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Blackmagic Design DV/RES/BBPNLMIC User Manual
Page 3364
Blackmagic Design DV/RES/BBPNLMIC DaVinci Resolve Micro Panel with Resolve Studio Software
User Manual - Page 3364
For DV/RES/BBPNLMIC.
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Contents
Getting Started
PART 1 – DaVinci Resolve Interface
Introduction to DaVinci Resolve
The Project Manager
Preferences and Project Settings
Individual Preferences and Settings Based on Login
Preferences
System Preferences
User Preferences
Project Settings
Switching Among Pages
Minimizing the Resolve Page Bar
Switching Pages Using Keyboard Shortcuts
Hide Pages You Don’t Use
Hide Page Navigation Altogether
The Media Page
The Media Storage Browser
Viewer
Media Pool
Metadata Editor
Audio Panel
The Cut Page
The Media Pool
The Viewer
Audio Meter
The Timeline
The Edit Page
The Media Pool
Effects Library Browsing
Edit Index
Source/Offline and Timeline Viewers
Inspector
Toolbar
Timeline
Floating Timecode Window
Motion Graphics and Visual Effects in DaVinci Resolve
VFX Connect
The Fusion Page
The Work Area
Viewers
Toolbar
Effects Library
Node Editor
Inspector
Thumbnail Timeline
Media Pool
Status Bar
The Console
The Color Page
Viewer
Gallery
Node Editor
Timeline
Left Palettes
Center Palettes
Keyframe Editor
The Fairlight Page
The Audio Timeline
Toolbar
Mixer
Dedicated Channel Strip Controls
The Monitoring Panel
Floating Timecode Window
The Deliver Page
The Render Settings List
The Deliver Page Timeline
The Viewer
The Render Queue
Using the DaVinci Resolve User Interface
Basic Documentation Terminology
What Is the “UI” or “GUI”
What Is “the Pointer”
About Keyboard Shortcuts
Customizing the DaVinci Resolve Interface
Working Full Screen vs. Within a Floating Window
Panels and Panel Focus
Showing and Hiding Panels Using the Interface Toolbar
Showing and Hiding Panels in the Workspace Submenu
Adjusting the Size of Different Panels
Using Single vs. Dual Monitor Layouts
Video Clean Feed
Saving Custom Screen Layouts
Resetting to the Default Layout
Undocking Specific Panels of the Interface
DaVinci Resolve User Interface Conventions
Contextual Menus
Drop-down Menus
Adjusting Parameters
Using a Mouse or Other Input Device
Mouse, Trackpad, and Tablet Behaviors
Timeline Scroll Behavior
Viewer Behavior
Keyboard Shortcuts
Undo and Redo in DaVinci Resolve
PART 2 – Setup and Workflows
Managing Projects and Databases
Using the Project Manager
Project Management
Importing DaVinci Resolve Projects (.DRP Files)
Project Manager View Options
Searching for Projects
Organizing Projects in Folders
Managing Databases with the Databases Sidebar
Opening the Databases Sidebar
Moving Projects From One Database to Another on the Same Workstation
Managing Databases in the Databases Sidebar
Legacy User Organization in the Databases Sidebar
Saving Projects
Live Save
Project Backups
Project Notes
Dynamic Project Switching
Archiving and Restoring Projects
System and User Preferences
DaVinci Resolve Preferences
Adjusting Preferences
Individual Preferences and Settings Based on Login
Resetting Preferences
System
Memory and GPU
Media Storage
Decode Options
Video & Audio I/O
Video Plug-ins
Audio Plug-ins
Control Panels
General
Internet Accounts
Advanced
User
Saving User Preference Presets
UI Settings
Project Save and Load
Editing
Color
Fairlight
Playback Settings
Control Panels
Metadata
Keyboard Customization
Choosing Keyboard Shortcut Emulation Presets
Viewing Commands Assigned to Specific Key Combinations
Searching for Keyboard Shortcuts
Managing Keyboard Mappings
Remapping a Command to One or More Keys
DaVinci Control Panels Setup
DaVinci Control Panels Setup
DaVinci Control Panels Setup Layout
Using DaVinci Control Panels Setup
Firmware
Ethernet Connection
Settings
Project Settings
What Are the Project Settings?
Opening and Editing Project Settings
Presets
Master Settings
Timeline Format
Video Monitoring
Optimized Media and Render Cache
Working Folders
Frame Interpolation
Image Scaling
Image Scaling
Input Scaling
Output Scaling
Color Management
Color Space and Transforms
Dolby Vision™
HDR10+
Lookup Tables
Broadcast Safe
General Options
Conform Options
Color
Dynamics Profile
Versions
Camera Raw
Capture and Playback
Deck Settings
Capture
Playout
Subtitles
Fairlight
Audio Metering
Immersive Audio
Camera Raw Settings
Camera Raw Decoding Explained
Camera Raw Project Settings
Camera Raw Image Inspector
ARRI ALEXA
Master Settings
Project Settings
Use Camera Metadata
Blackmagic RAW
BRAW Sidecar Metadata Files
Master Settings
Project Settings
Use Camera Metadata
Canon RAW
Master Settings
Project Settings
Use Camera Metadata
CinemaDNG
Master Settings
Project Settings
Use Camera Metadata
Panasonic Varicam RAW
Master Settings
Project Settings
Use Camera Metadata
Phantom Cine
Master Settings
Project Settings
RED
Master RED Settings
Master
Project Settings
Decoder Settings
Use Camera Metadata
Sony RAW
Master Settings
Project Settings
Use Camera Metadata
Improving Performance, Proxies, and the Render Cache
Understanding the GPU Status Display
Prioritizing Audio or Video Playback in the Edit Page
Performance Mode Improves Overall Performance
Adjusting Performance Mode
Timeline Proxy Mode Improves Effects Performance
Reducing Decode Quality Improves Raw Media Performance
Optimized Media Improves Overall Performance
Creating Optimized Media
Optimized Media for Raw Source Clips
Customizing the Type of Optimized Media You Create
Switching Between Optimized and Original Media
Sharing Optimized Media Between Projects
Rediscovering Lost Optimized Media
Deleting Optimized Media
Using Optimized Media for Delivery
Using the Smart or User Cache Improves Effects Performance
How Cached Media Is Organized
Choosing a Cache Format and Location
When Caching Happens
The Difference Between the Smart Cache and User Cache Modes
Manually Controlling the Cache
Controlling Fusion Output Caching
Controlling Node Caching
Controlling Color Output Caching
Controlling Edit Page Filter Caching
Clearing Cached Media
Using Cached Media When Rendering in the Deliver Page
Using Proxy Media
Creating and Using Proxy Media
Generating Proxy Media in Other Applications
Managing Proxy Media
Using Proxy Files for Delivery
Moving Proxies Using a DaVinci Resolve Archive (.dra)
Working Remotely Using Proxy Media
Proxy Media vs. Other Playback Optimizations in DaVinci Resolve
Using Optimized Media, Proxy Media, and Caching Together
Which Playback Optimization Method Should I Use?
Other Project Settings That Improve Performance
Data Levels, Color Management, and ACES
Data Levels Settings and Conversions
Converting Between Ranges and Clipping
Internal Image Processing and Clip Data Levels
Assigning Clip Levels in the Media Pool
Video Monitoring Data Levels
Deck Capture and Playback Data Level
Output Data Level Settings in the Deliver Page
So, What’s the “Proper” Data Range for Output?
Introduction to DaVinci Resolve Color Management
Display Referred vs. Scene Referred Color Management
Updated RCM In DaVinci Resolve 17
Resolve Color Management for Editors
The Input, Timeline, and Output Color Space
The RCM Image Processing Pipeline
Identifying the Input Color Space of Different Clips
Simple RCM Setup
Automatic Color Management
Resolve Color Management Presets
Output Color Space
Advanced RCM Setup
Single Setting vs. Dual Setting RCM
Setting the Input Color Space
Choosing a Timeline Color Space
Timeline Working Luminance
203 Nit Support for SDR to HDR
Gamut Limiting, Restricting Values Within a Larger Gamut
Input DRT Tone Mapping
Output DRT Tone Mapping
Use Inverse DRT for SDR to HDR Conversion
Use White Point Adaptation
Color Space Aware Grading Tools
Apply Resize Transformations In
Graphics White Level
Display HDR On Viewers If Available
HDR Mastering Is For (Studio Version Only)
Resolve Color Management and the Fusion Page
Ability to Bypass Color Management Per Clip
Exporting Color Space Information to QuickTime Files
Color Management Using ACES
Setting Up ACES in the Project Settings Window
The Timeline Color Space in ACES Workflows is Fixed
Tips for Rendering Out of an ACES Project
HDR Setup and Grading
High Dynamic Range (HDR) Grading in DaVinci Resolve
HDR Isn’t Just for Televisions
The Different Ways of Mastering HDR
What Do I Do With HDR?
