the soft buttons. The Thumbnail Timeline display provides one mechanism to allow the copying of grades into the current clip by traversing reference clips and frames through the timeline. there are various ways of copying grades into the current clip by recalling from Memory. The enhanced Scroll Mode is controlled on the trackball panel of the DaVinci Resolve control surface by selecting the ‘Modes’ button above the RHS trackball and then ‘Scroll Mode. the reference clip stays visible in the thumbnail timeline and is brought (cued) into visibility when the clip is out of the thumbnail view. the current scrolled frame is indicated with a yellow line. timeline thumbnail clip numbers. On the thumbnail timeline.. a thumbnail border highlight (yellow) indicate the current reference clip for the scroll operation. simply press the ’Mode’ button on the DaVinci Resolve control surface and then ‘Switch Session. [Prev Scene].’ On the Legacy 2K panel use the Orange diamond button and then ‘A/C Mode’ button on the DaVinci Resolve Keyboard control panel. [Next Scene]. Exiting the Scroll Mode menu would bring the panel menu back to the Secondary menu. In addition to allowing you to select a reference clip via [Scene Number]. or scrolling through the clips.) The Panel menus can be set to Scroll mode after pressing the [Scroll/Deck] button on the Jog/Shuttle control panel.Other Color Screen Features Switching Between Conforms within the Color Page To switch between sessions (i. EDLs) within the Color page. Scroll Mode In the Color screen. On the timeline. Gallery Stills.

Viewer 10 .

The main is a full screen display. includes a right hand slide window that provides controls for object tracking. The second. Viewer Page 191 VIEWER .CHAPTER 10 VIEWER Viewer The Viewer screen provides a full screen view of the current frame with transport controls. You may also reposition the image in the Viewer by holding down the center mouse button and dragging the image to the desired position. timecode indications and other features as seen in the Color screen viewer display. You can zoom even further into the image by either using the ‘+’ and ‘–’ keys on the keyboard or by using the rotary center mouse button on the mouse. There are two screen display modes within the Viewer. To reset the Viewer size. simply right mouse click and select either ‘Reset’ or ‘Original Size’ from the options within the pull-down menu. which will be covered in detail later in this chapter. as indicated above.

On the bottom right of the Viewer is the primary timecode display for the clip being played. When the third button is activated. If you select ‘On-The-Fly Proxy. Record or Source frame number. is the name of the Project and Session. you will reach the real time limit of the GPU and DaVinci Resolve will play back at a slower than selected speed. The button on the left-hand side will select and deselect the PowerWindows cursors. the green bars will reduce. the current clip displayed in the timeline will turn blue so you can play the clip in a Loop mode. in the center window bar. The next button will change the cursor into the Color Picker mode for selecting a specific color from the Viewer image. There are a number of operational options in this situation to continue with the slower than real time operation. The right button is used to activate the interactive Dirt and Dust tool. This display will show either Record or Source timecode. or you can select Render Cache to cache the clip. if available in the DPX header. and. Just like the top display. indicating there is plenty of GPU headroom.Full Screen Viewer At the top of the Viewer. A full green indication is good. When enabled. A flashing red indication shows that the GPU is unable to consistently process the correction in real time.’ DaVinci Resolve can generate proxy source images in real time. KeyKode. To the left of this is a GPU status display and the playback speed display in frames per second. To the right of the primary timecode display is the Clip Loop selection button. which will allow the GPU sufficient headroom to process the image. VIEWER 192 . The GPU status indicates the percentage of use that the current color correction demands of the GPU. as indicated above. you can change the information displayed by clicking on the timecode display with the mouse to toggle the display between the five options. as you add a greater number of corrections. Ultimately. As the GPU processing resources are used by additional color correction. the Gallery Wipe will be visible.

If you chooses the Click and Clean mode. Within the Dirt Settings section of the setup widget. If you are unhappy with your correction. If the Draw and Clean mode is selected. select ‘Undo’ to return to the original image. ROI Settings 193 VIEWER . you may adjust the Algorithm section to select the filtration being used for the correction. depending on the degree of correction to be applied.CHAPTER 10 VIEWER Interactive Dirt & Dust Removal Tool DaVinci Resolve provides an interactive Dirt and Dust removal tool which can accessed be from either the Viewer or Color pages by clicking on the Dirt Removal tool icon located at the left of the Viewer display. There are also adjustments for the Aggression and Blend sliders. highlight the area with the mouse and the correction will be applied. this will apply the correction for clicks on the object with the mouse. Dirt Settings The ROI Settings allows you select the correction method.

You may zoom in and out of the image within the Viewer by using a rotary control within the center mouse button and also zoom in and out of the image within the Viewer display by pressing the ‘+’ and ‘–’ keys on the computer keyboard. Viewer Window Right Click Menu VIEWER 194 . right mouse click within the Viewer and select ‘Reset. To reset the Viewer display to the correct size and position.’ If the user right clicks the mouse while it’s over the Viewer a pop-up window provides a number of options. If you hold down the center mouse button and drag the mouse. it will move the image position within the Viewer display.Viewer Window Options There are a number of centre and right click mouse options for the viewer.

It is important to note that once this procedure has started. mix or a key or Alpha control. Viewer with Play Still enabled You can select another clip to wipe against by selecting the still on the Still. or PowerGrade tab. Original Setting will display the image pixel-for-pixel so it is usually for getting quick zooms to the source image size to look for imperfections in the original image. The Toggle Wipe selection will turn the wipe on and off. Reset will set the image to the normal display for the Viewer. it will continue until completed.’ The Toggle Wipe mode will select either to compare the current timeline clip to either the Gallery Still.. Toggle Invert Wipe will swap the reference and current images in the Wipe display so you can see the other side of the images. The next section of the pop-up menu includes the Reset and Original Size options. Once this is started. ‘Grab All Stills from Middle Frame’ will perform the same function. 195 VIEWER . the matching offline frame or another clip on the timeline. Toggle Wipe Shape switches between vertical wipe. This function on the DaVinci Resolve panels is called ‘Play Still. it will work in the background and grab a still for each clip within the timeline. horizontal wipe. except use the middle frame of each clip as the source of the still. Memory.CHAPTER 10 VIEWER Viewer Stills Display The first section of these right click options relates to Stills. ‘Grab Still’ will simply grab the current frame to make a still and place it in the Gallery Stills display. ‘Grab All Stills from First Frame’ will grab a still from every clip on the timeline using the first frame of each clip.

Within the PlayHeads window you can set which playhead is attached to which clip. The ’Show’ checkbox will turn the display of the clip off and on. Gang them together for synced playback. Playheads Refer to the PlayHeads section of the Color chapter for more details on PlayHeads.PlayHeads The next section of the pop-up menu is the PlayHeads selection. Most commonly used to compare a reference clip with others. playheads allow you to select and play up to four clips and display them at the same time. VIEWER 196 . Selecting the clips and ‘Place’ will link the clip to the appropriate playhead.

and Histogram. all of which work at the native resolution of the system rather than at the video standard selected for clip playout.CHAPTER 10 VIEWER Waveform displays DaVinci Resolve offers a number of built-in waveform displays. Vectorscope. and within each display there are the controls to vary the brightness of the scale and information displayed. The display option are: Waveform. Parade. 197 VIEWER . This means you can see the full data range of the source image with the correction applied. regardless of which video standard in which you master. They allow you to monitor the levels of the correction that are being applied to the image.

In the past. press the ‘Stop’ button. but on the right there is a control panel for the Object Tracking controls. If DaVinci Resolve loses the object at any point. Fortunately. you were required to create dissolve corrections to gradually change a window’s position or to mark every keyframe with a reposition of the window. enter a mark using the ‘Mark’ button on the control panel. select either ‘Track Fwd’ or ‘Track Reverse’ buttons. there is a control arrow that extends the 3D Object Tracking controls. Polygon. you may correct the shape position by pressing the ‘Shift’ key and moving the shape to the desired location. Linear. or use the ’Soft’ buttons on the DaVinci Resolve control panels. Whether it is a Circular.Object Tracking Screen View The second mode for the Viewer screen includes the Viewer. Viewer screen with 3D Object Tracking controls On the right side of the Viewer screen. VIEWER 198 . make the necessary window reposition. and start the track again from that point. Alternatively. you will eventually need to change the position of the window to follow a moving object within a clip. DaVinci Resolve has a very powerful automatic tracking tool that can be used for tracking the position of an object within a clip. or even a Power Curve Window. With a PowerWindow placed over any part of the image.

press the ‘Track Rev’ button to track the shape backwards. Object Tracking To view the ‘Track’ of a PowerWindow in the Viewer. The Tracking functions can also be selected by pressing the ‘T’ key on the keyboard for forward tracking or ‘Shift T’ for reverse. the required softness may be applied and will be carried automatically through the tracking procedure. toggle ‘Show Track’ and a white line will display the complete path of the movement of the corresponding Power Window’s center point.CHAPTER 10 VIEWER If you want to track the shape in reverse play. You may stop the tracking at any time by pressing the ‘Stop’ button on the DaVinci Resolve Keyboard control panel or by pressing the ‘Stop’ button within the Object Tracking graphic user interface. It’s useful to note that it is better to track the window with minimum edge softness. After the tracking procedure is finished. Each mark and the current frame is represented by a dot on the ‘Track.’ 199 VIEWER .

or by clicking on ‘Enter Interactive’ button on the Viewer screen tracking panel. Interpolation Between Keyframes Sometimes you may want to interpolate a PowerWindow between two points within a clip. press ‘Control TF’ or ‘Exit Interactive. then performs linear interpolation forward to the upper mark • Interpolate Reverse – sets the position from the current window. changes will only affect the window position for the current frame. activate the cursor and move it to the area of interest and press the ‘Set Point’ button within the Tracker window. These points will be represented as white lines within the user interface timeline. In Keyframe mode. Press the ‘Exit Interactive Mode’ button to revert to normal operation. Then highlight the vectors which you would like to delete by drawing a box around the area by holding down the left mouse button and dragging the mouse from the upper left to the lower right of the area. then performs a linear interpolation in a reverse direction to the lower mark • Interpolate Between – performs a linear interpolation from lower to upper marks You may also adjust the PowerWindow position manually while in Object Tracking using either the Global or Keyframe modes. Single Tracking Points While in Interactive Object Tracking mode you may also add a single feature point.Interactive Tracking Controls The Interactive Object Tracking mode allows you to view and edit the feature vector points that are used for achieving the auto tracking. By pressing the ‘D’ key on the computer keyboard or the ‘Delete’ button on the UI. Once these points are established’ you have three interpolation options. When in the Global mode. First. the points within the selection area will be deleted. To do this. • Interpolate Forward – sets the position from the current window. to add points. create another highlight area and press the ‘I’ key on the computer keyboard or click on ‘Insert within the UI’ and DaVinci Resolve will insert vector points within this area. To eliminate unwanted points. first mark the upper and lower frames within the clip by pressing the ‘Mark’ button. VIEWER 200 .’ Alternatively. adjustments will affect the window position throughout the whole clip. Once complete. enter the Interactive mode by pressing ‘Control TF’ on the computer keyboard. This will add the tracking point at the point selected.

Gallery 11 .

The top half displays the Gallery Database Browser and the tabs selected for Stills display within that browser. This way. The bottom half of the screen displays the Memories and Stills that relate to the current project.CHAPTER 11 GALLERY Gallery DaVinci Resolve has a database for projects and also for stills or scene grabs that you can use to compare with the current scene. Gallery Screen The Gallery screen has four sections. Stills can be copied between sections by simple click drag and drop mouse operations. reference or important shots can have their grades replicated in other scenes. You may compare the stored images to those being graded by using a wipe or mix. 202 GALLERY . The Gallery displays the database to search for other projects stills and other users stills as well as the A-Z Mems or Memories that offer one key selection on the DaVinci Resolve control surface.

or individual nodes to the new shot. Remember. or just to keep the ‘looks’ you like to use.Gallery Database Browser At the top of the Gallery screen is the Database Browser and to the right you will see the tabs as selected by this browser. Each of the databases connected to this DaVinci Resolve system will be visible and within each the user names and their projects. these appear in every project for that user. displaying how the grade was constructed and helping you to copy the whole grade or just the PTZR or just the color corrections. making it easy to select and use reference stills or grades from other projects. All stills saved include the Node Graph showing the clips grade construction GALLERY 203 . Gallery Database Browser If the user has stored any stills as PowerGrades. each still that is captured also stores the Node Graph.

you are capturing a high resolution still image of the frame currently displayed on the timeline and at the same time capturing the grading metadata information relating to that grade. the Memory is seen in the Memory display with a small letter that identifies which Memory it was saved in. The ‘Current’ and A to Z keys are on the fader and also the Transport panel. 204 GALLERY . You can also delete the stills by using the right-click option. Comparing the current memory and memories that are used very often is easily done using A to Z Memories.CHAPTER 11 GALLERY Gallery Database Tabs Stills To the right of the Gallery Database Browser are the Stills tabs which reflect the selection made in the browser. The ‘current’ still will display a cyan border. These stills are in most respects the same as the others in the Stills or PowerGrade tab. every scene has a grade that is stored in an active Memory. the no grade applied memory. Stills Browser Stills display a still number in the upper left that is in the scene number/clip number format. Memories Within DaVinci Resolve. The still will be added to the Current Still tab on the Color screen and on the Gallery screen. In each case. This means the still can be used for both visual reference and also for direct grade copy and paste operations. which is a right-click selection on the Node Graph or Panel control. simply select ‘Current’ and then one of the A to Z Memory keys and the current scene grade is saved to that Memory. This can include stills from the project and Memories. which you will find at the bottom of the Still section. by using the Base Mem control. Colorists consistently refer to this current memory and compare it to the stills to match grades. If your system has Unicode language options loaded. By selecting the ‘Grab Still’ button on the control panel. To recall a grade from the Memory. simply select that Memory with a one-button selection. One or a number can be deleted at once. The pulldown options ‘Change Label’ allows you to create or change the still label/name. Use the ’Select current to Last’ or ’First to Current’ options or hold the keyboard shift key while selecting multiple stills. You can always clear this memory to get to a default memory. with the exception that you can save and recall the stills from the control panel with great speed. On the DaVinci Resolve control surface. or right-clicking ’Grab Still’ on the viewer. you can also add names in different languages.

’ Various sections of the correction may be copied to the current correction by dragging the appropriate nodes to the current Node Graph display or selecting the ‘Apply Correction’ button to copy the entire correction into the current clip. You can always copy stills from other users and other projects. stills relate to Sessions within a particular Project.Memories Browser A key feature for the stills is the capture and display of the Node Graph which will show the user how the grades were constructed. Typically. You can drag stills into the PowerGrade tab from your Memories. that are always available to you no matter which Project you have open. in most respects. no matter which project they have open. The still nodes may be dragged on top of an existing node and replace that node’s enhancement or a node can be dragged and inserted independently into the Node Graph line. complex multilayer grades with LUTs can be saved and recalled with ease. or save directly to the tab. but the ability to see these stills when the user opens another Project provides a simple way to copy grading information between Projects. but this is a manual process and there are times when you may just want to have specific stills. The PowerGrade stills are the same as all others. with their Node Graphs. A right mouse click on an image within the Stills display lets you select the option ‘Display Node Graph. This also makes them ideal for specific ‘looks’ that a colorist makes for later use. PowerGrade Tab GALLERY 205 . This also applies to the Memories. As the Node Graph is saved with the PowerGrade still. PowerGrades The PowerGrade tab shows stills that are always available to the individual user.

CHAPTER 11 GALLERY Orphan Stills Occasionally. the stills are not lost. Orphans Stills Tab 206 GALLERY . In this case. you may delete a Project or the links between the Project and Gallery database become disconnected. they just become Orphans and are displayed in a tab for you to delete or move as you like.

