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– Video format: Lets you choose a video standard combination of frame size and frame rate to be
output via your connected video output interface.
– Video connection checkboxes: Lets you choose the signal standard to output from your
connected video output interface to the video monitor. Make sure to choose a standard that’s
supported by both your video interface and your monitor. The options are:
– Use 4:4:4 SDI: A signal path for monitoring image data to monitors that supports 4:4:4 chroma
sampling, typically over SDI connections.
– Use Level A for 3Gb SDI output: A signal path for monitoring image data via a single 3 Gb/s
SDI connection.
– Use dual outputs on SDI output: All DaVinci Resolve systems can generate a side-by-side
display that can be sent to a Stereoscopic monitor via the HD-SDI output of an UltraStudio 4K
or DeckLink card. When dual SDI 3D monitoring is enabled, each eye is output separately
at full resolution. In this mode, split-screen wipes and cursors will not be visible on
the grading monitor.
– SDI Configuration: Lets you choose from among Single Link, Dual Link, and Quad Link SDI,
depending on what your display supports.
– Data Levels: This setting only affects the data levels being output via the video interface that
connects the DaVinci Resolve workstation to your external display. It has no effect on the
data that’s processed internally by DaVinci Resolve, or on the files written when you render in
the Deliver page. It is imperative that the option you choose in DaVinci Resolve matches the
data range to which your external display is set. Otherwise, the video signal will appear to be
incorrect, even though the internal data is being processed accurately by DaVinci Resolve.
There are two options:
– Video: This is the correct option to use when using a broadcast display set to the Rec. 709
video standard.
– Full: If your monitor or projector is capable of displaying “full range” video signals, and you wish
to monitor the full 10-bit data range (0–1023) while you work, this is the correct option to use.
For more information about data levels, see Chapter 9, “Data Levels, Color Management,
and ACES.”
– Retain sub-black and super-white data: Turning this checkbox on lets DaVinci Resolve output the
undershoots (sub-black) and overshoots (super-white) within the headroom of video encoded data
levels to video. When this is turned off, these out-of-bounds values are clipped in video output.
– Video bit depth: Choose the bit depth that corresponds to the capability of your display. You can
choose between 8-bit and 10-bit. Monitoring in 10-bit is more processor intensive, but preferable
to avoid the appearance of banding that may not in fact be in the image data being processed by
DaVinci Resolve.
– Monitor scaling: Defaults to basic, and is only enabled to smooth the edges of video being viewed
on a projector with very large screens. These settings minimize high frequency artifacts that may
be seen. This may also be noticeable if you have a 2K or HD project but are monitoring on an SD
monitor. The other option, Bilinear, has different effects on the monitored image depending on
your display device, so you may need to check to verify that it’s appropriate for your environment.
– Use Rec601 Matrix for 4:2:2 SDI output: Don’t use this checkbox unless you know what it does.
You know who you are.
– Enable HDR metadata over HDMI: (only available in Studio version) Turning on this checkbox
outputs the metadata necessary to send High Dynamic Range signals over HDMI 2.0a and
have it be correctly decoded by an HDR-aware video display. When this checkbox is enabled,
it’s recommended to also enable the “HDR mastering is for X nits” checkbox in the Color
Management page, and set the “nit” level (slang for cd/m2) to whatever peak luminance level your
HDMI connected HDR display is capable of.
Chapter 6Project Settings 124
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