Analyzing HDR Signals Using Video Scopes
Dolby Vision®
Organizing Your Timeline for Dolby Vision Mastering
Letterboxing for Dolby Vision Mastering
Setting Up Color Management for Dolby Vision Mastering
Choosing Mastering Displays for Dolby Vision
Using the Dolby Vision Internal Content Mapping Unit (iCMU)
Simultaneous Master and Target Display Output for Dolby Vision
External Content Mapping Unit (eCMU) for Dolby Vision
Auto Analysis is Available to All Studio Users
Licensing DaVinci Resolve to Expose Dolby Vision Trim Controls
Dolby Vision® Trim Controls in DaVinci Resolve
Previewing and Trimming At Different Levels
Managing Dolby Vision Metadata
Setting Up Resolve Color Management for Grading HDR
DaVinci Resolve Grading Workflow For Dolby Vision
Delivering Dolby Vision
SMPTE ST.2084 and HDR10
Monitoring and Grading to ST.2084 in DaVinci Resolve
Connecting to HDR-Capable Displays using HDMI 2.0a
HDR10+™
Monitoring and Grading to ST.2084 for HDR10+
HDR10+ Grading Workflow
Simultaneous Master and Target Display Output for HDR10+
HDR10+ Auto Analysis Commands
Delivering HDR10+
Hybrid Log-Gamma (HLG)
Grading Hybrid Log-Gamma in DaVinci Resolve
Ouputting Hybrid Log-Gamma
Image Sizing and Resolution Independence
About Resolution Independence
Timeline Resolution
Mixing Clip Resolutions
Changing the Timeline Resolution
You Can Use Separate Timelines to Output Different Resolutions
You Don’t Need Separate Timelines to Output Different Resolutions
Using High Resolution Media in Lower Resolution Projects
Clip Source Resolution
Pixel Aspect Ratio (PAR)
Clip Resolution
The DaVinci Resolve Sizing Pipeline
“Super Scale” High Quality Upscaling (Studio Version Only)
Fusion Effects and Resolution
Image Scaling
Edit Sizing in the Cut and Edit pages
Image Stabilization
Input Sizing on the Color Page
Node Sizing on the Color Page
Output Sizing on the Color Page
Output Blanking
Format Resolution on the Delivery Page
Rendering Sizing Adjustments and Blanking
Data Burn-In
Data Burn-In
Project vs. Clip Mode
Setting Up Burned-In Metadata
Saving and Loading Burn-In Presets
Data Burn-In Metadata
Custom Output Options
Gang Rendered Text Styles
Prefix Render Text
Frame.io & Dropbox Replay Integration
Enabling Frame.io Integration in Preferences
Deliver and Upload to Frame.io
Frame.io Comments Sync with Timeline Markers
Importing Media from Frame.io
Linking Media Pool Clips and Timelines with Frame.io Clips
Enabling Dropbox Replay Integration in Preferences
Deliver and Upload to Dropbox Replay
Dropbox Replay Comments Sync with Timeline Markers
Working With Dropbox Markers
Resolve Live
More About Resolve Live
Configuring Your System for Resolve Live
Grading Live
Getting Started
Going Live
Using Freeze
Using Snapshot
Using Resolve Live Grades Later
Using LUTs in Resolve Live Workflows
Stereoscopic Workflows
Stereoscopic Workflows
Hardware Requirements for Working in Stereo 3D
Setting Up to Display Stereo 3D via SDI
Setting Up to Display Stereo 3D via HDMI
Supported Stereo 3D Media
Using Dual Sets of Media in Any Supported Format
Using Stereoscopic OpenEXR Media
Using Stereoscopic CineForm Media
Creating Stereo 3D Clips From Separate Files
Step 1—Import and Organize Your Media
Step 2—Generate 3D Stereo Clips
Step 3—(Optional) Create Optimized Media
Monitoring Stereoscopic 3D in the Edit Page
Converting Clips Between Stereo and Mono
Converting Stereo Clips Back to Mono
Converting Mono Clips or an Entire Timeline to Stereo
Attaching Mattes to Stereo 3D Clips
Organizing and Grading Stereo 3D Dailies
Step 1—Create 3D Stereo Clips
Step 2—Edit the New Stereo Clips Into One or More Timelines for Grading
Step 3—Align Your Media
Step 4—Grading Stereo Media
Step 5—Output Offline or Online Media for Editing
Conforming Projects to Stereo 3D Media
Grading Mastered Stereoscopic Media From Tape
Adjusting Clips Using the Stereo 3D Palette
Stereo Eye Selection
Stereo 3D Geometry Controls
Swap and Copy Controls
Automatic Image Processing for Stereo 3D
Stereo 3D Monitoring Controls
Floating Windows
Stereo Controls on the DaVinci Control Panel
Outputting Stereo 3D Media in the Deliver Page
Rendering Frame-Compatible Media
Rendering Individual Left- and Right-Eye Clips
Using Variables and Keywords
Using Metadata Variables
Where Variables Can Be Used
How to Edit Metadata Variables
Available Variables in DaVinci Resolve
Using Keywords
PART 3 – Ingest and Organize Media
Using the Media Page
Understanding the Media Page User Interface
The Interface Toolbar
Showing Which Panel Has Focus
The Media Storage Browser
Playing Media in the Media Storage Browser
The Media Storage Browser’s Volume List
The Media Storage Browser Area
Revealing a Finder Location in the Media Browser
Viewer
Live Media Preview
Media Pool
The Bin List
Showing Bins in Separate Windows
Bins, Power Bins, and Smart Bins
Filtering Bins Using Color Tags
Sorting the Bin List
Thumbnail, List, and Metadata Views in the Media Pool
Display Audio Clip Waveforms in Media Pool and Media Storage
Metadata Editor
Audio Panel
Dual Monitor Layout
Customizing the Media Page
Undo and Redo in DaVinci Resolve
Adding and Organizing Media with the Media Pool
Copying Media Using the Clone Tool
Adding Media to the Media Pool
Basic Methods for Adding Media in the Media Page
Adding Subclips From the Media Storage Panel
Adding Individual Frames From Image Sequences
Adding Media Based on EDLs
Splitting Clips Based on EDLs
Import Clips With Metadata Via Final Cut Pro 7 XML
Adding Media With Offset Timecode
Adding Media to the Cut, Edit, Fusion, and Fairlight Pages
Removing Media From the Media Pool
Adding and Removing External Mattes
What Are Mattes For?