There are number of right-click options found in the Stills display. Many mirror the operations from the Color screen. When this function is de-activated. ‘Toggle Wipe Shape’ switches between vertical wipe. GALLERY 207 . or a key or Alpha control. the matching offline frame or another clip on the timeline. but can be handy if there are a very large number of shots and multiple stills for each. just use the mouse.Current Project Stills The bottom half of the Gallery screen displays the stills related to the current Project. This mode of operation is not always desired. In order to match parameters from a Gallery still with that of the actual grading being done. If you wish to compare with the Offline video. ‘Toggle Invert Wipe’ will swap the reference and current images in the Wipe display so you can see the other side of the images. mix. or. the still that is highlighted will always match the scene selected on the main timeline. the clip being wiped against will be highlighted in yellow. horizontal wipe. Current Project Stills (Right Click) Switch Wipe Mode The Switch Wipe mode will select the current timeline clip to compare to either the Gallery still. the current clip will wipe against the image loaded in the Gallery. On the left are the Memories and to the right the Stills and PowerGrades. When this is done. toggle the Reference Wipe mode until the ‘Offline’ label is seen on the status display. Trace Timeline With the option to ‘Trace Timeline’ selected. however there are some specifically for the Gallery. you should activate the Reference Wipe mode or select ‘Play Still.’ You may select another clip to wipe against by selecting the ’Still/Timeline’ button on the panels and then pressing the ‘Previous’ or ‘Next’ buttons on the DaVinci Resolve Panels to get to the selected clip.

this LUT will be applied to the Grading monitor output. they are placed next to other stills from the same scene and generally in record timecode order. Sorting Stills To sort stills there are a number of options that are selectable with right click pop-ups. so the actual still is not affected. you would not want this display LUT burnt into the still as it’s a display LUT. When you grab a still.CHAPTER 11 GALLERY One Still Per Scene The ‘One Still Per Scene’ selection can ease workflow if you prefer to automatically erase a previous still for a scene when a new one is grabbed. it replaces the previous still for a scene. This feature. or by the clip order with the creation date and time. The stills will appear in the Gallery with the correct non-LUT influenced image. Should you have more than one still for any scene before selecting this option. You can also select the stills to be sorted and displayed in the order of the source timecode. or the creation date and time. When stills are added. The ‘Apply Display LUT’ feature is used to apply the same LUT to the still when it is used for a reference comparison and it is automatically added only during this display. As you grab a still. not a ‘Look’ LUT. DaVinci Resolve will only delete the extra stills when a new grab is made for that scene. Apply Display LUT If you have a Display LUT selected on the Config screen LUT tab. and also the Viewer display. Current Project Stills (Right Click > Sort Stills Options) 208 GALLERY . If you have multiple sessions in your project you can also select to display stills from just this session or stills from all the sessions. used in conjunction with the ‘Grab All Stills from the First (or Middle) Frame’ is an ideal way to recapture reference stills for a completed project.

ppm. or Export with Display LUT option. GALLERY 209 . bmp and xpm. The Display LUT used in this case is the one selected on the Configuration screen. jpeg. Finder Window to Name File and Location for Exporting Stills Still Properties Properties of the still image can be sourced from the right click ‘Properties’ option. Stills Properties Adding Gallery Pages You can add more Gallery pages to the Gallery stills section by right mouse clicking and selecting ‘Add Still Page. The supported file formats for importing and exporting are dpx.Stills Import and Export You can import and export images in a number of formats simply by selecting the still and right clicking the Import. if you wish to see a LUT applied to a stored image. tiff. png. These parameters are used by DaVinci Resolve for sorting the stills. cin. Export. this option may also be selected with a right mouse click.’ Additionally.

Format 12 .

are as presented on the Color screen. The top half shows the Source image on the left and the Output image on the right. Functionally. Format Screen 211 FORMAT . This allows you to program image reposition marks and dynamic events and is also a duplicate of the Dynamics Timeline on the Color screen.CHAPTER 12 FORMAT Format The Format screen is split into a number of sections. once again. the timecode of the current frame. and the Clip. Track. which will also display the resizing adjustments you make. these all match the Color screen however on the Format screen they all interact with the controls on the Input. These. and Unmix tabs for the keyframable dynamics. and Slate tabs. and to the left of the Transport Controls. Under these viewers you will see the Transport Controls. Output. the same Configuration buttons as found on the Color screen. On the lower right is the Dynamic Timeline.

etc. To create a Format preset. Input Format Tab Presets You can create and save custom sizing presets that can be selected and recalled on the Config screen and also the Browse screen. If you have no input adjustments (i. When the Clip tab is selected.. simply make a size change with the formatter and then click on the ‘Save As’ button. Select another clip and the settings will match the dynamics set for that clip. ‘Save’ to close. Input Format Preset Values You can edit or delete an existing preset by selecting the ‘Edit’ button and editing the popup. You will then see in the Input Transform Presets list the new preset name. However. will be displayed on the Input tab and also on the top right image of the Output image. the controls will show no variation between clips. These presets may be applied as global presets from the Configuration screen or a Clip preset within the Media Pool. these changes may also be programmed within the Clip tab of the Dynamic Timeline as Input Transform settings are all on a clipby-clip basis and are keyframable. a simple Pan on the slider control. close without saving. or select ’Default’ to reset the values. Enter a name for your preset.Input All controls on the Input tab refer to the individual clip being adjusted. and if you like. FORMAT 212 . trim any adjustments. or panels. so the Clip tab is also automatically selected to show the Dynamics Timeline for the current clip. Input Transform When you adjust the image format using the Input Transform controls.e.). A window will open showing the values to be saved. the presets may also be applied from within the Input tab on the Format screen or even by right mouse clicking on a thumbnail within the Color or Format screens. no Pan or Size or Rotation.

You can flip and resize the gallery still. Select ‘Off’ if you prefer no anti-aliasing or ‘On’ if you wish to force it on at all times. or on this tab.’ The Gallery image reposition functions will be revealed. Source Blanking The Source Blanking selection will allow you to either switch the source blanking to On. Input Preset Selection Convergence for Stereoscopic 3D If you have a stereoscopic 3D session active. 213 FORMAT . The check box is to enable the Convergence With Zoom option.’ and then ‘Ref Sizing. This ensures that when you pan the images to change the convergence. Reference Still Resize and Reposition To reposition images that have been stored within the Gallery on the DaVinci Resolve control surface. the Convergence control will also be enabled to permit the relative horizontal position of the left and right eye to be adjusted. select ‘Modes. The next two check boxes are for Horizontal Flip and Vertical Flip of the image. Zoom and Rotate adjustments made on the control panel. they are sometimes helpful for resizing images that are not correctly scanned. and also pan and tilt it to position in the best location for grading comparison. Tilt. will be reflected in the Settings display. the reference image.’ ‘Wipe Mode. While typically set at Default. the picture area will always be filled and there will not be black frames to the left and right edge.CHAPTER 12 FORMAT Input Transform Controls The first four Input Transform controls mirror the display on the primary tab of the Color screen. on the Color screen. Off. Pan. Under this group is the input image Width and Height controls. or Auto. This control will add anti-aliasing to the image blanking.

the presets may also be applied from within the Output tab on the Format screen. By selecting the Output Tab you will also see the Dynamics Timeline switch to the Track tab as these two are related. A window will open showing the values to be saved. trim any adjustments. and if you like. You will then see in the Output Transform Presets list the new preset name. When the Format Preset window pops up you should enter a name for your preset. simply make a size change with the formatter and then click the ‘Save As’ button. you can create and save custom output sizing presets that can be selected and recalled on the Config screen and also the Browse screen. To create a Format Preset. Within the Output tab there are two sections: Output Transform and Output Format. Output Format Tab Output Transform When you adjust the image format using the Output Transform controls these changes may also be programmed within the Track tab of the Dynamic Timeline as Output Transform settings are all on a overall timeline basis and are keyframable. this will display the Output tab.Output If you switch the Dynamics Timeline display to Track mode. When the Track tab is selected. or even by right mouse clicking on a thumbnail within the Color or Format screens. Choose ‘Save’ to close. close without saving or select ‘Default’ to reset the values. FORMAT 214 . Presets Just as with input presets. The Output/Track section is designed to create an overall format change for the entire project. These presets may be applied as global presets from the Configuration screen.

215 FORMAT . they do not appear on the Color primary tab display. These controls can be selected on the DaVinci Resolve control panel. HFlip and VFlip. Output Blanking The Output Blanking controls are automatically set by the format of the timeline to match the resolution selected. Height. One page will allow you to store the various settings and the next page will allow the recall of various settings. the first eight Output Transform controls are Pan. These controls are available on the DaVinci Resolve control surface and on the Output tab on the Format screen. Top and Bottom blanking. Unlike the Input Controls. followed by Width. Tilt. Right. Zoom and Rotate adjustments. There are preset blanking adjustments for various aspect ratios and you can also store custom blanking settings for the logged-in user. You can trim the Left.CHAPTER 12 FORMAT Output Format Presets Output Format Preset Selection Transform Controls Like the Input Transform controls.

a 4:3 for SD. they all set the configuration for the timeline. A simple crop is used from the center of the source image if it is larger than the timeline format. This option will resize the image in order to completely fill the frame. which directly influences the output image format. no format changes can be made on the Config or Format screens. While some control the management of the source files. For mismatch source clip resolutions you can have DaVinci Resolve process the images with the following options: Center crop with no resizing This option makes no attempt to resize the image to fit the aspect ratio selected. this option can also result in squeezing or stretching of the image in order to fit the output format. enter the Width and Height directly into the text box. You can set the timeline or output resolution from a preset list. With this box checked. the frame edges will be stretched to the corners and no information will be lost. which will display the resolution selected for image processing. To change the setting for resolutions not found in the presets. In some cases. DaVinci Resolve will fit the frame to the output aspect ratio. You can apply a 16:9 anamorphic pixel aspect. When you select this option. or Cinemascope ratio.Output Format This section is used to define the timeline formats and most of the controls match the functionality of those on the Config screen. In this mode. The Pixel Aspect Ratio (PAR) is used to select other than the normal square pixel format. You also have the ability to reposition the image using the Input Format sizing controls within the Format screen. Scale to full frame with crop Scale entire image to fit Stretch frame to all corners Use the ‘Reset’ button to reset any values which were entered to the settings as you found when you opened the tab. System tab. select ‘Apply. This option will automatically insert blanking within the image area to compensate for a difference in the source to timeline aspect ratio. The ‘Lock Format Info’ is available only on this tab and it is used to prevent accidental switching of the timeline resolution. To apply the adjustments. a part of the image will be cut from the left and right sides of the source image or the top and bottom.’ FORMAT 216 . However.

frame numbers. The controls then become active. and chalk icon. Within the pop-up window. Selecting an existing item and clicking on the ‘–’ button will eliminate that text from the burn-in. ‘Remove’ will delete selected items from the list. It provides control over a simple text character generator used to burn into the image timecode. Slate Tab Under the window you will see a +. click on the ‘Enable’ check box in the Slate and Burn-In Text section. -. To activate this function. Click on the ‘+’ button and a window will pop up to display options for text. select items for display on the left and move them to the right list with the arrow button. and simple custom text.CHAPTER 12 FORMAT Slate The third tab of the Format screen is called Slate. Slate Text Selection 217 FORMAT .

First select the item in the window. There are a number of controls available that affect the display of the complete list of items. On the main Slate tab. and type in position values. Color. select ‘OK. Use the X and Y position controls to move each item individually. Size. think of the image size. go to the next item and move it.After you have chosen which items will be burnt-in. Background Highlight. or use the up and down buttons. Then. When you close the pop-up. These include Font.’ or select ‘Cancel’ to close the dialog box with no change. Custom Text Dialog FORMAT 218 . the items selected will appear in the Slate tab window. select the chalk icon under the window listing the text messages. Viewer with Slate Text Enabled Custom Text If you selected ‘Custom Text’ when adding items for display in the pop-up dialog you can add your own descriptions to a Project. and Opacity controls to make the text viewable on your images.

Deck 13 .

Below this resides the Batch File Manager.CHAPTER 13 DECK Deck DaVinci Resolve offers video and audio I/O under the control of the Deck screen. The left top section features a Viewer of the DaVinci Resolve or Deck Video output. depending on mode and transport controls. Deck Screen 220 DECK . The right-hand side has two tabs. one for Ingest control and the other for Record to tape. There are four main sections of the screen.

and by the status message displayed to the left of the transport controls. then select the Connect button on the left of the screen just under the viewer and DaVinci Resolve will initiate a connection to the deck. Deck Preroll: Auto Edit: Edit Mode: DECK 221 . which is usually long enough for most decks to lock. For other video cards. under the Connect button. This Event Log may be saved using the ‘Save’ button under the Log window or cleared by using the ‘Clear’ button. Assemble. If you have a deck connected to DaVinci Resolve. on the panel with the ‘Connect’ button and the Deck ID label. some video I/O cards perform automatic edit timing and in this case the slider will be grayed out. This control mirrors the setting on the Config screen. This selection is the same as on the Config screen System tab. The Preroll selection allows the user to change the deck preroll (i. This selection will toggle between Insert. You can verify that the connection is made when the deck type is displayed.Deck Viewer The deck viewer displays the video DaVinci Resolve is sending to the deck when in Record mode. Deck Connection and Edit Controls Once connected. or the video being ingested from the deck when Ingest mode. The default is five seconds. video with embedded audio and RS422 control. ‘Use auto edit if possible’ allows the user to activate the non-auto mode for older decks that do not support auto edit. Eject: Non Auto Edit Timing: Will eject the tape that is in the deck.e. Step or Stop the videotape. Once set for a particular deck it should not need to be changed. Directly below the transport controls. depending on record operation. which keeps a log of all DaVinci Resolve to deck communications so you can review this if connection is not established or is dropped. you can utilize the transport controls to Shuttle. you will also see a number of other adjustments. adjust this control to ensure accurate edit timing. There is an Event Log on the lower right of the screen. and Crash modes. As also set on the Config screen Project tab. Play. all relate to the deck control. the position on the tape prior to the edit point where the deck will start playing)..

DaVinci Resolve stores these ingested images as dpx files. select the Ingest tab and then click on the ‘Connect’ button found just under the Deck viewer. it will default to the internal sync.CHAPTER 13 DECK Ingest Using the settings on the Ingest tab you can ingest material for color enhancement or as an offline reference to check the EDL conform of the hi-res material. If you are using an HD deck. or if you don’t have an external reference generator like the Mini Converter Sync Generator.’ 222 DECK . Next. Ingest Tab If you are using the DeckLink HD Extreme 3 or 3D. To ingest material into DaVinci Resolve. set the deck to the ‘Auto’ sync mode. You should also verify that the conform rate set on the Config screen is also set to match the incoming video rate. when the deck is in record mode it will automatically switch to ‘Input’ sync. we suggest you provide an external sync source and set the reference to ’External. you should also make sure the deck you connect to has the Reference Sync operation set correctly. first verify that the deck I/O settings within the Configuration screen match the standard for the deck and videotape that has been connected. on the Deck screen. In this mode the deck will use ‘external’ sync reference while in playout. For an SD deck which does not have an ‘Auto’ mode.