Adding Mattes
Using Embedded Mattes in OpenEXR Files
Adding Offline Reference Movies
Extracting Audio in Media Storage
Manually Organizing the Media Pool
To Select Clips in the Media Pool
Organizing Media into Bins
Import and Export DaVinci Resolve Project Bins (.drb)
Import and Export DaVinci Resolve Timelines (.drt)
Sharing Media Among Projects Using Power Bins
Automated Organization Using Smart Bins
Smart Bins Are Only As Good As Your Metadata
Smart Bins Update Their Contents Dynamically
Automatic Smart Bin Creation
Manual Smart Bin Creation
Organizing Smart Bins
Duplicating Clips in the Media Pool
Duplicating Timelines
Choosing How to Display Bins
Showing Bins in Separate Windows
Using the Media Pool in Thumbnail View
Working With Columns in List View
Editable Description and Comments Columns
Using Metadata View in the Media Pool
Finding Clips, Timelines, and Media
Finding Clips and/or Timelines Within the Media Pool
Finding Synced Audio
Finding Timeline Clips in the Media Pool
Finding Timelines in the Media Pool
Finding Media in the Media Storage Panel and Finder
Going Immediately to a File System Location in the Media Browser
Tracking Media Usage
Thumbnail Clip Usage Indicators
List View Clip Usage Column
Relinking Media Simply
Relink Media
Relink Selected Clips
Change Source Folder
Using Clip Metadata
Editing Clip Metadata
Automatically Imported Metadata
Using the Metadata Editor
Editing Keywords
Editing Metadata Using the File Inspector
Face Detection to Generate People Keywords
Creating Custom Metadata Groups
Importing and Exporting Media Pool Metadata
Different Ways of Using Clip Metadata
Renaming Clips Using Clip Names
Switching Between File Names and Clip Names
Using Metadata to Define Clip Names
Using the Inspector in the Media Page
Using the Inspector
Adjusting Media Pool Clips in the Inspector
Video
Audio
Image
File
Syncing Audio and Video
Syncing Audio to Video
Syncing Audio to Video Using Timecode
Syncing Audio to Video by Matching Waveforms
Manually Syncing Audio to Video
Offsetting the Sync of Previously Synced Clips
Finding Synced Audio Files
Displaying Synced Audio File Names on the Timeline
Modifying Clips and Clip Attributes
Adjusting Media Pool Clips in the Inspector
Changing Clip Attributes
Video Attributes
Real-Time 3:2 Pulldown Removal
Audio Attributes
Timecode Attributes
Reel Name Attributes
Update Timecode from Audio – LTC
Changing Clip Thumbnails in the Media Pool
Creating Subclips
Removing or Changing Subclip Limits
Organizing Stereo 3D Media
Camera Raw Decoding
Using Scene Detection
Scene Cut Detection on the Timeline (Studio Version Only)
Scene Detection in the Media Pool
The Scene Detect Window Interface
The Scene Detect Viewers
The Scene Detect Graph
Cut List
The Scene Detect Options Drop-down Menu
An Example Scene Detect Workflow
Ingesting From Tape
Tape Ingest
The Tape Capture Interface
Setting Up to Capture From Tape
Deck Settings
Capture
The Three Methods of Capture
Using Capture Now
Logging and Capturing Individual Clips
Logging and Capturing Multiple Clips
Batch Capture Via EDL
Capturing From the Cintel Film Scanner
Controlling the Cintel Film Scanner
The Cintel Scanner Interface
Film Scanning Workflows
Adjusting the Color of the Scanner
Scanning One or More Sections of Film
Extracting Audio
Audio Extraction Settings
Color Space and Sizing
PART 4 – The Cut Page
Using the Cut Page
Overview of the Cut Page
Overview of the Cut Page User Interface
Customizing the UI
Choose Settings Before You Start
Timeline Resolution Quick Menu
The Media Pool
The Viewer
Playing Clips and Navigating the Timeline
Tools
Bypass Color Grades and Fusion
Audio Meter
The Timeline
Upper Timeline
Lower Timeline
Tracks
Gaps
Timeline Controls
Undo and Redo in DaVinci Resolve
Importing and Organizing Media in the Cut Page
Importing Media
Removing Media
Organizing Media into Bins
Master Bin
Creating and Using Bins
Opening Bins
Create Bin With Selected Clips
Renaming Bins
Import and Export Specific DaVinci Resolve Project Bins
Import and Export Individual DaVinci Resolve Timelines
ATEM Switcher Integration
Importing ATEM Mini Pro ISO Projects
Relinking Blackmagic Camera Masters to ATEM ISOs
Media Pool Views
Metadata View
Thumbnail View
Filmstrip View
List View
Sorting and Searching
Searching
Navigable Clip Paths
Sort Media By
Finding Timeline Clips in the Media Pool
Clip Color
Generate Optimized Media
Relinking Media
Relink Media
Relink Selected Clips
Fast Editing in the Cut Page
Creating and Modifying Timelines
Creating New Timelines
Opening Timelines
About Tracks in the Cut Page Timeline
Adding Tracks
Deleting Tracks
Navigating Clips in the Viewer and Timeline
Viewer Options
Full Screen Viewer
Playing Clips and Navigating the Timeline in the Viewer
Scrolling Through the Timeline
Smart Reframe (Studio Version Only)
The Boring Detector
Setting In and Out Points
Setting In and Out Points Using the Keyboard
Setting In and Out Points Using the Pointer
Editing the Duration Field in the Cut Page Viewer
Change Clip Duration Dialog
Video Only and Audio Only Edits
Drag and Drop Editing
Append
Ripple Overwrite
Overwrite
Using Cut Page Edit Commands
Smart Indicators
Setting Up and Performing Edits
Smart Insert
Append
Ripple Overwrite
Close Up
Place On Top
Source Overwrite
Overwrite
Source Tape Editing
Metadata Entry Using the File Inspector
Using the Source Tape
Limiting the Source Tape Scope by Folder Structure
Sync Bin Multicam Editing
Preparing Footage for Sync Bin Editing
Sync Clips Window
Sync Bin Editing
Trimming in the Cut Page
Tools That Help You Work in the Timeline
Snapping
Locking, Muting and Disabling Tracks
Audio Trim View
Timeline Markers
Add Track
Making Selections
Moving Clips in the Timeline
Ripple Overwriting An Entire Clip in Track 1
Overwriting the Middle of Other Clips
Overwriting The Edges of Other Clips
Swapping Clips
Copy, Cut, and Paste
Splitting Clips
Disabling and Deleting Clips
Disabling and Muting Clips
Deleting Clips
Deleting Parts of Clips
Trimming Clips
Resize Clips While Rippling the Timeline
Rolling an Edit
Slipping Clip Content
Trimming Edits in the Viewer
Trimming Transitions in the Viewer
Using the Inspector in the Cut Page
Using the Inspector
Video
Audio
Effects
Transition
Image
File
Video and Audio Effects in the Cut Page
Adding Transitions
Adding Dissolves
Adding Dissolve Using Keyboard Shortcuts
Changing a Transition to a Cut
Adding Smooth Cuts
Adding Other Kinds of Transitions
Editing and Removing Transitions
Titles
Adding Titles
Editing Titles
Adding Resolve FX and Other Plug-ins
Video Effects
Audio Effects
Generators
Clip Tools
Shared Controls
Transform
Crop
Dynamic Zoom
Composite
Speed
Stabilization
Lens Correction
Color
Audio
Quick Export
Quick Export
Customizing Quick Export
PART 5 – Edit
Using the Edit Page
The Edit Page User Interface
Navigating the Edit Page
Showing Which Panel Has Focus
The Media Pool
Importing Media Into the Media Pool on the Edit Page
Bins, Power Bins, and Smart Bins
Showing Bins in Separate Windows
Filtering Bins Using Color Tags
Sorting the Bin List
More About Timelines and Grading
Timelines, Grades, and Versions
Enabling the Use of a Master Timeline
Using the Effects Library
The Toolbox
OpenFX
Audio FX
Effects Library Favorites
Edit Index
Navigating the Timeline Using the Edit Index
Edit Index Columns
Filtering the Edit Index
Exporting the Edit Index
Source and Timeline Viewers
How Each Clip’s Grade Looks in Each Viewer
Source and Timeline Viewers vs. Single Viewer Mode
Viewer Controls
Simultaneous Audio Waveform Display in the Source Viewer
Cinema Viewer Mode
Viewer Indicators
Other Viewer Options
Fast Review in the Timeline Viewer
Opening Clips in the Source Viewer
Timeline Viewer Edit Overlays
Copy and Paste Timecode in Viewer Timecode Fields
Metadata Editor
Inspector
Timeline
Timeline Options
Switching Among Multiple Timelines
Toolbar
Toolbar Audio Monitoring Controls
The Mixer and Meters
Displaying Audio Meters
Using Video Scopes
Floating Timecode Window
Dual Monitor Layout
Customizing the Edit Page
Undo and Redo in DaVinci Resolve
Creating and Working with Timelines
Keyboard Shortcuts in This Chapter
Creating and Duplicating Timelines
Individual Timeline Settings for Format, Monitoring, and Output
Creating Blank and Stringout Timelines
Creating Timelines by Drag and Drop
Creating Timelines From Bins and Selections
Creating Timelines Using an IMF or DCP Composition Playlist (CPL)
Duplicating Timelines
Disabling Timelines
Timeline View Options
Modifying Timeline Tracks
Naming Timeline Tracks
Using Timeline Snapping and Zooming
Zoom Around Mouse Pointer
Scrolling Through the Timeline
Scroll Wheel Controls on Timeline
Resizing the Timeline’s Video and Audio Track Regions
Tabbed and Stacked Timelines
Tabbed Timelines
Stacked Timelines
Duplicate Frame Detection
Comparing Timelines
The Timeline Comparison Window
Preparing Clips for Editing and Viewer Playback
Keyboard Shortcuts in This Chapter
Browsing Clips in the Media Pool
Selecting Clips in the Media Pool to Edit
Duplicating Clips in the Media Pool
Viewer Playback and Navigation
Source and Timeline Viewers vs. Single Viewer Mode
Opening Clips Into the Source Viewer to Prepare for Editing
Viewer Transport Controls
Simple Keyboard Shortcuts for Playback and Navigation