To add handles to the ingested material use the ‘Apply Handles’ button and set a value. plus the defined preroll and begin ingesting material. the process will stop and the clip can be seen within the directory where it is to be stored. The value may be entered using the number window located to the left of the button. When ‘Set filename to input T/C on Crash Record’ is checked. You can apply a Reel Name to a Folder. If you check the ‘Set filename to LTC’ option with some video I/O cards. locate the ‘Mark In’ button on the Deck Screen Ingest tab and click to select the start point. including the timecode and reel name from above. Within the Batch List Settings display there are also controls for managing the batch list operation. or if you would like. The amount is selected by the value to the left of the button. Simply checking the boxes next to each prompt and adding the desired information will activate both items. the deck will cue to the In point. simply enter the timecode numbers for the in and out points. There are Timecode Trim buttons to step the in and out points forward or back a few frames and you can quickly cue to these points to verify they are as you like. Batch List Settings The Batch List Settings on the lower left of the Deck screen can be used for controlling image ingest based on an EDL. Once the Out point has been reached. DaVinci Resolve always makes SMPTE standard . use the Browse button to locate a folder on the storage. The events listed within the Batch List can be loaded using an EDL.Source Timecode To ingest just a section of the tape. Once the correct location has been found. the timecode from the tape when performing a crash record will be used to update the filename. This will direct DaVinci Resolve to ingest additional material on the beginning and end of the edit points as required. There is a field to enter a Reel Name that will also add the text when transferring the ingest settings to the Batch List. or the dpx header of the recorded file. DECK 223 .dpx files on ingest. this will use an external LTC timecode source connected to DaVinci Resolve as the initiator for the filename. There are two check box options in the Source Timecode section. You should then define the path in your media storage where the ingested files are to be stored. simply go to the selected areas by using the transport controls under the Viewer. depending on which options are checked. then find the appropriate out point on the tape and select the ‘Mark Out’ button to select the end point. Clip Name The clip that you ingest to DaVinci Resolve can have a number of different metadata fields attached that can assist in workflow and file management during your project. if you know them. You may apply a prefix to a File Name or a Folder. or use the controls on the DaVinci Resolve control surface. This may be typed directly into the ‘Save In Folder’ area. or loaded from the information on the Ingest tab. If you have manually entered an In and Out point. Or. At this point you may click on the ‘Capture’ button to start the ingest. There is also a setting for the number of digits in the Frame Number. Select the ‘Add Batches’ button to append additional entries to the Batch List display. File Name.

using the pull-down menu. select the Source of the audio and then the number of audio Channels. first select the ‘Enable Audio Ingest’ checkbox. Once the ingest process is complete. 224 DECK . principally to be used as a guide track during grading or for preview of the completed Project. use the Browse button in the Folder Options section. Disconnect To leave the Deck screen you should disconnect the deck by once again selecting the ‘Connect’ button. You must disconnect from the Deck to leave this screen.wav file. The ‘Copy to Batch List’ button will incorporate the manually entered information into the EDL.’ DaVinci Resolve will start the ingest procedure. You should also select the audio file Bit Depth and then a file name and location to record the . the clips will be available in the folder you set within your media storage. You can quickly check these within the Browse screen. To ingest audio. with the appropriate metadata as you selected in the other sections of this tab. the ‘Crash Record’ button will record material without a preroll. Audio Options While DaVinci Resolve is a color grading and enhancement system. this may be retained by checking the ‘Gap Between Clips’ option. allowing the user to modify the EDL information. Then. For simple limited settings and no preroll recording. Folder Options To select the location for storage of the images to be ingested. Use the ’Browse’ button to select a location. Capture By selecting ‘Capture. it will record and play audio. Further information on the Batch List section can be found later in this chapter. or just type in the path. You can monitor the progress on the viewer and the Capture Progress bar and abort the operation by selecting the ‘Abort’ button.CHAPTER 13 DECK If there is a gap between adjacent clips. The individual frames of video will be labeled with their source timecode or the code you select.

When you initiate the ‘Load EDL’ function. you will see the EDL file name listed at the top of the window and all the events in the Batch List. this will delete the highlighted edit information. the user will see if the images are available within the Media Pool and comments. First place all the EDLs within the same directory folder. Clicking on the ‘Select All’ button will highlight all edits within the Batch List display. You can also ingest material using multiple EDLs.EDL Ingest When you have an EDL. The scanner can then scan the film and place the frames you need into the Media Pool with the correct naming convention. The check box on the left of each item in the display will indicate when each event has been successfully ingested by displaying a white check in the box. If you click on the ‘Delete Selected’ button. the ‘Mark In’ and ‘Mark Out’ points. at the bottom of the Batch List display is a ‘Scanner Export’ button. Particularly helpful for a TV commercial project. making ingest of the remainder quite a lot faster than the complete list. if any. DECK 225 . Batch list for Ingest The Batch List display shows. On the right-hand side of the display. DaVinci Resolve will show you the missing clips. there is no reason to ingest them again so this offers a quick check to help reduce your ingest time. At the bottom of the Batch List display along with the ‘Load EDL’ button there are a number of control buttons. Using the active EDL. and the Clip Name that will be ingested into DaVinci Resolve. the Reel Name. If you load an EDL and some images for that EDL are already in the Media Pool. This gives you the opportunity to remove events from the batch and ingest only the selected sections from the EDL. you can use the ‘Load EDL’ button located at the bottom of the Batch List display. otherwise it will be sorted by source timecode. and once loaded. Selecting this button will open a Browse window so you can select the EDL to load. browse to the directory that has the EDLs and use the ‘Shift’ or ‘Ctrl/Command’ buttons to select the EDLs. Scan list export Lastly. The images will appear automatically as soon as the scan has finished. This button will export the events within the Batch List in a format that can be utilized automatically by an Arri scanner. To the right of the EDL name is a check box. ‘Use Reel Number for Sorting’ which you should check if you would like the EDL to be sorted by reel number. DaVinci Resolve can also optionally populate the Media Pool with the clip entries so you can continue working as the scan is in progress. by event.

select this box and also make sure your deck is configured to accept incoming VITC (Vertical Interval Timecode) and to record this to tape with the matching frame. Check the Assemble/Insert/Crash setting under the Viewer to make sure it’s as you require. If you want the tape timecode to match the timecode of the clip. Or. simply choose the appropriate section where to record the material on the tape by typing in a timecode. Select the appropriate clip from disk browser in the ‘Source Selection’ tab.CHAPTER 13 DECK Record The Record tab provides controls to record images from the media storage disks to a video tape deck. You will need to disconnect prior to exiting the Deck screen. Note: When DaVinci Resolve is performing a Batch Output operation you can only select between recording the clips with an Assemble edit or a Crash record. The Gang Timecodes checkbox allows synchronization of the timecode from the tape with the timecode on the clip. Once finished. clicking on the ‘Mark In’ button within the Timecode on Tape section. Trim the start and end points. as defined by the clip’s metadata. Click on the ‘Record’ button to start the process of exporting the material to the tape. you can check the recording using the transport controls or click on the ‘Connect’ button once again to release control of the machine. If you have a PowerMaster project it also offers control over the clips to be recorded from the timeline. the + and – buttons will either add or subtract frames from the values displayed. Then acquire the deck by clicking on the ‘Connect’ button and position the tape to the location where you want to record the images. 226 DECK . Deck Screen Clip Information Within the Clip Information display you will see the timecode for the start and end of the clip.

and DaVinci Resolve will automatically control the recording to tape with the correct timecode. Use the ‘Offset (frames)’ control to sync the audio and video.Timecode on Tape The Timecode on Tape display shows the In point and Out point where the images will be placed on the tape. This is particularly helpful if you have a downstream noise reducer that does not pass the VITC timecode. the longitudinal timecode is available on track 16 of the HD-SDI video signal so you can use a Mini Converter de-embedder to extract this analog audio signal and feed it to a recording device. when the ‘Enable Audio Output’ is selected. somewhat similar to the ingest process. DaVinci Resolve will play a . Use the mouse to navigate to the folder with the clip you need and select.’ You can select clips from within the media storage to be recorded to tape when in the From Disk tab. making sure the image and timecode reach the deck at the same time. Batch Output and Record buttons. The Batch Output Handle display allows you to set Head and Tail Handles to the material being recorded to tape. which you can find just above the Preview. You may manually mark the start point by pressing the ‘Mark In’ button or mark the out point by pressing the ‘Mark Out’ button. then select the appropriate settings for the Channels. Often these are source clips and so to make later ingest easier. It will automatically add black before and after the clip material. With the DVS card there is a separate timecode output. With a DeckLink HD Extreme 3 or 3D. It will then be displayed in the ‘Clip Name’ window. you can add black handles to each of the clips. Audio Options With Audio Options. and Bit Depth sections. Offset. compensating the delay using the LTC delay slider. Source Selection There are two tabs within the Source Selection display which allow you to switch between ‘From Disk’ and ‘Power Master. Batch Output Handles If you are recording a number of clips to tape rather than a single timeline you can set up a batch list of events.wav or aif audio file with the images so both can be recorded on tape. Select the appropriate audio file. DECK 227 . You can use the LTC and bypass the noise reducer. Under the timecode display there is a check box for LTC.

Source Selection from Timeline for PowerMastering 228 DECK .CHAPTER 13 DECK Source Selection from Disk Selecting the PowerMaster tab will open the PowerMaster clip selection display. You save time and disk space with Power Mastering and all the images are at full quality. In this mode you do not have to first render the material to a dpx file before recording to tape. which allows you to select a series of clips or a whole timeline that may be recorded to tape while simultaneously applying the color grading metadata.

Recording Once you have located the file to record and set up the other configurations. To check the recording operation prior to actually recording. DaVinci Resolve will make a crash record of the clips to tape with the timecode from the source clip being recorded to tape. select the clips in the ‘From Disk’ browser and right mouse click on them. use the ‘Preview’ button as this will preview the recording process without actually recording any material. A Record Progress bar will show the amount of the total clip transferred. along with the amount of handles applied as set by the ‘Batch Output Handle’ controls. From the pop-up list select the option ‘Add For Batch Record. Use the batch list on the left-hand side of the screen. DECK 229 . To make a Batch Recording of multiple clips to tape. If you wish to stop the recording process. click on the ‘Abort’ button. Batch Output The ‘Batch Output’ button is used to record multiple files to tape. select the ‘Record’ button to start the recording.’ A Batch Record of all the clips in the Batch List can be started by clicking the ‘Batch Output’ button.

Revival 14 .

marked by the colorist. This area is used by the colorist to establish grain settings. but it does provide details to a DaVinci Revival system for that repair. The Revival screen provides a list of clips and frames. etc. DaVinci Resolve also works with the DaVinci Revival.CHAPTER 14 REVIVAL DaVinci Revival As the leading color correction and image enhancement system. Revival Page 231 REVIVAL . Delete a selected clip from the processing set or Delete All clips from the processing set. the leading system for film restoration. Within DaVinci Resolve. and remains the backbone of many film restoration facilities. deWarp. stabilization. on the lower right-hand side of the DaVinci Revival display are the Grain Settings controls and presets. Other than the manual Dirt correction. that the Revival operator can review. DaVinci Revival has been used to repair thousands of films over the last ten years. deStain. Also. whereas restoration work is often detailed on one frame for some time. grain reduction. the colorist can make simple Dirt and Dust touchups using the repair brush. major dust busting. DaVinci Resolve does not perform image restoration. but more complex repairs. which are used by the DaVinci Revival system for grain reduction. which is a purpose-built restoration system. There are three buttons in the main display that permit you to Refresh the list. deFlicker. DaVinci Resolve and DaVinci Revival are operated in very different ways because the end product is quite different.. tasks are better performed in DaVinci Revival. Grading is very creative and flowing.

adjusted to suit the new image. Use the ’Load’ button to apply other presets to one or many clips. When you select one of the clips marked for grain reduction. the Grain Settings will become active.Marking clips for Revival restoration Clips are marked for restoration using the DaVinci Resolve control panels or via the right click pull-down list on the Color screen timeline thumbnail for the current clip. You can also save the settings as a preset. Each time you select the same clip. and saved again. are to Add the Current Frame for Dirt Processing. As each selection is made. as described in the Color chapter of this guide. The options. They display the current status of the user controls for grain reduction. Add the Selected Clips for Dirt processing. or adjust them. the settings will refresh to show the values for that clip. These can be recalled later. giving you the options for marking the frame or scene just as the mouse selection does on the Color screen thumbnail. Revival Grain Settings REVIVAL 232 . You can use these as is. you may set and save recommended settings for grain reduction. the request will join the queue listed on the DaVinci Revival screen. Selecting DaVinci Revival on the control panels will display the control panel soft keys. or Add the Selected Clips for Grain Processing. Resolve Timeline Thumbnail (right click selection for Revival restoration) Revival Grain Settings On the Revival screen within the Grain Settings area.

Patch Size (0-50): Color Space: The checkbox ‘Enable for slower and better quality processing’ is normally selected to provide the best image motion preservation and will take longer to process the grain reduction than when deselected. setting to 3 (typical) will process and average 7 frames (-3. A value of zero “0” will turn off spatial processing. however a color space conversion is performed with this mode. For grain. but takes slightly longer to process. This is normally set to RGB to process noise and/or grain in RGB space. The edges are softened a bit in order to reduce the fine grain noise. This too.” there is no temporal or frame-to-frame processing. This value represents a ratio of noise to motion. processing of one frame does not affect adjacent frames. a value of 10-20 is a good starting point. Number of Frames (0-20): This value represents the number of frames plus and minus of the processed frame in which averaging will take place. Since it is a plus and minus value. It’s the recommended mode. A color space conversion is also performed for this process. The Lum mode is for luminance-only processing and is recommended only for black and white material. A typical use for this would be some light form of flicker in the dark areas. especially if the grain or noise has color. Noise Level (0-50): This control is used in temporal processing of the image. This control represents the size of the grain or noise pattern to be processed. This is the highest quality setting. +3 and the current frame). Since this is a spatial control. and should be used as such. 233 REVIVAL . so use caution with extreme values for these controls. is a temporal control and a value of zero “0” turns off temporal processing. Processing in YUV mode will process faster than RGB. Higher levels may tend to cause artifacts on some motion. Note: High settings of Noise Level and Low settings of Patch Size can cause motion artifacts with some images. Higher settings like 40-50 could be used for a lower frequency type of noise. When zero “0.CHAPTER 14 REVIVAL The user controls are: Spatial (0-20): This control provides a blending of pixels with adjacent pixels on a single frame. A setting of zero or one would indicate pixels or grains.

3 Patch Size . 5 (Medium) for high-resolution images (will potentially soften the image) Noise Level .0-1 RGB Mode Safe Enabled Here are some recommended starting settings for noise reduction: Spatial Filter .20 Number of Frames .4-8 Patch Size .20-30 Number of Frames . 2 (Low) for low resolution images.20-40 RGB Mode Safe Enabled Settings are very subjective and it is highly recommended some testing be done prior to committing a large amount of work. REVIVAL 234 .Here are some recommended starting settings for grain reduction: Spatial Filter - 0 (Off for no spatial blurring).0 (Off) Noise Level .

Scene 15 .

and right mouse click to select ‘Scene Cut Detection. Browse Screen Clip Window (Right Click) 236 SCENE . Select ‘Start Detection’ to begin processing. As DaVinci Resolve associates color grading metadata to each clip based on source clip timecode. any long media files which include a number of clips must have either an EDL or be split into individual clips so the grade can be applied.’ This will automatically load the selected clip into the Scene Cut Detector and switch to this screen. Loading Clips for Scene Cut Detection Within the Browse screen. Splitting clips can be done manually on the Color screen or automatically in the Scene Cut Detector. Clip Details.CHAPTER 15 SCENE Scene Scene Cut Detector Often images are supplied in continuous recordings or single streams of files without an EDL to split the clips. area highlight a clip.

If the left and center image look similar.Scene Cut Viewers The top of the screen displays three images. the last frame of a clip will be different from the first frame of the next. See the description below for guidance to resolve these false positive points. to be similar to the first frame. The second frame of a clip is very likely. Logically. The center image is the first frame of the next clip and the right image should be the following frame. Scene Window SCENE 237 . unless they are one frame edits. The left image is the last frame of a detected clip. and so this timecode represents the scene cut. the Scene Cut Detector has mistakenly identified this as a cut point.

when detected.CHAPTER 15 SCENE Scene Cut Detector Controls Below the left image are the controls for the Scene Cut Detector. You can select an existing . Scene Marks Add: Delete: In: Out: When you click on this button. This will load a CMX-style EDL and allow you to use the cut information from the EDL in the Scene Cut Detection process. When activated. This will clear any In and Out points. Export the scene detection information in a CMX-style EDL format. There are three main groups of controls for the Scene screen and their operation is as follows. the next step is to click on the Prune button to eliminate any scene cuts between these points. Prune: Reset: Export/Import List Split: Once the scene cut detection process has been completed selecting “Split” will split the clip into individual clips based upon the scene detection information and load these clips into the Media Pool. and the scene cut will become immediately visible within the Viewer. These files are recognizable as they end with a “. the current frame cursor will jump to the new scene cut.sc file and load it into the cut list.sc” and are useful to later re-cut a clip. Automatic Scene Detection Start Detection: Auto Cue: This will start the scene cut detection process. Selecting the Out button will insert a vertical blue line into the graph to indicate an out point for the purposes of eventually performing a Prune function. This will delete the scene cut located at the position of the current frame indicator within the graph. This will insert a red vertical line into the graph for the purposes of eventually performing a Prune function. The scene cut detection information including the probability metadata will be saved to disk. Once you have selected the ‘In’ and ‘Out’ points within the Scene Cut Detector graph by clicking on the In and Out buttons. it will manually add a scene cut at the position of the current frame indicator within the Scene Cut Detector graph. Save: Load: Save EDL: Load EDL: 238 SCENE .

The horizontal green bar within the Scene Cut Detector graph represents the sensitivity level for the detector.Scene Cut Detector Graph The bottom half of the screen is dominated by the graph used to display the results of the Scene Cut Detector’s analysis of the images. it will increase the sensitivity. the scene changes are listed in the column to the right of the Scene Cut Detector graph. the calculations of where scene cuts occur will immediately be updated on the cut list. This is a significant time save in reducing false positive selections and also permits dynamic review of the cut list. DaVinci Resolve enables you to adjust the sensitivity of the detection process even after the analysis has been performed. When either of these functions are performed. it will lower the sensitivity. If you click and drag it upward. Once the process is completed. and if you lower the bar. As the Scene Cut Detection process is taking place you will see a visual graph forming. Scene Graph SCENE 239 .

or just used to split the clip and load the files into the Media Pool. recalled. Cut List 240 SCENE .CHAPTER 15 SCENE Cut List The right side of the Scene screen displays scene and frame numbers with their timecodes and represents the cut list as generated from the Scene Cut Detection. This list can be saved.

camera flashes. use ‘Prune’ to trim out scene cuts which are grouped between the marked “In” cursor point and the marked “Out” cursor point. this is likely to be a scene cut. these scene cuts will be deleted. it can be confused by motion.Reviewing the Detected Cuts During or after the Scene Cut Detection process you can begin reviewing the Detector’s analysis of the image to make sure your cut list matches the actual scene cuts. Look for the left image to be different from the center and right image. Once the marked In and Out points are marked. and the ‘Prune’ button is selected. you might encounter a group of spikes within the graph that may contain numerous false positive scene cuts. or even the rolling up to and down from full film speed where the shutter can give multiple ‘flashes. contained certain types of motion which confused the Scene Cut Detector.’ The analysis is looking for large changes in the image. If the material which is being scene cut detected. While the Detector is efficient. If the spikes on the graph are very close together or no cuts are detected. Scene Cut Detection Controls SCENE 241 . and fastest way to check to see that the scene cuts are accurate is by pressing the “N” and “P” keys on the computer keyboard to view the “Next” and “Previous” scene cuts. you may need to modify the position of the horizontal green sensitivity bar and start the cut review again. If they are. As each correct cut point is confirmed. To delete this information. select ’N’ to jump to the next prediction. The simple method.

From there you can begin your Project by creating the conformed timeline and start grading. the next step is to press the ‘Split’ button. If you have used the Scene Detector to create a cut list for exporting to another device you can save a CMX-style EDL format list that most professional editing systems can use.CHAPTER 15 SCENE Splitting and Saving Cut Lists Once you are satisfied that the scene cut information is correct. the cut list. Save the cut list 242 SCENE . This will create separate clips based upon the Scene Cut Detection information. and will load these clips into the Media Pool.

Render 16 .

A simple example of this is using 2K source material and an HD image processing timeline and then setting DaVinci Resolve to render in ProRes 444. DaVinci Resolve is not restricted by this limitation and this provides you with significant workflow advantages. If the source clip is 2K and you have an HD timeline but wish to render in 2K. These renders are always performed at the highest resolution possible. and then render in MXF Avid DNxHD. no problem. and then 2K DPX.CHAPTER 16 RENDER Render The Render screen is used to set up the configuration and initiate rendering of the timeline images. which is found near the jog and shuttle control or use ‘Control R’ on the pullout keyboard. or using the menu bar pull-down. DaVinci Resolve will use the source clip and apply the metadata for that clip as directed by the color correction list with a single resize of the image. On the DaVinci Resolve control surface you can also select the ‘Render’ button. All the settings are configurable and permit mastering in all the formats you need without having to change the timeline processing resolution. You can open the Render display from within the Color or the Format screens by pressing the ‘Command’ and ‘R’ key on the Mac keyboard. Render Window 244 RENDER .

The timeline will display a green marker at the selected In point and red at the Out Point. You can also select ‘Record All’ from the timeline rightclick option. or the buttons below the thumbnails. In each case. If you have different versions of clips to render.Render Timeline The Render Timeline displays the same clips as shown on the Color screen. the in and out times and the total frame count will be updated. make sure they are selected on the Color screen timeline. Render Timeline (Right Click) RENDER 245 . Render Timeline with Mark In and Out Controls Using your mouse you can select a position on the timeline with the cursor and then select ‘Mark In’ or ‘Mark Out’ via a right click.

CHAPTER 16 RENDER Render Thumbnail (Right Click) There are a number of options in this thumbnail right-click menu and almost all are the duplicates of options in the Color display. 246 RENDER . One noticeable difference is the ‘Render this Clip’ selection.

While typically set to hour one. Suffix. Render Properties ‘Start recording at’ indicates the timecode that will be recorded into the dpx file header and this number is also used to label the file. When rendering a timeline there is a logical count of the frame numbers. Reel two. Typically. The Number of Digits selection allows the user to enter the amount of digits required for the recorded file. so they will be described in detail below. as a frame count. They provide great flexibility and workflow efficiencies. You can type your own prefix and suffix labels to be used in the file path when rendering or by checkbox selection use the Source Prefix. for instance. and number of Digits. RENDER 247 . This is particularly useful to make the rendered files immediately readable by another manufacturer’s system. you may find it useful to start each reel for a feature film with an increment of the hours. permitting simple clip playback on other devices. would start at 02:00:00:00.Render Properties All the settings in the Render Properties section of the Render screen are important when configuring DaVinci Resolve to render files. image files are rendered using no Prefix or Suffix and a standard eight-digit length of the File Name.

Versions and Timecodes. Output Size settings are simply the resolution for the finished rendered file. What is shown will depend on whether you have the Final Cut Pro QT and ProRes libraries and the Avid File Support License. Some file formats require specification of the resolution by file type and in this case the Output Size settings will revert to the fixed format as defined by the standards. but on occasions you may wish to set this to a variation of this conformed rate. 248 RENDER . Output File Formats This list defines all file formats and resolutions currently available on your system. the width and height as defined within the Config screen are automatically displayed but are still editable. This number is typically the same as the ‘Conform’ frame rate as selected on the Config screen. This will adjust the metadata recorded within the file and is again to aid playback for the range of systems available in the market. not the timeline timecode. Other render file formats will be added over time. There are two recording modes: Source mode will render the clips in ascending source timecode order with the timecode of the source clip. Recording Mode The next section of the Render Properties display manages the selection of the Clips. Just like the Frame Rate described above. or of the session selected. This setting is also guided by the Output Type set in the pull-down just below the Output Size. so be sure to check each new version for the latest supported formats. Target mode will render the clips in the order of the Default or Master Timeline. Use the pull-down to select from the available options. The timecode recorded in each frame will be the timeline timecode.CHAPTER 16 RENDER Render Properties (Detail) The next setting is the Frame Rate of the render.

so you would end up with one version the last you rendered.The one check-box option in Target mode is to Replace Holes in the timeline with blank frames. All of the timecodes and file names would be the same. This is commonly used when rendering VFX shots for further post work to allow the VFX department to identify clips quickly and distribute the work. remembering these are source clips with their timecode. As the source clip has one logical timecode. Commercial Workflow DaVinci Resolve’s ‘Use Commercial Workflow’ setting will dramatically simplify working with versions of grades and provide graded versions in a format that is easy for the other departments in a post house to use. Commercial Workflow Options RENDER 249 . You can select to Record Each Clip to a Separate Directory. Selecting Source or Target Recording Mode When Source mode is selected there are two main options to consider. DaVinci Resolve will automatically render alternate passes pertaining to different versions of grades. rather than to render with the clips rippled along to close the gap. regardless of how many graded versions are made. This is typical of TV commercial work where you have two or more versions of the grade for each scene. you can’t simply render this clip five times and put it in the same folder. With the ‘Use Commercial Workflow’ checked.

Alternatively. and you select a 10 minute offset in the Alternative Pass Offset timecode entry. you can put the separate source reels in separate folders. but the idea is to make it easy for the editor and VFX guys to find the versions of the grade. 01:20:20:00. 250 RENDER . The ‘Use Version Name for Folder’ option will label the folder with the name assigned to the alternate version. or whatever you set. simply select the ‘Render Disabled’ option when right mouse clicking on a clip within the Thumbnail Timeline display on the Color screen. this is to assist in the facility workflow while sharing material between suites and applications. use the checkbox ‘Enable Stereo Render’ and DaVinci Resolve will render a side-by-side image with the left eye on the left-hand side and the right eye on the right. Again. When it comes to rendering these projects there are two options. each eye).e. Selecting Versions to Render or Disable Stereoscopic Render DaVinci Resolve offers stereoscopic 3D operation with all systems.. For the highest quality render each timeline separately (i. To further simplify the workflow. they know the alternative pass (the other versions) will be 10 minutes apart. the second graded version of the clips will be at 01:10:20:00 and the third version at. The ‘Clips in Separate Folders’ option will automatically place alternate grades of clips into separate folders when checked. If you wish to exclude a version to be rendered. etc. the left and right eye. It’s easy for them to change the clip version just by adding 10 minutes to the time. For example. If the clips are shared to the finishing artist. and with the appropriate hardware. the default version will be at 01:00:20:00.CHAPTER 16 RENDER The ‘Alternate Pass Offset’ time control allows you to separate the versions timecode via an offset. real time grading and playback of two streams of images. On the Color or Render screen you can select a thumbnail with a right click and rename the version. You can offset the clips by whatever value you like.

3) If the user selects option “Use Clip Setting” for each version of a clip.Other Render Properties Settings Some storage systems are shared by multiple applications in a facility and often these storage area network (SAN) based systems have sufficient bandwidth for only a single stream of images to each user.’ when checked. the system will check that version’s pass flat flag which is set with a right click on the thumbnail. will force the system to always disable color correction for all versions of all clips before rendering to disk. which is typically set to Maximum. Otherwise. With DaVinci Resolve’s super fast render speed this may cause playback problems with other users on the SAN if the storage bandwidth is insufficient. This option is applicable to Linux systems. 2) The option ‘Force On. The settings are: 1) If you select the option ‘Off. During rendering to disk using ‘Commercial Workflow’. you have three options regarding flat pass control. When you check the ‘Disable Input PTZR. or throttle down the render speed to limit SAN bandwidth usage to between 1 to 50 fps. If it is turned on. Zoom or Rotations will not be rendered with the material. Tilt. Additional Render Properties RENDER 251 . You can set the Render speed.’ any Pan. The ‘Show WFM during Recording’ mode will update the Waveform display during recording when you have a separate DaVinci Resolve waveform server.’ the system will always apply color correction for all versions of all clips before rendering to disk. the system will disable color correction for that version of the clip. it will apply color correction for that version of the clip.

CHAPTER 16 RENDER Render Path Settings The remaining items in this window relate to the Render Path settings. that shows you the progress of the render. The ‘Source Directory Preserve Level’ selection will retain the source file directory structure when rendering material. covered later in this chapter. This will bring up a prompt. Should you wish to interrupt or cancel the recording process and close the Record Properties window. there is a progress bar and status display showing the Batch Render progress. It will automatically create sub directories to match the source files. If you like. select the ’Cancel’ button. also define a ‘Destination Suffix’ that will be applied to the recorded file. Should you use Batch Recording. Render progress dialog as seen on the color screen during the render 252 RENDER . in place of the Render window. A Render Progress window will also be displayed on the Color screen during the render. Use the Browse button to select the location. You can watch the Viewer as DaVinci Resolve is rendering and note the render speed on the top left of the Viewer. The ‘Render’ button will initiate the render process based on all the settings in the Render Properties display. or type it in directly. This is followed by an indication of the storage use showing the amount of space available within the target storage area and the new usage based on the selected timeline or clip for rendering.

After you have made all the settings for a render. RENDER 253 . file type. Use the + to add requests and - to delete them. you can add these settings to the ‘Batch Request’ list. the Render Properties. however it is useful for render management and allows you to set up different resolution. or use ‘Add to Render Queue’ to put this configuration into the Render Queue just below the Batch Requests list. The lock symbol is used to avoid accidental changes to the settings of requests in the list and the refresh symbol to update the list. If you have selected an item in the Batch list you can then start a render using the Render button. instead of starting the render. will all update to those saved in that batch request. No renders are actually made from this list. This will remove the item from the Batch list.Batch Render DaVinci Resolve offers the ability to set up multiple render configurations and make a Batch Render list. and path settings as batch requests. using the ‘Render’ button. The Batch Render list shows configurations set in the Render Properties display. Batch and Render Managers If you select and highlight an event within the Batch Request list you will notice that the properties on the left side of the screen.

using the ‘Add to Render Queue’ button will move a Batch Request items into the Render Queue. As described above. or you can select ‘Stop All’ to cancel all renders. The status display on the right of the Render Queue window will show you the status of each event. You can select queued items. regardless of if they have already been rendered or not. Render Queue 254 RENDER . in the Render Queue. All items added to the queue are placed at the bottom of the list. and then select the ‘Render’ button. Clicking on + will add the information into the queue from the ‘Render Properties’ display and - will remove it from the queue. The ‘Start Pending’ button will initiate a render of all clips in the queue that have not already been rendered.CHAPTER 16 RENDER Render Queue The Render Queue allows you to create of a queue of configurations to be rendered. This is slightly different to the ‘Start All’ function which will re-render all clips in the queue. The list will remain active so you can start again later. which update the Render Properties display. Use the up and down arrows to move the priority of the event in the list. or you can initiate the Render Queue. Selecting ‘Start All’ will begin rendering of all the items. or modify and start again. one at a time. You can stop the current event from rendering and DaVinci Resolve will then proceed automatically to the next event.

Stereoscopic Grading 17 .