Using JKL to Control Playback
Special-Purpose Playback Commands
Option to “Stop and Go to Last Position”
Enabling and Disabling Audio Scrubbing
Playback Post-Roll
Moving the Playhead Using Timecode
How to Enter Timecode Values
Absolute Timecode Entry
Relative Timecode Entry
Copy and Paste Timecode in Viewer Timecode Fields
Gang Viewers (Playhead Ganging)
Adding Markers
Adding Markers to Clips
Setting In and Out Points
Setting Clip In and Out Points in the Media Pool
Setting Clip In and Out Points in the Source Viewer
Clearing and Navigating In and Out Points
Clip Edit Points Are Saved
Turning In and Out Points into Markers With Duration and Back Again
Organizing Media by Creating Subclips
Removing or Changing Subclip Limits
Editing Basics
Keyboard Shortcuts in This Chapter
Drag and Drop Editing
Drag and Drop Editing of Individual Clips Into the Timeline
Drag and Drop Editing of Several Clips Into the Timeline At Once
Drag and Drop Editing of Video-Only or Audio-Only Edits
Drag and Drop Insert Editing
Dragging Clips From the File System Into the Timeline
Inserting Multiple Clips into the Timeline From the Media Pool
Insert Selected Clips to Timeline Using Timecode
Insert Selected Clips to Timeline With Handles
Audio Track Creation While Editing
Using Keyboard Shortcuts and Three-Point Editing to Assemble a Program
Example: Assembling Clips Into the Timeline From the Source Viewer
Example: Assembling Clips Into the Timeline From the Media Pool
Making Selections in the Timeline
Manually Selecting Clips in the Timeline
Selecting Clips Based on Markers, Flags, and Clip Color
Selecting Edits in the Timeline
A Practical Example of Keyboard-Driven Selections
Using Auto Select Controls to Define Selections
Defining Selections With the Help of Auto Select Controls
Overriding Automatic Selections by Making Manual Selections
Using Auto Select Controls to Control Other Operations
Locking Tracks You Don’t Want to Change
Position Lock for Finishing
Position Locking All Tracks
Position Locking Individual Tracks
Disabling and Re-Enabling Clips in the Timeline
Deleting Clips and Gaps From the Timeline
Finding, Selecting, and Deleting Gaps in the Timeline
Deleting Multiple Timeline Gaps at Once
Audio/Video Linking
Controlling Linked Selection
Linked Move Across Tracks
Dealing with Audio Video Sync Offsets
Manually Unlinking and Relinking Audio and Video
Linking Multiple Clips in the Timeline
Commands for Slipping Audio/Video Sync
Using the Inspector in the Edit Page
Using the Inspector
Video
Audio
Effects
Transition
Image
File
Modifying Clips in the Timeline
Keyboard Shortcuts in This Chapter
Moving, Resizing, and Rolling Clips in Selection Mode
Trimming Gaps
Modifying Clip Duration Via Timecode
Resizing or Trimming Clips in the Source Viewer
Using the Selection Tool
Using the Trim Tool
Doing a Slip Edit in the Viewer
Shuffle/Swap Insert Edits
Splitting and Joining Clips
Through Edits
Enabling and Disabling Clips and Tracks
Copying and Pasting Clips in the Timeline
Paste Insert
Cut/Copy/Paste of Partial Clip Segments Using In and Out Points
Copying and Pasting Clips to a Different Track
Audio Channels When Copying and Pasting Audio Clips
Auto Align Clips
Duplicating Clips and Transitions in the Timeline
Smart Reframe (Studio Version Only)
Scene Cut Detection on the Timeline
Clean Up Video Tracks
Three- and Four‑Point Editing
Keyboard Shortcuts in This Chapter
Introduction to Three-Point Editing
Choosing a Track to Edit to Using Destination Controls
Setting In and Out Points in the Timeline
Mark Clip and Mark Current Selection
Preview Marks During Three‑Point Editing
Dragging Preview Marks to Change an Edit
The Rules of Three-Point Editing
Editing Rules for Split In and Out Points
Editing a Specific Range of the Source Clip Into the Timeline
Editing Part of a Source Clip to Fit Into a Specific Range of the Timeline
Backtiming a Source Clip When Editing Into the Timeline
Switch Focus to Timeline After Edit
Different Types of Three‑ and Four‑Point Edits
Overwrite Edits
Insert Edits
Replace Edits
Fit to Fill
Place on Top
Ripple Overwrite
Append at End
Insert Selected Clips to Timeline Using Timecode
Insert Selected Clips to Timeline With Handles
Three-Point Editing From the Media Pool
Example: Assembling Clips Into the Timeline From the Media Pool
Marking and Finding Clips in the Timeline
Using Flags
Using Markers
Adding Markers to Clips
Adding Markers to Timelines
Saving In and Out Point Ranges As Markers with Duration
Editing Marker Information and Keywords
Changing Marker Timing
Drawn Annotations on the Viewer
Frame.io Timeline Markers
Working With Frame.io Markers
Dropbox Replay Timeline Markers
Working With Dropbox Markers
Reading Marker Information
Using Markers for Navigation
Using Timeline Markers for Chapters
Exposing Markers in Lists
Using Markers in the Media Pool
Hiding Markers By Color
Deleting Markers By Color
Renaming Clips in the Timeline
Color Labeling Clips in the Timeline
Custom Clip Colors
Clip Color Appearance
Assigning Clip Colors
Track Colors
Finding Clips, Media, Markers, Gaps, and Timelines
Finding Clips in the Timeline
Finding Offline Clips in the Timeline
Finding Edit Index Events Using Clips in the Timeline
Finding Clips
Finding Clips Using Markers or Flags
Finding Gaps
Finding the Currently Open Timeline in the Media Pool
Finding Media Using Match Frame Operations
Matching From the Timeline
Matching From a Source Clip
Finding a Clip in the Media Pool Using a Timeline Clip
Using a Clip in the Source Viewer to Find a Media Pool Clip
Using a Clip in the Timeline to Find a Media Pool Clip
Tracking Media Usage
Thumbnail Clip Usage Indicators
List View Clip Usage Column
Multicam Editing
Introduction to Multicam Editing
Creating and Modifying Multicam Clips
Converting Compound Clips or Timelines to Multicam Clips
Logging and Editing Multicam Clips
Setting up a Timeline for Multicam Editing
Opening and Altering Multicam Clips
Performing a Multicam Edit
Multicam Controls in the Source Viewer
Multicam Keyboard Controls
Editing Multicam Clips in the Timeline
Grading Multicam Clips
Take Selectors, Compound Clips, and Nested Timelines
Take Selectors
Compositing and Grading Take Selectors
Compound Clips
Compositing With and Grading Compound Clips
Nested Timelines
Re-Editing a Nested Timeline
Swapping the Contents of the Source Viewer and Timeline
Editing Source Media From a Timeline or Compound Clip
Marking Clips in Timelines Loaded into the Source Viewer
Decomposing Nested Timelines
Compositing and Grading Nested Timelines
Audio Buses in Nested Timelines
Converting Compound Clips or Timelines to Multicam Clips
Trimming
Keyboard Shortcuts in This Chapter
Summarizing Trim Operations
Selection-Based Trimming Using the Trim Tool
How the Trim Tool Differs From the Selection Tool
Using the Trim Tool With the Mouse
Turning Off the Heads Up Display While You Trim
Trim Tool Operations With the Keyboard
Important Trimming Keyboard Shortcuts
Trimming Using Timecode Entry
How to Enter Timecode Values
Commands to Make Selections and Trim
Trimming Clips in the Source Viewer
Ripple Editing Rules
Using Auto Select Controls to Control Trimming
Using Auto Select to Control Which Clips Are Trimmed
Using Manual Selections to Control Which Clips Are Trimmed
Using Auto Select to Control Which Tracks Are Rippled
Trimming Multiple Edits or Clips at Once
Resizing and Rolling Multiple Edit Points
Rippling Multiple Edit Points
Asymmetric Trimming
Slipping Multiple Clips
Sliding Multiple Clips
Keyboard Trimming During Looped Playback
Dynamic JKL Trimming
Quick Trimming
Dynamic Trimming (or “JKL Trimming”)
Trim Operations that are Targeted Using the Playhead
Trim Start and Trim End
Resize, Ripple, and Roll Start and End Commands
Slip and Slide Playhead to In and Out Commands
Extend Edits
Working with Audio in the Edit Page
Audio in the Edit vs. Fairlight Pages
Compatible Audio Formats
Assigning Audio Channels in the Media Pool
How to Assign Audio Channels
Support for Mixed Audio Track Formats from Source Clips
Editing Audio Into the Timeline
Editing Audio Using the Source Viewer
Simultaneous Audio Waveform Display in the Source Viewer
Using Multi-Channel Timeline Tracks
Creating Timelines With Audio Mixer Presets
Editing Audio Clips Into the Timeline
Changing Audio Clip Attributes After Editing
Displaying Waveforms in the Timeline
Editing Audio In the Timeline Using In and Out Points
Resizing Audio Clips in Subframe Increments
Enabling and Disabling Subframe Editing
Subframe Editing of In and Out Points
Eliminating Subframe Audio Edits
Audio Settings in the Inspector
Setting Volume
Adjusting Audio in the Inspector
Adjusting Audio in the Timeline
Adjusting Volume Using Keyboard Shortcuts
Normalize Audio Volume Command
Pan
Pitch
Equalizer
Master EQ Controls
Graphical EQ controls
Bands 1 and 4
Bands 2 and 3
Keyframing Audio
Overlay Controls for Volume
How to Add and Adjust Volume Keyframes
Audio Fade Handles
Audio Crossfades
The Audio Mixer
Audio Mixer Controls
Mute and Solo Tracks For Output
Displaying Audio Meters
Audio Compound Clips
Audio Playback for Variable Speed Clips
Using Audio Filters
Installing Audio Filters
The Fairlight Page
Pro Tools Export
Media Management
What Is Media Management in DaVinci Resolve?
Media Management of Timelines Creates .drt Files
File Formats That Are Compatible With Media Management
Using Media Management
Continuing Media Management Jobs on Error
Options in the Media Management Window
Options for Transcode Only
File Naming When You Consolidate Media
PART 6 – Editing Effects and Transitions
Editing, Adding, and Copying Effects and Filters
Using the Effects Library
The Toolbox
Open FX
Audio FX
Effects Library Favorites
Converting Fusion Compositions to Edit Effects
Seeing Effects in the Timeline
Using the Inspector
Inspector Effects Controls
Adding Filters to Video Clips
Render in Place
Adjusting Multiple Clips at the Same Time
Adjustment Clips
Paste Attributes
Keyframe Options for Pasting Keyframed Attributes
Option to Ripple the Timeline for Pasting Speed Effects
Remove Attributes
Using Transitions
Working With Transitions
Previewing Transitions
Adding and Editing Transitions
Adding Transitions When There’s Not Enough Handles
Adding Transitions By Dragging to Create Overlap
Transition Properties in the Inspector
Using Transition Curves in the Edit Page
Favorite Transitions
Changing the Standard Transition
Creating Transition Presets
Changing Transitions to Fusion Compositions
Video Transitions
Dissolve
Iris
Motion
Shape
Wipe
User Transitions
Fusion Transitions
Resolve FX Transitions
Burn Away Transition
DCTL Transition
Audio Transitions
OpenFX Transitions
Titles, Generators, and Stills
Adding Titles
Using Safe Area Overlays
Custom Action and Title Safe Areas
Types of Title Generators
DaVinci Resolve Title Generators
Editing Titles Within the Timeline Viewer
Title Generator Panels
Shared Title Generator Parameters
Title Generator Settings Parameters
The Text+ Title Generator
Fusion Titles and Fusion Templates
Saving Titles in the Media Pool for Future Use
Using Generators
ITU-R BT.2111-1 Color Bar Generators
Fusion Generators
Using Stills
Photoshop File Support
Using the DaVinci Resolve Speed Editor and Editor Keyboard
Introducing the DaVinci Resolve Speed Editor
Connecting the Speed Editor via USB-C
Charging the Speed Editor
Updating the Speed Editor Firmware
Troubleshooting the Speed Editor via USB
Connecting the Speed Editor via Bluetooth
Troubleshooting the Speed Editor via Bluetooth
Resetting the Speed Editor
Using the Speed Editor Keys
Navigation Using the Search Dial
Intelligent Keyboard Edit Modes
Search Dial Live Trimming Tools
Transition Keys
Function Keys
Sync Bin Multi Camera Selection
Live Overwrite Mode
Introducing the DaVinci Resolve Editor Keyboard
Connecting the Editor Keyboard via USB-C
Updating the Editor Keyboard Firmware
Navigation Using the Search Dial
Sort Media Pool Keys
Editorial Tools
Trimming Tools
Transition Keys
Function Keys
Timecode Entry
QWERTY Keyboard Commands
Editor Keyboard Function (Fn) Key Map
Using the Speed Editor and Editor Keyboard In Other DaVinci Resolve Pages
Using the Keyboards in the Media Page
Using the Keyboards in the Fusion Page
Using the Keyboards in the Color Page
Using the Keyboards in the Fairlight Page
Using the Keyboards in the Deliver Page
Compositing and Transforms in the Timeline
Composite Modes and Transparency Effects
More About Composite Modes
Opacity
Video Fader Handles
Fade In and Out to Playhead Commands
Alpha Channel Support
Keying in the Timeline Using Resolve FX
Setting Up a Green Screen (Chroma Key) on the Timeline
Using Resolve FX and Open FX Alpha for Track Compositing
Transform and Cropping in the Video Inspector
Transform
Smart Reframe (Studio Version Only)
Cropping
Dynamic Zoom
Stabilization
Lens Correction
Retime and Scaling
Onscreen Controls for Transform, Crop, and Dynamic Zoom
Object Snapping in the Viewer
Using Onscreen Controls
Speed Effects
Speed Effects and Retiming
Creating Freeze Frames
Creating Simple Linear Speed Effects
Speed Change Controls in the Video Inspector
Clip Retiming Controls
Retiming an Entire Clip
Rippling or Overwriting the Timeline When Using Retime
Reading Clip Speed Arrows
Creating Variable Speed Effects Using the Retime Controls
Closing Retime Controls
Using Retime Curves
Speed Effect Processing
Optical Flow Quality Settings Affecting Speed Effects
Subtitles and Closed Captioning
Subtitles and Closed Captioning Support
Viewing Subtitle/Caption Tracks
Adjusting QC Thresholds For Subtitle/Caption Timing
Importing Subtitles and Captions
Adding Subtitles and Captions Manually
Editing Subtitles and Captions
Styling Subtitles and Captions
Linking Subtitles to Clips
Using Subtitles in Nested Timelines
Naming Subtitle Tracks
Exporting Subtitles and Closed Captions
Exporting Subtitles Via the File Menu
Exporting Subtitles Via the Subtitle Track Header
Exporting, Burning, or Embedding Subtitles During Delivery
Keyframing Effects in the Edit Page
Keyframing Effects in the Edit Page
Keyframing in the Video Inspector
Keyframing Motion Paths in the Timeline Viewer
Keyframing in the Edit Timeline and Curve Editor
The Keyframe Editor
The Curve Editor
Keyframable Open FX and Resolve FX
VFX Connect
Using VFX Connect
How Clips are translated into Node Trees
Altering VFX Connect Clips
Creating Multiple Versions of Fusion Clips
Switching Versions of VFX Connect Clips in DaVinci Resolve
Sending a VFX Connect Directory to Another Machine
Creating Multiple Versions of Fusion Clips on Another Machine
Updating VFX Connect Clips Using Render Media and Refresh
PART 7 – Import and Conform Projects
Preparing Timelines for Import and Comparison
Preparing to Move Your Project to DaVinci Resolve
Move Clips to the Lowest Video Track
Organize Unsupported Media Files
Creating an Offline Reference Movie
Mixed Frame Sizes and Mixed Codecs
Mixed Frame Rates
Importing Effects when Conforming Edits
About Supported Color Corrections
About Supported Transitions
Transition Names
About Supported Opacity, Position, Scale, and Rotation Settings
About Flip and Flop Support
Pitch and Yaw
About “Ken Burns Effect” and Dynamic Zoom
About Speed Effects
About Nested Sequences and Compound Clips
About Supported Composite Modes
About Supported Still Image Formats
About Supported Alpha Channels
About Imported Text Effects
About Imported Audio in AAF Projects
Verifying Imported Timelines Using Offline References
Why Set Up An Offline Comparison?