When the you select Solo mode via the Ripple Link option. a right mouse click will also reveal the Ripple Link function. and a limited GPU count for processing. There is also the ability to Copy and Swap corrections between eyes. and just like the MacPro. Creating a Stereoscopic Project You can create a Stereoscopic timeline by either using Pre-Conform or a conformed workflow. 256 STEREOSCOPIC GRADING . Right mouse click on that eye on the Conform timeline and assign it to either the left or right eye as appropriate. Of course there are bandwidth from disk issues. the process is repeated using a corresponding EDL and choosing the alternate eye for this timeline. You can also configure these systems with multiple GPUs for 20+ nodes of grading in full Stereoscopic 3D with real time performance. the HDSDI from the DeckLink provides the stereoscopic monitoring feed. This will copy grades when the Node Graphs match. A right mouse click within the Viewer area allows you to switch between mono and stereo. Within the Thumbnail Timeline. With your source images in the two separate folders in the Media Pool. the grading is automatically applied to both eyes. supports 4:2:2 and 4:4:4 RGB or XYZ monitoring at HD resolution for each eye. Local Versions created with one eye are automatically copied to the other eye. Additionally. Place your left eye material in the left folder and right eye in the right. There are various Batch modes that are used for stereoscopic grading that are available when you right mouse click within the Thumbnail Timeline: Stereo Batch Copy: Stereo Batch Sync: This function will copy all grades from one timeline to the other. Select the appropriate Media Pool Folder when loading the EDL. just by adding the second eye in its own folder. On both platforms you select the ‘Enable 3D Monitoring’ option on the Config screen Settings tab and then your 3D mesh type to match your display. monitoring of Stereoscopic images is via the HD-SDI output where you can select a Side-by-Side or a Line Mesh output to be fed to your Stereoscopic 3D monitor. Grading Stereoscopic 3D On the Color screen you can easily switch between viewing mono and stereo grading at any time by right mouse clicking within either the Viewer area or the Thumbnail Timeline. The larger stereoscopic Linux systems with the appropriate hardware. create the default timeline in the Conform screen. make a folder for each eye. For the second eye. Next. The result is you have a master timeline with all the clips and two EDL based timelines with each associated with an eye. but principally you can grade and review a Stereoscopic project on the MacPro platform. A right mouse click within the thumbnail display area gives you the added flexibility of selecting either the left or right eye to be viewed. On single chassis Linux systems performance is similar to the MacPro. in the Browse screen Media Pool folders. the selected eye may be graded separately. When Gang is selected. Even a non-3D project may be converted to a 3D project at any time. load an EDL or use Pre-Conform and create the timeline using the images only from the one eye. Either way.CHAPTER 17 STEREOSCOPIC GRADING Stereoscopic Grading With DaVinci Resolve on Mac systems.

regardless of the convergence setting by zooming the left and right eye images.Repositioning the image can be in either Solo or Gang mode. Then. Alternatively. as explained below: Opposite: Link-Zoom: When selected. Color Screen Viewer Stereo Display Options To Display both eyes for Stereoscopic 3D projects you first need to have the ‘Enable 3D Display’ check box selected on the Configuration screen. The Side-by-side and Line Mesh are designed for your 3D display and the Checkerboard and difference for your 2D display. when an adjustment is made in Gang mode. the Stereo Display options are available. on the Color screen viewer. Stereoscopic Viewer Right Click Options STEREOSCOPIC GRADING 257 . the image will always fill the screen. There are also various Pan modes that can be used for image adjustment. the convergence control will move the images left and right to change the convergence point With Link-Zoom selected. ‘Display Both Eyes for 3D’ will turn on and off the dual eye display and then you can select from the mesh options. Checkerboard and Difference. Line mesh. Side-by-side. You can also set the Checkerboard size to assist in match grading each eye. When adjustments are made in Solo mode. the adjustment is automatically applied to the other eye. they will be applied to only the selected eye.

the image will always fill the screen regardless of the convergence setting by zooming the left and right eye images. The two stereo sessions can be graded in Gang mode. When in Opposite mode the convergence control will move the images left and right to change the convergence point. alternatively it will show Mono. or via the panel. With Link-Zoom selected. Convergence: The two modes are Opposite and LinkZoom. This indicates which eye is being displayed in the viewer and for the HD-SDI output if a single eye display is selected. this indication will be Stereo. where both eyes have the same grade applied or Solo mode where the two stereo sessions are graded separately. If you have enabled the 3D display in the viewer options.CHAPTER 17 STEREOSCOPIC GRADING Color Screen Status Display There are four status display items for Stereoscopic grading. Stereo Grade: Stereo Current: Stereo Display: 258 STEREOSCOPIC GRADING . Grading change in one eye would not affect the other eye.

This operation checks though the clips and detects the difference in Node Graphs. In Track session mode. This would only be effective when there is only a cut transition to and from the clip in question in a parse pre-conform workflow. Ripple Link Gang: The two stereo sessions are graded together. This parameter is retained in the list to compensate for editing/conform errors. Swap Output: Swaps eyes to the output on a clip-by-clip basis. Grading change in one eye would not affect the other eye. The two stereo sessions are graded separately. The viewer image and timelines would be updated for the new session. The two stereo sessions are graded separately. this copies the grading from selected clips to corresponding clips in the other eye. Grading change in one eye would not affect the other eye. Grading changes are made to this eye only when in solo mode. At the same time. the delta between the two eyes is preserved and incremental changes are applied relatively. in the form of an orange outline around the VSR in both eyes. this swaps the output grading for the current track to the corresponding track with the other eye. In Track session mode. Solo: Left/Right: Switches to the selected eye: STEREOSCOPIC GRADING 259 . this swaps the grading from the selected clips to corresponding clips in the other eye. There is a visual indication when this is enabled.Thumbnail Timeline Menu Options Stereo Batch Copy: Stereo Batch Sync: Will copy the grading of the clips in the current session to the corresponding clips in the other eye session. this copies the output grading for the current track to the corresponding track with the other eye. the grading of the clip from the current eye would be copied to the corresponding clips in the other eye. This results in the clips in the two sessions with the same graph and same grading. but would support all transitions in a conforming workflow. Stereo (sub menu) Grade Copy L/R or R/L: In Clip/Unmix session mode. If Node Graphs are different in corresponding clips. Grade Swap L/R: In Clip/Unmix session mode. Clips in the current session may have different Node Graphs from their corresponding clips in the other eye session.

Remote Grading 18 .

DaVinci Resolve offers a remote grading option. the client DaVinci Resolve should be able to connect to the colorist’s system using TCP/IP. inputs from the user at the client DaVinci Resolve will be ignored. Requirements • The DaVinci Resolve version of software must be the same on both systems • The system resolution must be the same on both systems • The timeline must be setup prior to the start of the remote grading session. If the colorist’s system is on a private network. the port number should be set to the port on the public IP that is internally routed to port 15000 of the colorist’s DaVinci Resolve. 261 REMOTE GRADING . The Remote Grading session will remain active until one of the users chooses to disconnect or when an error occurs causing DaVinci Resolve to automatically terminate the session. Setup • To start a remote grading session. If the colorist’s system is on a public IP. the active session and versions on the client system are updated. click “OK. • On the client’s DaVinci Resolve you cannot adjust anything until the remote grading session has ended. • When the connection is established. While a remote grading session is in progress. • Set the IP address field to the IP of the colorist’s DaVinci Resolve. and continue grading normally. • During the session. the port number can be left at the default value (15000). • The number of clips and the duration of each clip must be identical. It allows two matching DaVinci Resolve systems to be synchronized via an Internet connection such that changes made on the colorist’s system are immediately sent across and applied on the client DaVinci Resolve. • Once the client clicks on the “Connect” button. Currently. The two DaVinci Resolve systems must have matching sessions and the number of clips. the remote grading feature supports only color correction and does not allow editing or conforming during a session. Starting/stopping playback on the colorist’s DaVinci Resolve would do the same on the client system. the client DaVinci Resolve will try to establish a connection with the colorist system.” minimize the popup. Cue commands are also synchronized to ensure that both systems are always on the same frame in the timeline. clip durations and system resolutions must match. The requirements and limitations of a remote grading session are summarized below.CHAPTER 18 REMOTE GRADING Remote Grading To enable colorists to work interactively with their clients across the globe. a popup appears on the colorist’s screen asking for permission to accept the Remote Grading connection. • To accept. Creating/ deleting a session or switching a session on the colorist’s DaVinci Resolve is not allowed. Doing so would terminate the remote grading session. • On the client’s DaVinci Resolve you need to press Ctrl + G on the keyboard. A window is displayed with text fields to enter the IP address and port number of the colorist’s system.

LUTs selected on the client DaVinci Resolve will be applied instead. At any time. the playback speeds on the two DaVinci Resolves may differ. • Input/output/display LUTs applied from the config page on the colorist DaVinci Resolve will not have any effect on the client system. • Grabbing stills on the colorist’s DaVinci Resolve will not have any effect on the client system so no stills will be grabbed on the client system. REMOTE GRADING 262 . • Presets applied from the config/color pages on the colorists system will not have any effect on the clients. The frame positions will only be synchronized when playback is stopped. • Wipes on the colorist’s system will have no effect on the client DaVinci Resolve. the client system will display the same frame as the colorists but without the wipe (or with whatever wipe was enabled before the remote grading session was started). • When playback is started.Restrictions To allow operation over low bandwidth and potential long latency Internet connection there are some restrictions to remote operation. Presets selected on the client DaVinci Resolve will be applied instead.

DaVinci Resolve Control Surface 19 .

provide access to potentially two more functions on each of the next key selected. Shift Key Convention Before describing the hard key operation. 264 DAVINCI RESOLVE CONTROL SURFACE . which provide an accurate visual reference to the control without the risk of parallax errors. The Transport panel. has a T-bar mix/wipe control and a number of menu and function keys. Shift Up and Shift Down. has the timeline transport controls and a jog/shuttle control as well as a numerical keypad and associated function keys. The hard keys also reflect the last button pushed and. the menu structure and controls of the soft keys and variable pots. The T-bar panel.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE DaVinci Resolve Control Surface The DaVinci Resolve Control Surface panels feature workflow ergonomics and ease of use so Colorists can quickly and accurately construct simple or complex creative grades. shown above on the left. the position of which is determined by operator preference. separately. The LCD panels provide a color and value indication based on the last control adjusted. including a slide-out keyboard. DaVinci Resolve Control Surface On either side of the Trackball panel are two interchangeable panels. shown above on the right. in some cases. it is important to understand two keys on the left and right panels. There are three panels in the control panel set. this User Manual will describe each of the hard keys and controls and then. These shift keys. All panels have soft keys and variable control pots within the LCD panel. The panels feature highresolution liquid crystal displays (LCD) and backlit hard keys to accommodate a darkened grading environment. Given that so many of the controls are menu based. The center panel is the Trackball panel. A key feature of the panel design is the feedback given to the Colorist. The majority of controls and feedback for the Colorist is found on this panel. other keys on the panel are illuminated or dimmed based on the menu options available for the operational mode selected. The color and intensity of the keys and the LCD panel brightness are user programmable so each Colorist can set up his/her personal panel configuration.

then the function. Selects the Conform screen. The Object Tracker is best viewed on the Viewer UI. first the ‘Shift’ key.’ the operation is to Base Mem ALL. While the soft menus. You can see details of each file. Mode Control Group The Mode Control group provides navigation to many of the UI screens and also a few commonly used functions. next to the shift up key is the Base Mem key. After placing the Project’s clips into the Media Pool. typically located on the left for a right-handed Colorist.For example. has a LCD display with four variable controls and nine soft keys.’ To permit a fast and single-handed operation.’ then ‘Base Mem. just select them sequentially. This key opens the DaVinci Revival screen to show the files selected to be sent to a DaVinci Revival system for Grain reduction or Dust busting. keys. play the clips for verification. This selection is reserved for future use. If you select ‘Shift Up’ and then ‘Base Mem. and variable pots will be covered in a later section of this chapter. This same screen is used to control a batch capture of clips from some film scanners. as designated on the upper left corner of the Base Mem key. first select ‘Shift Down. To select the Scene Cut Detection screen select the shift down key followed by the Revival key. The lower section of the panel houses the T-bar and six groups of hard keys. The Deck key selects the screen for deck I/O. here is a description of the groups of keys and the individual key function. This key toggles between the screen you are on and the Viewer screen so it’s a quick way to see the image at full screen on the UI display. this function does not require you to hold the ’Shift Up’ or ‘Shift Down’ key while selecting the second key. Config: Browse: This key selects the configuration UI screen where you will set up DaVinci Resolve for each project. This key selects this screen and also opens the Object Tracking menus. on the Fader panel. you can directly access the SAN. or if you have a storage area network. and then associate them to the Project by putting them into the Media Pool. VSR (Shift Down Browse): Conform: Deck (Shift Up Revival): Revival: Scene (Shift Down Revival): Current ~ Viewer: Object Track Mode: DAVINCI RESOLVE CONTROL SURFACE 265 . To select Base Mem Current. you will generate a default timeline and associate EDLs in this screen. On the Browse screen you can review files on the attached storage. T-Bar Panel The T-Bar Panel.

This key is a toggle function to select one of the cache modes. The ‘Proxy On/ Off’ key selects between Off and the other of the two modes. Handles Mode: 266 DAVINCI RESOLVE CONTROL SURFACE . Dissolve will cache clips with dissolves. Will mark a clip for render cache.’ The ‘Unmix’ function allows pre-conformed clips with dissolves to be un-mixed when using an EDL. This selection is reserved for future use. In larger projects you may have a number of gallery pages holding stills and this key will change the Gallery screen to the next higher page number. enhancement. or even add a matte to the whole timeline.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE Clip/Track/Unmix: This is a toggle key. Then each clip can be graded separately as though there were two clips. Used to select the Gallery UI screen where you can manage your stills. DaVinci Resolve has three proxy modes to permit real time playback in the event that the correction or resolution is too high for the selected playback speed. With ‘Pregenerated Proxy’ the system will use the pre-generated proxies (obviously you need to have made the proxies first). Cache All will background cache all clips. User (Shift Up Cache Mode): Cache: Editor: Proxy On/Off: The Editor key is reserved for future use. select ‘Track. Auto Color: Page Up (Shift Up Gallery): Gallery: Page Down (Shift Down Gallery): The inverse of the Shift Up Gallery function as this selects the Gallery screen one page lower than the current. This operation in performed when you move from the current clip to another. Occasionally. Using this key. DaVinci Resolve will automatically make a basic primary color correction to balance the blacks and whites of your image. A/C Mode: This toggle key will display the clips in the timeline in the order of the EDL (the record order and often referred to as C Mode). The last mode is ‘OFP’ or ‘On-the-fly-Proxy. This is a popular key. depending on whether you have or have not pre-generated the proxies. User will cache clips as marked by the colorist. The color corrections in DaVinci Resolve are generally associated to each individual clip and so most of the time you will be in ‘Clip’ mode.’ OFP provides a high-quality real time input image resize. In this case. you may wish to make a grade or correction. User & Dissolve will cache clips that you have marked for cache and also dissolves. or the ascending order of the source clip timecode called A Mode.

selecting ‘Next Version’ again will select the default version. Once the top version is reached. and consider the autosave function as well. you are on version three. This selection is reserved for future use. colorists often try different looks. and if you don’t like it. For example. If you want to try different grades. Redo will put back into effect the last item you undid. Join (Shift Up Redo): Redo: Restore Point: Save: Add Version: Default Version: Previous Version: Next Version: DAVINCI RESOLVE CONTROL SURFACE 267 . regardless of which version is currently displayed. DaVinci Resolve stores the parameters for that clip. select ‘‘Previous Version’ to get to version two. When you make a grade on any clip. Sometimes you hit Undo once too many times. found in the config screen. Use this key to select the next higher version of the grade. Try any grade. Like Undo. Place the timeline cursor on the junction of two clips and select Join to make just one clip. Undo is one of the favorite keys of colorists. selecting ‘Previous Version’ again will select the highest version. This group of keys offers a quick way to navigate through these versions and also to split and join clips on the timeline. Remember this key. this key is used to select the default version. there are multiple levels.Session Management When making a grade to clips. The reverse of split. Once the default version is reached.’ Use this key to make a second. you have an almost endless tree of undo operations by using this key. third. Split (Shift Up Undo): Undo: This key will split the clip at the position of the cursor on the timeline. simply Undo. It’s your friend. just ‘Add Version. or more version of the grade for that clip. This will select the grade one version lower in order. don’t loose your good grades. Save often. In fact. If you have multiple versions of grades for a clip.

so there are 26 quick and easy memory locations to store a grade. This key is used with the numerical keypad to trim a mark position. If you place a mark in the wrong spot. All Base Mem (Shift Up Base Mem): This is used to clear the current color correction of every node in the Node Graph for the current clip. Base Mem: Used to clear the grade of the current node. or effect. every time you make a grade for a clip. It places a keyframe on the clip timeline and between the Start Dynamic and Mark. or just an adjustment and you would like to ripple this effect over another or a large number of other clips.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE Marking Dynamics On the bottom right of the Color screen is the Dynamics Timeline display for the current clip in the timeline. this is stored by DaVinci Resolve as a Memory too. use Ripple Value. This key deletes the dynamic. While you can obviously save a still for each clip. but it leave the nodes in place. (facilitates ’Undo’ and ’Redo’). state. 268 DAVINCI RESOLVE CONTROL SURFACE . put your cursor on the mark and use ‘Lift Mark’ to remove it. a memory of the grade is kept. Scene (Shift Down Mark): Memory Access DaVinci Resolve has a number of hot keys where you can store a grade for quick reference of use. called A-Z Mems. In fact. Ripple Value: Delete: Lift Mark: Trim: Mark: Like the Start Dynamic key. and the addition of a matte or any number of 100 variables. As every clip has its own metadata for the grade. This selection is reserved for future use. a sizing. Current Base Mem (Shift Down Base Mem): Will clear all the grades and all the nodes of the current clip. The Marking Dynamics group of keys is used in association with the Dynamics timeline and controls the selection of keyframe points for the start and end of dynamic transitions of the grade. having 1000s of stills to scroll through can take time. or no grade. Start Dynamic: This key is used to select the first keyframe in a transition. called Mems. or to clear the metadata to revert to a base grade. The transition may be a grade change. Mark is a major key. all of which are associated with the Node Graph and the Clip or Track Dynamics Timeline. a Dynamic. If you have a grade. There are a number of keys to select or revert to these stored metadata memories. or between multiple Marks where you can change the grade.

sizing. Each clip. select preview mem again and the clips grade will revert to the original. C to X) and the current grade on the active timeline clip will be stored in the memory selected. just select it prior to the second key. select the clip on the timeline. If you come back to the clip and make a change to the grade. C to X keys. When you select Scroll you can navigate up and down the timeline to find and select a clip. to recall to the current clip. The Shift Up key permits the operator to select the upper secondary function of keys on the control panel. select Original Mem to return to the grade status you found when returning to the clip. the grade is saved in a memory for that clip automatically. select preview memory and then the memory. and its grade. has a memory of its grade. This key is a toggle so if you do not like the grade on the memory for that clip. a preset resize can be made and stored. and this preset is not deleted when using Base Mem. just select it prior to the second key. This key is not yet implemented. selected directly or with the appropriate shift up or shift down pre-selection will recall the grade stored in this memory and will apply it automatically to the clip that is active on the timeline. by default. Instead of making an input resize adjustment for every clip to remove the framing. Original Mem: Scroll: View(Shift Up Current): Current: Shift Up: Shift Down: Macro: Memory Keys: DAVINCI RESOLVE CONTROL SURFACE 269 . The normal mode includes the Viewer. The Shift Down key permits the operator to select the lower secondary function of keys on the control panel. Select ‘View’ again to toggle back to the normal mode. The A. etc. B. in fact very helpful sometimes. This operation does not require you to hold the shift up key. The metadata for every clip is saved in reference to the source timecode. B.There is an exception to rule to clear the Base Mem. The simple example is when a film is over scanned and the frame edges are shown as well as the image. Stills and Node Graph on the top of the screen. Selecting ‘View’ toggles to the alternate screen with a wide Node Graph view and Stills but no Viewer. Select Current prior to selecting a Mem key (A. to have a preset to a clip that is not cleared when you select Base Mem. It is possible. with a label. Preview Mem: To preview one of the memory grades on any clip. then decide you don’t like the change. The Color screen has two display modes. This operation does not require you to hold the shift up key. If you are grading a clip and move from it to another clip.

As above. Selecting the Outside Node key will add another node after the current node and automatically link both image and key paths. but in nodes. The Polygon Power Window is also selected when adding the serial node.. If there is a matte clip associated with the clip. thus reducing the number of keystrokes. adds a serial node after the current node with a linear Power Window . Polygon and PowerCurve windows that can be used as a matte or mask for primary and secondary grades. secondaries. if you select the serial nodes. When you select and isolate a particular color. This group also gives you quick access to the main operations to control primaries. Selecting Primary switches DaVinci Resolve from other grading modes and automatically selects the primary menus for the LCD displays. The most common node to use on the Node Graph is a serial node. The Windows key opens the menus for Circular. The input and output image resizing engines are controlled using the menus selected by Sizing. but greater grading flexibility is available by using the parallel and layer nodes. however to also add a window requires a number of extra key selections. secondaries known here as Vectors. Adding a serial node is a one button selection. Delete Current: Node+ CPW: To delete the current node. The Node + CPW key adds a node after the current node on the node graph and also adds a circular Power Window at the same time. like the others above. and change that color. This key. This is where you balance the clip and correct for offsets in the black and white balance. by selecting this key the matte node will be displayed on the Node Graph.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE Menu Navigation and Node Control DaVinci Resolve is a nodal-based color enhancement system. In operation they can appear to be in layers. A Serial node is a full-featured color correction system offering primaries. Node + LPW: Node+ PPW: Node+ PCW: Add Serial: 270 DAVINCI RESOLVE CONTROL SURFACE . The Vectors key updates the menus to provide all the secondary controls including the Kilovector hue selection and control. All grades are not stored in layers. Linear. Remember Undo if you had the wrong node selected. outside the matte). you are making a secondary correction. Add Serial.e. Vectors: Sizing: Windows: Outside Node: Add Matte: Disable Current: This key is a toggle key and it disables or enables the grade on the current node. Primary: The first grade for every clip will be a primary. adds a serial node after the current node and also sets up the PowerCurve Window to permit the marking of freeform shape points and Bezier spline curves on the Viewer to construct a freeform window. image sizing and windows. If the original node has a grade within the matte shape the new Outside Node would control the grade in the inverse (i.

One behaves like a Serial node with full color correction capabilities. effectively making them in parallel to each other. Add Layer: Append Node: DAVINCI RESOLVE CONTROL SURFACE 271 . the input to these Serial nodes will be common. and the newly made Parallel node the highest priority. The Layer node is similar to the Parallel node in that it accepts the image inputs from more than one node. adding a parallel node actually adds two nodes. Serial nodes are added one after the other in a cascade mode similar to adding one layer of correction on top of the last. another input to the mixer will be created as will another preceding Serial node. image sharpening and blur. The second is a Parallel Mixer node. tracking. Often when navigating around the Node Graph and making correction trims. All grades in a preceding node(s) will impact the source image and therefore the grades in following nodes. Add one more Layer node. a third input node will be created with a higher mix priority than the first two nodes. The previous current node will have the lowest priority in the mix. the Colorist decides he/she needs an additional node for more correction. select Add Layer and DaVinci Resolve will add a node in parallel to the current node and link the output of the current and the newly made Parallel node to the two inputs of the Layer node. If the current node is one of these Serial nodes immediately preceding the Parallel Mixer node and you select ‘Add Parallel’ again. Add Parallel: Unlike adding serial node. The key difference to a parallel is that the mixing of the inputs is prioritized towards the latest additions to the input list of the Layer node. This mixer accepts the image from the original Serial node and from the new Serial node and the output is a mix of these two. regardless of which node in the graph is the current node. As an example. etc. each time you restrict a color in a node the following nodes have little ability or limited range to use that color. Using the ‘Append Node’ key will always add a Serial node to the very end of the Node Graph.windows. matte blur. In each case. The key advantage here is that the source image is available to many nodes whereas in a straight Serial Node Graph.

This key is not yet implemented. To mix in preference to wipe select this key. When in the Vector menus making secondary qualifiers. This toggle key will turn the reference view on or off. Key: Circle: Wipe: H/V: Box: Mix: Still: Memory: Hilite: This key is not yet implemented. Highlight is used so often it’s also on the fader panel and when in vectors on the Trackball panel. Toggle this key to turn off. Use this key to compare the current clip with a memory. It is primarily used for control of stills display with and without reference wipes. This key is not yet implemented. Select the Timeline key when you wish to compare the current to the Timeline image.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE Reference Configuration This area of the fader panel include six keys and the fader T-Bar. it’s common to select the Highlight key to show a high contrast separation of the qualified color and all other parts of the image. The Wipe key selects a wipe for reference comparison with the current image. Mode(ShiftDownHighlight): Timeline: Offline: Reference On/Off: 272 DAVINCI RESOLVE CONTROL SURFACE . When On you can see the current clip in comparison to a reference. The fader bar controls the mix or wipe position when the appropriate mode is active. The Still key permits comparison of the current clip with the selected still. Used to toggle the highlight mode from grey to high contrast. Select the Offline key when you wish to compare the current to the offline image. This key toggles the wipe between horizontal and vertical.

Luminance Hue. each with a surrounding control ring and no end stop in either direction. or Gain range of the image. and Luminance Lift. DAVINCI RESOLVE CONTROL SURFACE 273 . The LCD screens are menu-driven and thus the controls. which provides control over the mid-range values of the image. and Highlights). DaVinci Resolve Control Surface The center panel also offers a slide-out keyboard for naming files. The next trackball to the right is Gamma control. and Gain configuration (Lowlights. three LCD displays. The other three trackballs are in the traditional DaVinci format (from left to right): Lift. soft keys. as well as for a number of other operations. Lift. The shortcut keys are covered later in this User Manual.Trackball Panel The center panel has the traditional four trackballs. The right most trackball operates similar to a mouse and can also double as an Offset Control. which provides RGB balance adjustment in the darker range the image. Gamma. From top to bottom they are Luminance Gain. Mid-tones. three keys above the trackballs. The third from the left is the Gain control. Gamma. each with eight variable controls and four keys. The far left trackball is Lift control. The control ring surrounding these trackballs provides amplitude control of the associated Luminance. three below the left and right most trackballs. Three variable controls are on each side of the panel. which effects the brighter portions of the image. and the display itself depends on the current mode. On the left side of the panel are three Luminance knobs. and on the LCD panel. The menu structure will be covered later in this User Manual.

The keys under the right-hand side trackball provide left. Hue (has the effect of hue rotation). Operation for the keys under the left-hand side trackball is not yet implemented. from top to bottom: Saturation. and Luminance Mix. This key allows access to a number of menus and acts as an on/off toggle. or both. This shift function changes the cursor views on the main monitor. Above the right most trackball the three keys are: Adjust Window: Modes: Shift Up Cursor: Selection of this key brings up the shape cursors for the current node. Above the three left most trackballs you will see these three keys: RGB: All: Level: This key resets the RGB balance only to detent. Cursor: Under the left and right most trackballs there are three keys. while not in Cursor mode. If you wish to reset the level while maintaining RGB differential. center. This key also controls the window display. 274 DAVINCI RESOLVE CONTROL SURFACE .CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE On the right side there are three more controls. The user can select the cursor display including windows on the GUI. The Cursor is used for the Color Picker when in Vector mode. but not the main monitor. as they prefer. and right mouse buttons. The righthand side trackball functions as a mouse when the left mouse button is selected. To reset both RGB and level. and allows the trackball to position the current window. and can also double as an Offset Control.

When using playheads this key selects deck C This key is not implemented In: Join (Shift Up Out): Out: Duration: Gang: Undo: Redo: Source (L): Place (Shift Up A ( R )): ): A ( R )): F: Place (Shift Up B): B: G: Place (Shift Up C): C: H: DAVINCI RESOLVE CONTROL SURFACE 275 . The Out key is used to select an out point on the transport. DaVinci Resolve has virtually unlimited undo steps available. The Split key will split one clip into two on the frame selected. seconds and frames). There is also an Undo and Redo key. These are all related to controlling the deck. When using playheads this key selects deck B This key is not implemented When using playheads this key selects the location for the playhead on the GUI. virtual decks when in multi-playhead mode. The Gang control permits the user to gang multiple clips so they will play back from the first frame in synchronization. Place the Viewer on the first frame of a clip and select Join to merge the preceding clip. use Redo. Ideal when used with undo to compare two grades quickly. To define a duration. Each can therefore have their own grade.Transport Panel Reference Configuration Located at the top left-hand side of the Transport panel are the Deck and Still Select keys. This key selects the source. When marking a transport (virtual or deck) in point you can use the GUI or this key. This is particularly helpful for checking the impact of a grade on a couple of key shots when using the PlayHeads feature of DaVinci Resolve. If you want to redo a step. a Shift Up and a Save key. it’s important to have each source clip identified as a different clip to all the others. and the grabbing and selection of stills. first select the time using the numerical keypad (the colon separates the hours. Join is the reverse of the Split key. The Colorist’s friend. Split (Shift Up In): DaVinci Resolve associates grading information based on source timecode and as it’s also possible to have source clips with the same timecode (sorted with file name and/or path. and then select Duration. When using playheads this key selects deck R When using playheads this key selects deck A This key is not implemented When using playheads this key selects the location for the playhead on the UI. etc). minutes.

The Preroll key us used in conjunction with the numerical keypad to select a preroll time. The next still is selected if this key is used. When the user selects this key. It only takes a few seconds and can save you hours. Select the keys sequentially and do not hold the Shift Up key while selecting the second key. Selecting Play Still a second time will toggle this mode off. Preroll: Cue: Previous Still: Next Still: Play Still: Save: Grab Still: 276 DAVINCI RESOLVE CONTROL SURFACE . At any time when you are grading selecting the Grab Still key will automatically grab a full resolution frame from the timeline and attach the node graph metadata for later display and use. DaVinci Resolve will automatically display on the Viewer a wipe between the current scene and the current still.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE D: I: E: J: Shift Up: When using playheads this key selects deck D This key is not implemented When using playheads this key selects deck E This key is not implemented Use the Shift Up key as a pre-selector for the keys with an upper option. You can use the fader T-bar to move the wipe position and in the reference wipe menus change the reference image as required by moving or resizing. If you have a still selected the Previous Still key will select the one preceding. The most important key on the panel. Besides having an auto-save feature you can and should consistently save your project with this key. Selecting Cue will force the transport to the preroll position.

Similar to the Previous Node key. Thus. in this case the next higher numerical position. this Loop toggle key selects or deselects the loop operation. Loop: Render: Rec: Previous Node: Next Node: Highlight: Mode: Shift Down: First Frame: Last Frame: Step Reverse: Step Reverse Keyframe: Step Forward: DAVINCI RESOLVE CONTROL SURFACE 277 . or a selection of clips on the timeline. This knob has a detent at the null position and is turned clockwise or counter-clockwise to shuttle the transport/timeline forward or reverse at the rate selected by the rotation of the shuttle knob. You may wish to repeat a review of a grade of a clip. Toggle this key to turn off. it’s common to select the Highlight key to show a high contrast separation of the qualified color and all other parts of the image. Within the Node Graph on the Color screen you are likely to have a number of nodes. the previous node key will select the node one lower in numerical order. the Job and Shuttle knob is directly above these keys. To step the viewer one frame in reverse along the timeline. This is the pre-selection key for functions indicated on the lower portion of the second keys legend. this selects the node adjacent to the current node. A single frame step forward for each key press. When in the Vector menus making secondary qualifiers. so you can add nodes anywhere and in any order you like. (Shift Down Render) This key is not yet implemented. so they are located for quick and easy access.Transport Control Keys Most colorists will use the Transport Control keys every minute of every grade. (Shift Down Highlight) Used to toggle the highlight mode from grey to high contrast. Selects the first frame of the current clip. which may not be the logical image flow order. Once you have finished your grade the Render key selects the UI screen used for configuration of the render parameters for your project. Jog: Shuttle: Rotate the jog control to step forward or backward a few frames at a time. While not technically within this key group. On the outside of the Jog rotary control is the shuttle knob. DaVinci Resolve Node Graphs are completely user configurable. These are numbered based on the order that you added them. Highlight is used so often it’s also on the fader panel and when in vectors on the Trackball panel. This key selects the last frame of the current clip. (Shift Down Step Reverse) This key steps backwards one keyframe on the clip/Track timeline display.