Assigning a Clip or Timeline for Offline Comparison
Setting Up an Offline Reference/Timeline Comparison
Conforming and Relinking Clips
Conforming and Relinking Media
Conforming and Relinking During Project Import
Conforming and Relinking Existing Timelines and Clips
The Difference Between Unlinked and Missing Clips
Duplicate Clips are Considered Separate Sources
Summary of Methods for Conforming and Relinking
Unlinking Clips
Conforming Clips During XML and AAF Import
Importing Clips Before Importing an EDL, AAF, or XML
Essential Clip Metadata for Easy Conforming and Relinking
Defining Clip Metadata When Adding Media to the Media Pool
How Reel Names Are Identified
Conform Missing Clips by Importing Their Source Media
Using the Import Additional Clips Command
Using Conform Lock As a Command
Relinking Clips to Media Files on Disk
Using “Change Source Folder” to Relink Clips
Using the “Reconform From Bins” Command
Using Reconform From Media Storage
Understanding, Fixing, and Using Reel Conflicts
Using Clip Conflicts as a Conform Tool
Resolving Clip Conflicts
Re-editing Media Directly to the Timeline
How Grades Are Linked to Multiple Timelines
Creating Digital Dailies for Round Trip Workflows
Step 1–Ingest Media and Add/Edit Metadata
Step 2–Sync Audio to the Dailies
Step 3–Do Whatever Grading is Necessary
Step 4–Export Media Suitable for Editing
Step 5–Reconform Media to an EDL, AAF, or XML Project File
Step 6–Output Final Media for Finishing
Conforming XML Files
More About Conforming XML Files
Importing XML Project Files
Conforming AAF Files
Supported Media Types in AAF Workflows
Transcoding to DNxHD or DNxHR Always Works
Linking to Media Using AMA and Consolidating
Fast Imported Media
Logged Errors When Importing AAF
Simple AAF Import
Importing Boris Continuum FX with AAF Timelines
Importing AAF Timelines with Nested Clips
Performing an AAF Avid Round Trip
Step 1–Create a Project in Media Composer
Step 2–Exporting an AAF for DaVinci Resolve
Step 3–Conforming Your AAF in DaVinci Resolve
Step 4–Continue Editing, Grading, and Finishing the Project
Step 5–Render Graded Media and Export a New AAF
Step 6–Copy the Graded Media to Avid MediaFiles
Step 7–Import the Graded AAF
Relinking Transcoded Media to AMA Media
Step 1–Relink Your Transcoded Media to AMA-Linked Source
Step 2–Export an AAF File
Step 3–Import the AAF, Grade, Render, and Export
Step 4–Reimport the AAF into Media Composer/Symphony
Audio AAF Import from Pro Tools
Import AAF, EDL, XML
Import AAF to Current Timeline
Conforming EDL Files
Conforming EDL Files
EDL Export of a Project and Its Media
Conforming EDLs to Individual Media Files
Preconforming “Flat” Media Files to EDLs
Override Input Color Space of Clips in Preconform Workflows Using Color Management
Conforming “Flat” Media Files Using Split and Add
Importing an EDL to a New Track
PART 8 – Fusion Fundamentals
Introduction to Compositing in Fusion
What Is Fusion?
The Fusion Page within DaVinci Resolve
The Fusion Studio Stand-Alone Application
What Kinds of Effects Does Fusion Offer?
How Hard Will This Be to Learn?
Exploring the Fusion Interface
The Fusion User Interface
The Work Area
Interface Toolbar
Choosing Which Panel Has Focus
Viewers
Zooming and Panning into Viewers
Loading Nodes Into Viewers
Clearing Viewers
Viewer Controls
Time Ruler and Transport Controls
Time Ruler Controls in the Fusion Page
Time Ruler Controls in Fusion Studio
The Playhead
Zoom and Scroll Bar
Transport Controls in the Fusion Page
Audio Monitoring
Transport Controls in Fusion Studio
Changing the Time Display Format
Keyframe Display in the Time Ruler
The Fusion RAM Cache for Playback
Toolbar
Customizing the Toolbar
Node Editor
Adding Nodes to Your Composition
Removing Nodes from Your Composition
Identifying Node Inputs and Node Outputs
Node Editing Essentials
Navigating the Node Editor
Vertical Node Editor Layouts
Keeping Organized
Status Bar
Effects Library
The Inspector
The Tools and Modifiers Panels
Parameter Header Controls
Parameter Tabs
Keyframes Editor
Keyframes Editor Control Summary
Adjusting Clip Timings
Adjusting Effect Timings
Adjusting Keyframe Timings
Spline Editor
Spline Editor Control Summary
Choosing Which Parameters to Show
Essential Spline Editing
Essential Spline Editing Tools and Modes
Thumbnail Timeline in the Fusion Page
The Media Pool in the Fusion Page
Importing Media Into the Media Pool on the Fusion Page
Bins in Fusion Studio
Bins Interface
The Bin Studio Player
The Console
Customizing Fusion
The Fusion Settings Window
Showing and Hiding Panels
Resizing Panels
Fusion Studio Floating Frame
Fusion Studio Keyboard Remapping
Undo and Redo
Getting Clips into Fusion
Preparing Compositions in the Fusion Page
Working on Single Clips in the Fusion Page
Turning One or More Clips into Fusion Clips
Adding Fusion Composition Generators
Creating a Fusion Composition Clip in a Bin
Using Fusion Transitions
Adding Clips from the Media Pool
Adding Clips from the File System
Using MediaIn Nodes
MediaIn Node Inputs
Inspector Properties of MediaIn Nodes
Using Loader and Saver Nodes in the Fusion Page
Preparing Compositions in Fusion Studio
Setting Up a Composition
Reading Clips into Fusion Studio
Aligning Clips in a Fusion Studio Composition
Loader Node Inputs
Using Proxies for Better Performance
Presetting Proxy Quality
File Format Options
Loading Audio WAV Files in Fusion Studio
Rendering Using Saver Nodes
Rendering Overview
Rendering in the Fusion Page
Rendering in Fusion Studio
Rendering with the Saver Node
Setting Filenames for Export
Using the Render Settings Dialog
Render Settings Dialog Options
Rendering Previews
Setting Up Network Rendering in Fusion Studio
Licensing for Network Rendering
Configuring the Render Master and Render Nodes
Setting Up the Render Manager
Submitting Comps to Network Render
Using the Render Settings Dialog for Network Rendering
Using the Render Manager Window for Network Rendering
Working with Node Groups
Viewing the Render Log
Using Third-Party Render Managers with Fusion Studio
Preparing Compositions for Network Rendering
Using Relative Paths
Using Mapped Drives
Installing All Fonts on Render Nodes
Installing Third-Party Plug-Ins on Render Nodes
Other Uses of Network Rendering
Flipbook Previews
Disk Cache
When Renders Fail
Automatic Rejoining of the Queue
Relaunching Render Nodes with Fusion Server
Frame Timeouts
Heartbeats
Managing Memory Use
Override Composition Settings
Render Several Frames at Once
Simultaneous Branching
Limitations of Render Nodes
Time Stretching
Linear Tools
Saving to Multi-Frame Formats
Troubleshooting
Checking the Render Log
Check the Composition
Working in the Node Editor
Learning to Use the Node Editor
Navigating within the Node Editor
Automatic Node Editor Navigation
Using the Node Navigator
Node View Bookmarks
Adding Nodes to a Composition
Adding, Inserting, and Replacing Nodes Using the Toolbar
Adding Nodes Quickly Using the Select Tool Window
Adding Nodes from the Effects Library
Adding, Inserting, and Replacing Nodes Using the Contextual Menu
Deleting Nodes
Disconnected Nodes
Selecting and Deselecting Nodes
Selecting Nodes
The Active Node
Deselecting Nodes
Loading Nodes into Viewers
Viewed Nodes When You First Open Fusion
Node View Indicators
Drag and Drop Nodes into a Viewer
Using the Contextual Menu
Clearing Viewers
Create/Play Preview
Connecting and Disconnecting Nodes
Node Basics
How to Connect Nodes
Dropping Connections on Top of Nodes
Identifying Node Inputs
Node Order Matters
Upstream and Downstream Nodes
Disconnecting and Reconnecting Nodes
Tracing Connections Through the Node Tree
Branching
Connecting Merge Nodes
Automatically Creating a Merge Node When Adding Nodes
Automatically Creating a Merge Node by Connecting Two Outputs
Connection Options and Routers
Using Routers to Reshape and Branch Connections
Swapping Node Inputs
Extracting and Inserting Nodes