Selects the first frame of the next scene. fast forward shuttles along the timeline/transport. or timeline in rewind. 278 DAVINCI RESOLVE CONTROL SURFACE . Selects the first frame of the previous scene. The inverse of the Rewind key. The forward key will play the clip/timeline forward.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE Step Forward Keyframe: Previous Scene: Next Scene: Rewind: Reverse: Stop: Forward: Fast Forward: (Shift Down Step Forward) For keyframe steps forward on the clip/ Track timeline display. You guessed it. This stops the current transport operation. To play the clip/timeline in reverse select this key. The rewind key places the transport.

the grade is saved automatically in a memory for that clip.” the grading parameters stored in memory A. If you come back to the clip and make a change to the grade. This is an extremely powerful feature. The Scroll key selects a soft menu on the Trackball panel so clips or frames can be scrolled via the rotary control in the soft menu. etc. The metadata for every clip is saved in reference to the source timecode. Base Mem: Reset (Shift Down Base Mem Crnt): This key deletes all nodes in the clip with the exception of the first node and resets the grades to default and clears the marks. Original Mem: Scroll: DAVINCI RESOLVE CONTROL SURFACE 279 . select Preview Mem again and the clips grade will revert to the original. O (Shift Up A): A: I (Shift Down A): R (Shift Up B): B: J (Shift Down B): Selects memory O Selects memory A Selects Memory I Selects memory R Selects memory B Selects Memory J And so forth All (Shift Up Base Mem): This function will return all grades for all nodes on the clip to the default grade/settings and clears dynamic marks. with a single key press.Memory Access Keys For fast and direct access to memories. will be automatically applied to the current clip. Preview Mem: To preview one of the memory grades on any clip. This key is a toggle so if you do not like the grade on the memory for that clip. sizing. The Base Mem key clears the current node of all its grades and marks. select Preview Memory and then the memory. including the node structure. the A to Z Memories. etc. Each clip by default has a memory of its grade. With any clip selected on the timeline. sizing. If you are grading a clip and move from it to another clip. select the clip on the timeline. with the preset exception noted above. for example “A. then decide you don’t like the change. Note: There is an exception to the rule. Again. select Original Mem to return to the grade status you found when returning to the clip. use this section of the Transport panel. If a ‘Preset Size’ has been set for the clip the Base Mem sizing will default to this preset size. or Mems.

all aspects of the grade are copied. You guessed it. you do not need to type 01:03:00:16. then the minutes. but on occasion you may wish to copy only the grade and not the sizing parameters. Will clear the scratchpad number. Here you will find numbers 0 to 9 and associated keys for entering timecode and clip numbers. When typing in timecode. The backspace key moves you one item left in the numerical scratch pad display. Generally. Simply type 1:3::16 and then press ’Enter. a colon.’ This speeds timecode entry. the convention is to type the hours followed by a colon. First select the node number. (Comma): : (Colon): Clear: . This permits correction of your numerical entries. and finally the frames. To accept or enter any input select this Take/Enter key. Current: All Color PTZR: To store a new grade in any memory. The Plus key selected prior to a number adds the number. Use this key in conjunction with the numerical keys to select any node on the current Node Graph. This key is a toggle that selects the parameters that will be copied when updating a grade. DaVinci Resolve does not need to have leading numbers entered where they offer no value and the default value is 0.’ The current node will change to the selected node.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE Numerical Entry Key Group On the center right-hand side of the Transport panel is the Numerical Entry key group. zero seconds and sixteen frames. three minutes. Select Node: Backspace: 0 to 9: . Select the minus key prior to the number to reduce the number. a colon. In this case use the Copy Mode to select grade/no PTRZ or grade with PTRZ.(Minus): + (Plus): Take/Enter: 280 DAVINCI RESOLVE CONTROL SURFACE . including PTRZ. and then ‘Select Node. You will notice the numbers you type are displayed in a scratchpad area to the right of the menu bar on the bottom of the GUI. first select the Current key and then the memory of your choice. You can see the clip timeline toggle between the node selected and the input PTRZ parameters. the seconds. so to type one hour. These are the numbers! The comma is used just prior to the frame count if you wish to indicate a drop frame timecode.

or just an adjustment and you would like to ripple this effect over another or a large number of other clips. It places a keyframe on the clip timeline and between the Start Dynamic and Mark. The List Marking group of keys is used in association with the timeline and controls the selection of keyframe points for the start and end of dynamic transitions of the grade. Lift Mark: Often you may place a mark in the wrong spot so place your cursor on the mark and use Lift Mark to remove it. This key is used to select the first keyframe in a transition. Trim: Ripple Value: Mark: Scene (Shift Down Mark): To quickly switch to the Scene Cut Detection screen select Shift Down then Mark. Mark is a major key. the addition of a matte. called Dynamics. Delete: Start Dynamic: This key deletes the Dynamic. This key is used with the numerical keypad to trim a mark position. a Dynamic. Like the Start Dynamic key. or between multiple Marks you can change the grade. The transition may be a grade change. a sizing. DAVINCI RESOLVE CONTROL SURFACE 281 . The functions are replicated on the Fader Bar panel. use Ripple Value. or any number of 100 variables all of which are associated with the Node Graph and the clip or Track timeline. or effect. If you have a grade.List Marking The List Marking keys are on the bottom right hand side of the Transport panel.

Soft Key and Soft Pot Control Conventions Below is a typical soft menu from the Fader panel. The top row of legends refers to the soft pots beneath it. The functionality of these keys and pots is based on the menus displayed on the LCD and changes dynamically with the operation of DaVinci Resolve. A “more” key to the right of these controls (not shown) allows you to access a second level of soft pots for Aspect and Rotation. The bottom row of legends refers to the bottom row of soft keys.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE Menus. 282 DAVINCI RESOLVE CONTROL SURFACE . which in this case select the desired window for adjustment. Soft Keys and Soft Pot Controls All three panels have liquid crystal displays (LCDs) and within this display. The controls are always located very close to the label. The title bar shows the menu mode. Both side panels have a ’More’ key. This allows users to control windows or sizing full time. The Fader and Transport panels can have quite independent controls compared to the Trackball panel. in this case Circular Power Window. a selection of soft keys and soft pots for variable control of different parameters. regardless of Trackball Panel mode and eliminates the need to change the work surface to adjust window position or input sizing. so there are no parallax errors and learning the panel is an easy task. The soft menu structure is designed to offer simultaneous control over multiple functions and a fast. For example. in this case the window position (Pan and Tilt). the Fader panels default menu is for Windows adjustment while the default menu for the Transport panel is Sizing. which control the state of the window and allow you to enable the windows as desired. which provides another layer of menus. if applicable. The LCD has a two-line title description of the menus main function and there are two lines of text above each pot or switch describing the control. Zoom and Softness controls. Each of the menus with the applicable control functions is described below. Stereoscopic Viewer Right Click Options The second row of legends refers to the soft keys beneath them. logical and efficient way to move between the menus.

The panel LCD and key brightness and color settings are adjusted in the Resolve Configuration screen on the Panel Tab. the Fader panel soft menus are used for window control. This allows the user. these menus do not change. Soft menus use full-color LCDs that allow users to set the brightness and color of the displays to suit their taste and working environment. Selection of a key on one panel may update the menu and soft keys and soft pots on one or more panels. to select PowerCurve windows on the Trackball panel and adjust its parameters simultaneously with a Circular PowerWindows on the Fader panel. and also highlight the last control touched. The menus are shown here identified by their core functionality. while Softness is the last control touched. the panels show this with a selectable color highlight.In this mode. signified by the yellow setting indicator. The Transport panel soft menus are used to control input or output sizing. For example. These menus can also be used simultaneously with sizing menus on the Trackball panel. and Zoom is not at Base Mem. offering a full suite of controls at your fingertips. signified by the cyan color of the setting indicator. Often the update is to a section of the panel display so you can quickly switch back and forward to different modes as you grade. In the image shown above. if a control is out of Base Mem. which provides a way to set sizing without changing the main work surface. When windows are selected on the Trackball panel. for example. Menu Layouts The DaVinci Resolve Control surface has a number of menus and many are selectable via different paths to match the operational workflow of colorists. Aspect and Rotate are in Base Mem. The panels offer feedback to let you know at a glance the relative settings of these controls. DAVINCI RESOLVE CONTROL SURFACE 283 .

CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE PRIMARY PRIMARY CHANNEL OFFSET / CUSTOM CURVES MASTER OFFSET RED OFFSET GREEN OFFSET BLUE OFFSET LUM YSFX PRIMARY YSFX RED YSFX GREEN YSFX BLUE YSFX VECTOR QUALIFIERS HSL PARAMETERS / QUALIFIER BLUR HUE SHIFT SAT GAIN LUM LIFT LUM GAIN LUM CURVE RED CURVE GREEN CURVE BLUE CURVE BLUR OFFSET NODES SIZING PRIMARIES VECTORS TRACKBALL OFFSET POTS CLIPS CURVE MONITOR KEY MODE PRINTER LIGHTS PRIMARY / POTS PRIMARIES LUM / GREEN POTS MASTER OFFSET LUM BLACK LUM GAMMA LUM GAIN RED OFFSET PRIMARIES RED / BLUE POTS RED BLACK RED GAMMA RED GAIN PRIMARIES HSL PARAMETERS / QUALIFIER BLUR HUE SHIFT SAT GAIN LUM LIFT LUM GAIN GREEN OFFSET GREEN BLACK GREEN GAMMA GREEN GAIN BLUE OFFSET BLUE BLACK GLUE GAMMA BLUE GAIN BLUR OFFSET NODES SIZING PRIMARIES VECTORS MAIN CLIPS CURVE MONITOR KEY MODE PRINTER LIGHTS PRIMARY / CLIPS PRIMARIES SCENE WHITE CLIPS MASTER CLIP RED CLIP GREEN CLIP BLUE CLIP MASTER CLIP PRIMARIES SCENE BLACK CLIPS RED CLIP GREEN CLIP BLUE CLIP PRIMARIES HSL PARAMETERS / QUALIFIER BLUR HUE SHIFT SAT GAIN LUM LIFT LUM GAIN MASTER SOFT RED SOFT GREEN SOFT BLUE SOFT MASTER SOFT RED SOFT GREEN SOFT BLUE SOFT BLUR OFFSET NODES SIZING PRIMARIES VECTORS TRACKBALL POTS CLIPS CURVE MONITOR KEY MODE PRINTER LIGHTS 284 DAVINCI RESOLVE CONTROL SURFACE .

PRIMARY / KEY MODE PRIMARIES CHANNEL OFFSET / CUSTOM CURVES MASTER OFFSET RED OFFSET GREEN OFFSET BLUE OFFSET KEY PROCESSING KEY PARAMETERS POST MIX GAIN POST MIX OFFSET PRIMARIES HSL PARAMETERS / QUALIFIER BLUR HUE SHIFT SAT GAIN LUM LIFT LUM GAIN LUM CURVE RED CURVE GREEN CURVE BLUE CURVE QUALIFIER GAIN QUALIFIER OFFSET EXT KEY GAIN EXT KEY OFFSET BLUR OFFSET NODES SIZING PRIMARIES VECTORS MATTE / MASK INVERT MATTE / MASK INVERT POST MIX INVERT PRINTER LIGHTS PRIMARY / KEY MODE EXTERNAL MATTE SIZING PAN TILT ZOOM ROTATE X .FLIP V .SIZE Y .SIZE NODES SIZING PRIMARIES VECTORS H .FLIP LOCK PRIMARY / PRINTER LIGHTS OUTPUT SIZING STANDARD PRESETS MASTER + RED + GREEN + BLUE + MASTER - RED - GREEN - BLUE - MORE DAVINCI RESOLVE CONTROL SURFACE 285 .

CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE VECTORS / IMAGE MODE OR QUALIFIER MODE IMAGE BLUR GAUSSIAN IMAGE BLUR IMAGE BLUR H/V RATIO QUALIFIER BLUR VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE CENTRE HUE WIDTH HUE SOFTNESS HUE SYMMETRY VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LOW CLIP LUM LOW SOFT LUM HI SOFT LUM HI CLIP SAT LOW CLIP SAT LOW SOFT SAT HI SOFT SAT HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS PRESETS COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE VECTORS / IMAGE MODE OR QUALIFIER MODE IMAGE BLUR COLOR IMAGE BLUR RED BLUR GREEN BLUR BLUE BLUR VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE CENTRE HUE WIDTH HUE SOFTNESS HUE SYMMETRY VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LOW CLIP LUM LOW SOFT LUM HI SOFT LUM HI CLIP RED H/V RATIO GREEN H/V RATIO BLUE H/V RATIO SAT LOW CLIP SAT LOW SOFT SAT HI SOFT SAT HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS SIX VECTOR COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE VECTORS / IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING SHARP AMOUNT SCALING CORING SOFTNESS VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE CENTRE HUE WIDTH HUE SOFTNESS HUE SYMMETRY VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LOW CLIP LUM LOW SOFT LUM HI SOFT LUM HI CLIP LEVEL SAT LOW CLIP SAT LOW SOFT SAT HI SOFT SAT HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS SIX VECTOR COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE 286 DAVINCI RESOLVE CONTROL SURFACE .

VECTORS / IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING RED SHARPEN GREEN SHARPEN BLUE SHARPEN CORING SOFTNESS VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE CENTRE HUE WIDTH HUE SOFTNESS HUE SYMMETRY VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LOW CLIP LUM LOW SOFT LUM HI SOFT LUM HI CLIP RED RATIO GREEN RATIO BLUE RATIO LEVEL SAT LOW CLIP SAT LOW SOFT SAT HI SOFT SAT HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS SIX VECTOR COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE VECTORS / IMAGE MODE OR QUALIFIER MODE MIST EFFECT MASTER MIST MASTER H/V RATIO SCALING MIX VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE CENTRE HUE WIDTH HUE SOFTNESS HUE SYMMETRY VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LOW CLIP LUM LOW SOFT LUM HI SOFT LUM HI CLIP SAT LOW CLIP SAT LOW SOFT SAT HI SOFT SAT HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS SIX VECTOR COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE VECTORS / IMAGE MODE OR QUALIFIER MODE MIST EFFECT COLOR MIST RADIUS H/V RATIO SCALING MIX VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE CENTRE HUE WIDTH HUE SOFTNESS HUE SYMMETRY VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LOW CLIP LUM LOW SOFT LUM HI SOFT LUM HI CLIP RED RADIUS GREEN RADIUS BLUE RADIUS MIST PARAMETER SAT LOW CLIP SAT LOW SOFT SAT HI SOFT SAT HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS SIX VECTOR COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE DAVINCI RESOLVE CONTROL SURFACE 287 .

CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE VECTORS / IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING CORING SHARP AMOUNT SOFTNESS VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS RED LOW CLIP RED LOW SOFT RED HI SOFT RED HI CLIP VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS BLUE LOW CLIP BLUE LOW SOFT BLUE HI SOFT BLUE HI CLIP LEVEL GREEN LOW CLIP GREEN LOW SOFT GREEN HI SOFT GREEN HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS SIX VECTOR COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE VECTORS / IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING CORING SHARP AMOUNT SOFTNESS VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LEVEL LUM LOW CLIP LUM LOW SOFT LUM HI SOFT LUM HI CLIP S&G OFFSET S&G RADIUS QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS SIX VECTOR COLOR PICKER IMAGE MODE MASTER / COLOR QUALIFIER MODE HIGH LIGHT INVERT KEY MODE VECTORS / PRESET HIGH LUM LOW LUM HIGH & LOW LUM BACK GREEN YELLOW RED MAGENTA BLUE CYAN 288 DAVINCI RESOLVE CONTROL SURFACE .