Cut, Copy, and Paste Nodes
Cut, Copy, and Paste in the Node Editor
Pasting Node Settings
Copying and Pasting Nodes to and from Any Text Editor
Instancing Nodes
Using Instanced Nodes
De-Instancing and Re-Instancing Specific Parameters
Keeping Node Trees Organized
Moving Nodes
Renaming Nodes
Changing Node Colors
Using Sticky Notes
Using Underlay Boxes
Node Thumbnails
Choosing Which Nodes Show Thumbnails
Switching Thumbnails between Images and Icons
Finding Nodes
Performing Simple Searches
Using Regular Expressions
Custom Node Settings
Managing Saved Settings
Resetting Defaults
Saving and Loading Alternate Node Settings
Adding Saved Settings from the File System
Node Modes Including Disable and Lock
Node Editor Options
Node Tooltips and the Status Bar
Node Groups, Macros, and Fusion Templates
Groups
Creating Groups
Deleting Groups
Expanding and Collapsing Groups
Panning and Scaling within Open Group Windows
Ungrouping Nodes
Saving and Reusing Groups
Macros
Creating Macros
Using Macros
Re-Editing Macros
Other Macro Examples
Creating Fusion Templates
Getting Started with a Fusion Title Template
Saving a Title Macro
Using Your New Title Template
Getting Started with a Fusion Transition Template
Creating a Fusion Transition Template
Using Your New Transition Template
Getting Started with a Fusion Generator Template
Creating a Fusion Generator Template
Using Your New Generator Template
Creating a Fusion Effect Template
Changing Durations of a Template
Creating a Custom Template Icon
Using Fusion Template Bundles
Using Viewers
Viewer Overview
Single vs. Dual Viewers
Floating Viewers in Fusion Studio
Video Output
Clean Feed
Loading Nodes into Viewers
Clearing Viewers
Position and Layout
The Viewer Divider
Zooming and Panning into Viewers
Flipbook Previews
Creating Flipbook Previews
Playing Flipbook Previews
Removing Flipbook Previews
Flipbook Preview Render Settings
Onscreen Controls
Showing and Hiding Onscreen Controls
Making Fine Adjustments to Onscreen Controls
Toolbars
Viewer Toolbar
Node Toolbars
A/B Buffers
Flipping between Buffers
Split Wipes between Buffers
Moving the Wipe Divider
Subviews
Showing and Hiding Subviews
Changing the Subview Type
Swapping the Subview with the Main View
Viewer and Subview Types
Viewing Selective Channels
Viewing Color Channels
Viewing Auxiliary Channels
The 3D Viewer
Panning, Scaling, and Rotating a 3D Viewer
Viewing Objects via Wireframe
Changing the POV of a 3D Viewer
Copying a Viewer’s POV to a Camera
Lighting and Shadows in 3D Viewers
Transparency in 3D Viewers
Grid
Vertex Normals
Quad View
Quad View Layouts
Using Quad Views for 2D Scenes
Guides
Frame Format Settings
Domain of Definition and Region of Interest
Domain of Definition (DoD)
Region of Interest (RoI)
Enabling RoI Controls
Managing Viewer Lookup Tables (LUTs)
How Lookup Tables Work in Fusion
Types of Viewer LUTs
Using Viewer LUTs
Editing Viewer LUTs
LUT Processing Order
Applying Multiple LUTs
Saving Custom LUTs
LUT Files
Viewer Preferences and Settings
Viewer Settings
The Viewer Options Menu
Locking the Viewer (Command-L)
Additional Viewer Options
Status Bar Information
Editing Parameters in the Inspector
Overview of the Inspector
The Tools and Modifiers Panels
Customizing the Inspector
Inspector Height
Inspector Display Preferences
Opening Nodes in the Inspector
Pinning Multiple Nodes in the Inspector
Hiding Inspector Controls
Using the Inspector Header
Selecting and Viewing Nodes in the Inspector
Using Header Controls
Versioning Nodes
Parameter Tabs
The Settings Tab
Inspector Controls Explained
Fusion Slider Controls
Thumbwheel
Range Controls
Checkboxes
Drop-Down Menus
Button Arrays
Color Chooser and Picker
Gradients
Modifiers
Animating Parameters in the Inspector
Removing Animation From a Parameter
Attaching a Parameter to an Existing Animation Curve
Connecting Parameters
Connecting Parameters by Publishing
Connecting Parameters by Pick Whipping
Contextual Menus
Customizing Node Parameters with User Controls
An Example of Customizing Directional Blur
Animating in Fusion’s Keyframes Editor
Keyframing in the Inspector
Removing Animation in the Inspector
Attaching a Parameter to an Existing Animation Curve
Keyframes Editor Overview
Keyframes Editor Tracks
The Timeline Header
The Playhead
Spreadsheet
Scaling and Panning the Timeline
Working with Segments in the Timeline
Moving Segments in the Timeline
Trimming Segments
Holding the First or Last Frame
Working with Keyframes in the Timeline
Drag and Drop Keyframe Editing
Keyframe Editing Using the Time Editor
The Keyframe Spreadsheet
Duplicating Spline Keyframes
Time Stretching Keyframes
Showing Keyframe Values
Timeline Filters
Selected Filtering
Sorting in the Timeline
The Tree Item Order Menu
The Sort Menu
Markers
Jumping to Markers
Renaming Markers
Show Marker List
Deleting Markers
Autosnap
Autosnap Points
Autosnap Markers
The Spreadsheet Editor
Selecting a Node to Edit
Inserting Keyframes
Selecting Multiple Nodes to Edit
Customizing the Keyframes Editor
Line Size
Display Point Values
Animating in Fusion’s Spline Editor
Spline Editor Overview
Spline Editor Interface
The Graph, Header, and Toolbar
Renaming Splines
Changing Spline Colors
Navigating Around the Spline Editor
Markers
Autosnap
Creating Animation Splines
Animating with Different Spline Types
Working with Keyframes and Splines
Adding Keyframes
Locked and Unlocked Controls Points
Selecting, Moving, and Deleting Keyframes
Showing Key Markers
Copying and Pasting Keyframes
Time and Value Editors
Modifying Spline Handles
Reducing Points
Filtering the Spline Editor
Working with Filters
Changing a Spline’s Status
Selection States
Reshaping Splines Using the Toolbar
Interpolation
Reversing Splines
Looping Splines
Time Stretching
Shape Box
Ease In/Out
Importing and Exporting Splines
Animating with Motion Paths
Animating Using Motion Paths
Types of Motion Paths
Polyline Path
Path Modifier
Controlling Speed and Orientation along a Path
XY Path
Types of Control Points
Locked Points
Unlocked Points
Locking and Unlocking Points
Tips for Manipulating Motion Paths
Compound Motion Paths Using Path Centers
Copying and Pasting Motion Paths
Removing Motion Paths
Recording Motion Paths
Importing and Exporting Polylines
Native Format
Using Modifiers, Expressions, and Custom Controls
The Contextual Menu for Parameters in the Inspector
Using Modifiers
Adding the Right Modifier for the Job
Adding Modifiers to Individual Parameters
Combining Modifiers and Keyframes
Publishing a Parameter
Connecting Multiple Parameters to One Modifier
Adding and Inserting Multiple Modifiers
Performing Calculations in Parameter Fields
Using SimpleExpressions
Pick Whipping to Create an Expression
Removing SimpleExpressions
Customizing User Controls
FusionScript
Bins
Bins Overview
Bins Interface
Viewing and Sorting Bins
Organizing Bins
Adding and Using Content
File Type Details
Using Content from Bins
Jog and Shuttle
Stamp Files
Using the Studio Player
Playing a Single Clip
Creating a Reel
Connecting Bins Over a Network
Adding a Remote Bin Entry
Accessing Remote Bins
Permissions
Studio Player and Bin Server
Fusion Connect
Fusion Connect Overview
System Requirements
The Effects Palette
The Layer Input Dialog
Applying Fusion Connect to a Transition Point
Export Clips
Edit Effect
Browse for Location
Auto Render in Fusion
Red on Missing Frames
Compress Exported Frames
Edit Effect Also Launches Fusion
Versioning
Create New Version
Version
About RAW Images
About Color Depth
Manual vs. Auto-Render
Fusion/Avid Project Relationship
Rendering with Fusion
Directory Structure of Fusion Connect Media
Advanced Project Paths
Configuring Paths on macOS
Configuring Paths on Windows
Fields and Variables
Environment Variables
Preferences
Preferences Overview
Categories of Preferences
Preferences In Depth
AVI
Defaults
Flow
Frame Format
General
GPU
Layout
Loader
Memory