VECTOR / COLOR PICKER HSL + HSL - SOFTNESS + SOFTNESS - SIZING REFERENCE WIPE SIZING INPUT SIZING PAN TILT ZOOM ROTATE PAN TILT ZOOM ROTATE H SIZE V SIZE INPUT PRESET H SIZE V SIZE NODES SIZING PRIMARIES VECTORS OUTPUT REF ADJUST REF ADJUST ENABLE H .FLIP SOURCE BLANKING MODIFY PAR H FLIP V FLIP SIZING / OUTPUT OUTPUT BLANKING OUTPUT SIZING LEFT RIGHT TOP BOTTOM PAN TILT ZOOM ROTATE H SIZE V SIZE NODES SIZING PRIMARIES VECTORS INPUT OUTPUT PRESET H FLIP V FLIP USE DEFAULT ASPECT MATCH BLANKING PVW MODE DAVINCI RESOLVE CONTROL SURFACE 289 .FLIP REF ADJUST V .

35 USER MORE SIZING / OUTPUT / BLANKING OUTPUT SIZING USER PRESETS USER 1 USER 2 USER 3 USER 4 USER 5 SAVE BACK MORE WINDOWS / CPW PRIMARIES CHANNEL OFFSET / CUSTOM CURVES MASTER OFFSET RED OFFSET GREEN OFFSET BLUE OFFSET ZOOM POWER WINDOW CIRCULAR ASPECT SOFTNESS ROTATE PRIMARIES HSL PARAMETERS / QUALIFIER BLUR HUE SHIFT SAT GAIN LUM LIFT LUM GAIN LUM CURVE RED CURVE GREEN CURVE BLUE CURVE PAN TILT QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS CPW LPW PPW PCW CLIPS CURVE MONITOR KEY MODE PRINTER LIGHTS 290 DAVINCI RESOLVE CONTROL SURFACE .78 1.CHAPTER 19 DAVINCI RESOLVE CONTROL SURFACE SIZING / OUTPUT / BLANKING OUTPUT SIZING STANDARD PRESETS 1.66 1.85 2.33 1.

WINDOWS / LPW PRIMARIES CHANNEL OFFSET / CUSTOM CURVES MASTER OFFSET RED OFFSET GREEN OFFSET BLUE OFFSET ZOOM POWER WINDOW LINEAR SOFTNESS ROTATE PRIMARIES HSL PARAMETERS / QUALIFIER BLUR HUE SHIFT SAT GAIN LUM LIFT LUM GAIN LUM CURVE RED CURVE GREEN CURVE BLUE CURVE PAN TILT RESET QUALIFIER BLUR H/V OFFSET NODES SIZING PRIMARIES VECTORS CPW LPW PPW PCW CLIPS CURVE MONITOR KEY MODE PRINTER LIGHTS POWER WINDOW CIRCULAR ZOOM ASPECT SOFTNESS ROTATE CPW LPW PPW PCW MATTE / MASK KEY INVERT INVERT MIX INVERT MORE POWER WINDOW CIRCULAR PAN TILT SOFTNESS ROTATE CPW LPW PPW PCW MATTE / MASK KEY INVERT INVERT MIX INVERT MORE DAVINCI RESOLVE CONTROL SURFACE 291 .

Glossary 20 .

This refers to a video edit which picks up after the completion of previously recorded material on the tape. An abbreviation which is short for the American Society of Cinematographers. This generally refers to the storage of information. 293 GLOSSARY . This is a 24 frame progressive format. An abbreviation for the Advanced Television Systems Committee. An abbreviation for a data file with the resolution of 4096 X 3112. The identification for 1023 levels within the digital signal. Archive: ASA: ASC: Assemble Edit: Aspect Ratio: ATSC: B Background Processing: A term that is applied to a computer operation which is performed at the same time when another operation is being carried out. In regards to motion picture applications. the term is generally applied to wide-screen formats such as CinemaScope.CHAPTER 20 GLOSSARY Glossary 10-Bit: 24p: 16 X 9: 2K: 2K Plus: 4K: 4:2:2: 4:4:4: A Access Time: ACE: Anamorphic: This term refers to the amount of time that is needed to load information from a data storage device. A term which refers to a squeezed or anamorphic image which is either unsqueezed with a lens during projection or by using a special video monitor. This can apply to either film or data storage. A color correction system developed by DaVinci Systems. Panavision or SuperScope. This is a term that describes a wide screen television format that has the measurements of 16 X 9. It is also a data file with the resolution of 2048 X 1556. A color correction system developed by DaVinci Systems. This refers to a digital signal with full levels of luminance and chrominance information. A term that refers to the height to width of an image. This is an abbreviation for the American Cinema Editors. This refers to a digital signal with half chrominance resolution and full luminance resolution. A measurement of film sensitivity developed by the American National Standards Institution.

A name which pertains to a group of eight memory bits. This term refers to data storage within RAM. This generally refers to the process of balancing the image’s color balance. It’s generally a correction which is designed to be finished later in a tape-to-tape correction. A term which is applied to a single file or scene within a non-linear timeline. When the image was projected. It is a 10-bit log file. It is used for the purpose of identification and manual sound synchronization.cin” extension. another lens was applied to the projector which un-squeezed the material and displayed a wide screen image. The rights to the format were later purchased by 20th Century Fox Film Corporation in 1952. Cineon: Clapperboard: Clip: Clipped Whites: Color Balance: Clipping: Color Bars: Color Depth: Color Correction: Color Correction Computer: Color Grading: GLOSSARY 294 . The basis for the process involved shooting material with special optics that recorded a squeezed or anamorphic image on the film.Best Light: This generally refers to a color correction which is not quite a scene-by-scene color correction and not a onelight color correction. A test signal made up of eight color bars which is recorded on a tape to ensure the levels remain consistent when played on other equipment. A term which is associated with a luminance correction that is so high that the detail is cut off or clipped. Bit: Buffer: Byte: C CinemaScope: A trademarked name for an anamorphic wide screen process originally developed in France by Professor Henri Chretien. A term which pertains to the image’s range of color. A name which is applied to one fragment of digital data. A term which is generally applied to a data file with a “. Refers to a method of retaining levels within legal limits. A term which is applied to a board which is shown at the beginning of each uncut film scene. The overall adjustment of the scene’s color information. The process of adjusting an image’s color balance A device used for adjusting and storing color corrections.

When the image is balanced so that the black or lift control causes the detail within the black information to be lost. A term which is short for Director of Photography. DDR: Default Setting: Densitometer: DIN: DP: DPX: A name which is applied to a Digital Disk Recorder. A term which is applied to a setting which has been predefined by the manufacturer. A term which is short for Cathode Ray Tube. The file has the extension of “. this is referred to as crushed. A term which is applied to the reduction in file size by the removal of un-needed information. Drag and Drop: 295 GLOSSARY .CHAPTER 20 GLOSSARY Color Temperature: A term which refers to the measurement of a light’s color. while bluer illumination measures out to a higher color temperature. Warmer colored lights measure out to a lower color temperature. A term which is applied to the method of moving information within an application by using the mouse to drag it to the desired location and letting go of the mouse button which drops it into the area. A term which is short for Deutsche Industrie Norm. The name of a measuring device that shows the object’s amount of transmitted light. A name which is applied to the balancing of image and color in motion picture laboratories by a color timer. The method of assembling scenes or clips in an order defined by an Edit Decision List. A file format which is short for Digital Moving Picture Exchange and developed by the SMPTE. Color Timing: Crushed Blacks: Conform: Compression: CPU: CRT: D Daily: Data: A name which is applied to a positive film print which has been made in order to see the results of the day’s shoot.dpx” It is similar to the Cineon file format except that it can be either a log or linear. This is an abbreviation for Central Processing Unit. The measurement is carried out on a scale known as Kelvin. A term which is applied to computer or digital information. It is used for measurement of film speeds.

A term which refers to the last part of a data file such as . Within an interlaced signal. A type of measurement which is one thousand million bytes. a video frame is comprised of two fields. A correction which is applied to a series of clips or events.dpx.cin or . Electronic Industries Association. while the other contains odd numbered lines. A term which refers to Frames per Second.E EBU: EBU Color Bars: EBU Time Code: Edit Decision List: EDL: EIA: EIA Color Bars: A term which is short for European Broadcasting Union. A color bar signal which was created by the European Broadcasting Union. it is also known as an EDL. A term which generally applied to storing a frame for comparison. A seven color bar test chart which was created by Electronic Industries Association. F FCC: Field: An abbreviation for the Federal Communications Commission. File Extension: Film Recorder: Film Scanner: Fps: Frame Grab: G Gain: Gigabyte: Gauge: Global: Grains: A term which is applied to the luminance information within an image. This is a list of in and out points which has been created by an editing system. GLOSSARY 296 . A 25 frame per second time code standard which was created by the European Broadcasting Union. A device which is used to recording image data files back to film. This an abbreviation for Edit Decision List An abbreviation for television and audio standards listing association. A term which is applied to the width of a film stock. A device to transferring film to data formats in high resolution. The individual grains within the structure of a film stock. One field contains even numbered lines.

A general term which applies to High Definition Television.CHAPTER 20 GLOSSARY GSN: GUI: This term is short for Gigabyte System Network and is a high speed network standard. It is usually required when effects such as dissolves are to be added. It is also an abbreviation for the International Organization for Standardization. A positive image on a negative like film stock which is made directly from the original negative for the expressed purpose of creating an Internegative. A term which is short for Graphic User Interface. while the Y axis displays the amount of pixels. HDTV: Head: Histogram: HSDL: I Illegal Video: Import: Insert Edit: Interlace: A term which is applied to signal levels which do not fall within a broadcast standard range. A display which shows the dynamic range and contrast of an image. This is standard definition component digital video standard created by the International Telecommunications Union. A term which is applied to an Isolation Reel. H Handles: A term which is applied to additional material which is required beginning and end of each clip. This refers to the beginning of a roll of film. A negative which is produced in a laboratory and made from an Interpositive for the expressed purpose of eventually making release prints. An editing mode which records audio and/or video onto a pre-striped videotape. one with lines which are even numbered and the other with lines which odd numbered. This refers to a unit of measurement developed by the Institute of Radio Engineers. A term which is applied to when the image contains two fields. Internegative: Interpositive: IRE: ISO: ITU-R 601: 297 GLOSSARY . A term which short for High Speed Data Link. The process of importing data into an application. The X axis within the display shows the luminance of the pixel.

Another term for black & white film stock. Otherwise known as a Lookup Table. The method of displaying the entire contents of a wide screen image on a television monitor. L Leader: Letterbox: A section of film at the beginning of a film roll. An effect which is caused by lines within the material that conflict with the scan lines. Leader can be in the form of blank film. Unwanted compression. K Kelvin: Key frames: The name for a scale that measures the color of a light source. This will show the entire image within the center of the display and there will be black borders on the top and bottom. GLOSSARY 298 . A type of data compression that discards information in order to complete the function. JPEG is an abbreviation for Joint Photographic Experts Group. It is essentially a conversion table. It can be used to perform a conversion between color spaces. A method of file compression which performs the function without loosing any information. Lossless compression: Lossy Compression: Lousy Compression: LTC: LUT: M Macro: Mask: Matte: Moiré: Monochrome: A button or key which is programmed to carry out a task which was normally done by pressing a series of buttons A method of masking or isolating a region within an image by using a source such as a Power Window. a countdown or even a clock.J JPEG Compression: This refers to a lossy compression algorithm method. A term which generally refers to events or marks within a clip or scene. An abbreviation for Longitudinal Time Code. A signal which cuts a section of the image for the purpose of replacement with other information.

A channel of processing within a non-linear color enhancement system which can be used for primary or secondary color correction. It is a 525 line system which is used in the United States. An NTSC 30 frame per second time code developed by the SMPTE. Japan and in some areas of South America. A stock which was used until the mid 1952 and was highly flammable. A term which is an abbreviation for the National Television Standards Committee. Each video frame contains one field of full resolution information. green and blue channels on a waveform monitor display. Node: Non-Drop Frame Time Code: Non-interlaced Video: NTSC: O Off-line Editing: An electronic edit which creates a pre-edit or rough cut of the program. A term which is applied to a single color correction which is used throughout the film. gamma and gain balance and level. One Light: P PAL: This is an abbreviation for Phase Alternate Line and is a 625 line interlace system which is utilized throughout Europe and Australia. Canada. An EDL is produced upon completion which allows the user to assemble the program in the on-line suite. Panchromatic: Parade Display: Primary Color Correction: 299 GLOSSARY . N Nitrate: A term which refers Cellulose Nitrate film stock.CHAPTER 20 GLOSSARY MOS: MPEG: An abbreviation for “mit out sound”. The act of adjusting the overall color correction for the entire image by adjusting the lift. A term which refers to monochrome or black and white film stock with is sensitive to all color. This is an abbreviation for Moving Picture Experts Group and is associated with a group of compression standards. A display which shows separate red. meaning “with out sound”. A term which is also known as progressive scan video.

Q Quality Control: The act of inspecting a program to ensure that it is free from defects or problems. A scanning method which has each video frame with one field of full resolution information. Green and Blue. A 625 line system which is short for “Sequential Couleur Avec Memoire”. R RAM: Real Time Effects: Release Print: RF: RGB: This also known as Random Access Memory. A term which is applied to an image which is not in focus or un-sharp. An abbreviation for the three primary colors. A name that is generally applied to the anamorphic squeezing of an image such as with CinemaScope or Panavision. A term which refers the amount of chroma information. green and blue. An abbreviation for Radio Frequency. The method of adjusting a one particular color within the image without changing the image’s overall color. Red. An abreviation for the Society of Motion Picture and Television Engineers organization. A series of drawings which depict each scene within a project. It is generally associated with old images. It is computer memory which is unsaved.Primary Colors: Progressive Scan: A term that is applied to the three primary colors. A term which is generally applied to a brown wash that is applied to a black and white image. A positive film print which is created for the express purpose of being projected in a theatre. S Safety Film: Saturation: SECAM: Secondary Color Corrector: Sepia: A film stock which is either Polyester or Acetate base. A term which is applied to effects which can be utilized without rendering. red. SMPTE: Soft: Squeezed: Storyboard: GLOSSARY 300 .

A trademarked color process for motion pictures. 301 GLOSSARY . A name which is applied to an image’s color cast or even a wash which may have been applied to the image. A meter that measures color temperature. also known as Video Graphics Array. U V VCR: Vector: Vertical Interval Time Code: An abbreviation for Video Cassette Recorder. A videotape which has time code recorded visibly within the picture. A format for displaying an image with wide horizontal dimensions such as CinemaScope or Panavision. A positive film print which is created for the express purpose of being projected in a theatre. This generally pertains for a color which has been defined for correction with a secondary color corrector. A machine which is used for transferring motion picture film to video. It is time code which is recorded in the vertical blanking area of the signal. VGA: Vignette: VITC: VTR: W Waveform Monitor: Widescreen: Window Dub: Work Print: WYSIWYG: An offshoot of the standard Oscilloscope and is used for monitoring a video signal. A term which is short for “What You See Is What You Get”. It is a test film used widely in telecine suites.CHAPTER 20 GLOSSARY T TAF: Tail: Technicolor: Telecine: Theatrical Release Print: Three Color Meter: Tint: An abbreviation for “Telecine Analysis Film”. A term which is applied to a dark circular mask. A term which is applied to a one light print that is to be used for editing. An abbreviation for Video Tape Recorder. This term stands for Vertical Interval Time Code. A term which is applied to a graphics display format. A term which is applied to the end of a roll of film. A form of time code which is also known by many as VITC.

X X-axis: XGA: This refers to the horizontal repositioning of an image or shape. This is also known as YUV. Yellow. An abbreviation for the colors. The Y is the luminance information and the Cr and Cb are the chrominance information. Cyan and Magenta. GLOSSARY 302 . Y Y-axis: YCM: YCrCb: A term which is applied to the vertical adjustment of an image or shape. An abbreviation for Extended Graphics Array.

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