Network
Path Maps
Preview
QuickTime
Script
Spline Editor
Splines
Timeline
Tweaks
User Interface
Video Monitoring
View
VR Headsets
Bins/Security
Bins/Server
Bins/Settings
EDL Import
Customization
Shortcuts Customization
Customizing Preferences
Controlling Image Processing and Resolution
Fusion’s Place in the DaVinci Resolve Image-Processing Pipeline
Source Media into the Fusion Page
Forcing Effects into the Fusion Page
Output from the Fusion Page to the Color Page
What Viewers Show in Different DaVinci Resolve Pages
Managing Resolution In Fusion
Changing the Resolution of a Clip
Compositing with Different-Resolution Clips
Sizing Between DaVinci Resolve Pages
Color Bit Depths
Understanding Integer vs. Float
Setting Color Depth in Fusion Studio
Combining Images with Different Color Depths
Advantages of Floating-Point Processing
Managing Color for Visual Effects
Color Management
All Compositing Is Math
Introducing Color Management in Fusion
Converting to Linear Gamma
Applying LUTs to a Viewer
Using Resolve Color Management
Using ACES Color Management in Resolve
Using OCIO for ACES Color Management in Fusion
Applying OCIO LUTs in the Viewer
Understanding Image Channels
Channels in Fusion
Types of Channels Supported by Fusion
Fusion Node Connections Carry Multiple Channels
Node Inputs and Outputs
Node Colors Tell You Which Nodes Go Together
Using Channels in a Composition
Channel Limiting
Adding Alpha Channels
How Channels Propagate During Compositing
Rearranging or Combining Channels
Understanding Premultiplication
The Rules of Premultiplication
Alpha Channel Status in MediaIn and Loader Nodes
Controlling Premultiplication in Color Correction Nodes
Controlling Premultiplication With Alpha Divide and Alpha Multiply
Multi Channel Compositing
Compositing with Beauty Passes
Working with Auxiliary Channels
Auxiliary Channels Explained
Propagating Auxiliary Channels
Nodes That Use Auxiliary Channels
Image Formats That Support Aux Channels
Creating Auxiliary Channels in Fusion
Compositing Layers in Fusion
Applying Effects
Adding a Node to the Tree
Editing Parameters in the Inspector
Replacing Nodes
Adjusting Fusion Sliders
Compositing Two Clips Together
Adding Additional Media to Compositions
Automatically Creating Merge Nodes
Fixing Problem Edges in a Composite
Using Composite Modes in the Merge Node
Creating and Using Text
Creating Text Using the Text+ Node
Styling and Adjusting Text
Using Text as a Mask
Using Transform Controls in the Merge Node
Building a Simple Green-Screen Composite
Mapping Timeline Layers to Nodes in Fusion
Pulling a Green-Screen Key Using the Delta Keyer
Dealing with Spill
Masking a Graphic
Rotoscoping with Masks
Introduction to Masks and Polylines
Mask Nodes
Polyline Types
Converting Polylines from One Type to Another
How to Use Masks with Other Nodes
Attaching Masks to an Image for Rotoscoping
Combining Multiple Masks
Mask Inputs on Other Nodes
Creating and Editing Polylines In-Depth
The Polyline Toolbar
Selecting a Specific Polyline
Polyline Creation Modes
Protection Modes
Closing Polylines
Selecting and Adjusting Polylines
Polyline Points Selection
Moving Polyline Points
Smoothing a Polyline Segment
Linearizing a Polyline Segment
Transforming Individual or Multiple Points
Deleting Selected Points
Editing Bézier Handles
Point Editor
Reduce Points
Shape Box
Showing and Hiding Onscreen Polyline Controls
Stop Rendering
Roto Assist
Creating Softness Using Double Polylines
Converting a Single Polyline to a Double Polyline
Adding Softness to a Segment
Adding Additional Points to the Shape
Locking/Unlocking Point Pairs
Animating Polyline Masks
Removing Animation from a Polyline Mask
Adding and Removing Points from an Animated Mask
Publishing Specific Control Points
Paint
Paint Overview
Types of Paint Nodes
Setting Up the Paint Node
Setting the Paint Node’s Resolution
Paint Node Workflow
Select the Correct Paint Stroke Type
Setting the Brush Size
Choosing an Apply Mode
Editing Paint Strokes
Editing Paint Strokes in the Modifiers Tab
Deleting Strokes
Animating and Tracking Paint Strokes
Animating with Write-On Controls
Tracking a Paint Stroke
Using the Planar Tracker with the Paint Tool
Inverting the Steady Effect to Put the Motion Back In
Painting a Clean Plate
Using the Tracker Node
Introduction to Tracking
Tracker Node Overview
Modes of the Tracker Node
Basic Tracker Node Operation
Connect to a Tracker’s Background Input
Analyze the Image to be Tracked
Apply the Tracking Data
Viewing Tracking Data in the Spline Editor
Tracker Inspector Controls
Motion Tracking Workflow In Depth
Connect the Image to Track
Add Trackers
Refine the Search Area
Perform the Track Analysis
Tips for Choosing a Good Pattern
Using the Pattern Flipbooks
Using Adaptive Pattern Tracking
Dealing with Obscured Patterns
Dealing with Patterns That Leave the Frame
Setting Up Tracker Offsets
Stabilizing with the Tracker Node
Stabilization Using the Tracker Match Move Mode
Smoothing Motion
Using the Tracker Node for Match Moving
Simple Match Moving
Corner Positioning Operations
Perspective Positioning Operations
Connecting to Trackers’ Operations
Steady Position
Steady Angle
Offset Position
Unsteady Position
Steady Size
Using the Outputs of a Tracker
Using the Tracker as a Modifier
Match Moving Text Example
Adding a Layer to Match Move
Setting Up Motion Tracking
A Simple Tracking Workflow
Connecting Motion Track Data to Match Move
Offsetting the Position of a Match Moved Image
Planar Tracking
Introduction to Tracking
Using the Planar Tracker
Different Ways of Using the Planar Tracker Node
Setting Up to Use the Planar Tracker
Check for Lens Distortion
A Basic Planar Tracker Match Move Workflow
Tips for Choosing Good Planes to Track
Using Open FX, Resolve FX, and Fuse Plug-Ins
What Are Open FX?
What Are Resolve FX?
Applying Open FX and Resolve FX Plug-Ins
Introduction to Fuse Plug-Ins
3 D Compositing Basics
An Overview of 3D Compositing
3 D Compositing Fundamentals
Creating a Minimal 3D Scene
The Elements of a 3D Scene
Geometry Nodes
The Merge3D Node
The Renderer3D Node
Software vs. GPU Rendering
Software Renderer
OpenGL Renderer
OpenGL UV Renderer
Loading 3D Nodes into the Viewer
Navigating the 3D View
Transforming Cameras and Lights Using the Viewers
Transparency Sorting
Material Viewer
Transformations
Onscreen Transform Controls
Pivot
Target
Parenting
Cameras
Quickly Viewing a Scene Through a Camera
Plane of Focus and Depth of Field
Importing Cameras
Lighting and Shadows
Enabling Lighting in the Viewer
Enabling Lighting to Be Rendered
Cotrolling Lighting within Each 3D Object
Lighting Types Explained
Materials and Textures
Material Components
Alpha Detail
Illumination Models
Textures
Reflections and Refractions
Bump Maps
Projection Mapping
Project a Texture onto a Catcher Material
Project Using the UVMap Node
Geometry
Common Visibility Parameters
Adding FBX Models
Using Text3D
Fog 3D and Soft Clipping
Material and Object IDs
World Position Pass
Point Clouds
3 D Camera Tracking
Introduction to Tracking
What Is 3D Camera Tracking?
How Camera Tracking Works
The Camera Tracking Workflow
Clips That Don’t Work Well for Camera Tracking
Outputting from the Camera Tracker
2 D View
3 D View
Auto-Tracking in the Camera Tracker
Increasing Auto-Generated Tracking Points
Masking Out Objects
Matching the Live-Action Camera
Running the Solver
How Do You Know When to Stop?
Using Seed Frames
Cleaning Up Camera Solves
Exporting a 3D Scene for Efficiency
Unalign the 3D Scene Transforms
Setting the Ground Plane
Setting the Origin
Setting the Scale
Realign the Scene
Viewing the Exported Results
Particle Systems
Introduction to Particle Systems
Anatomy of a Simple Particle System
Particle System Distribution
Particle Nodes Explained by Type
Emitters
Forces
Compositing
Rendering
Example Particle Systems
Optical Flow and Stereoscopic Nodes
Overview
Stereoscopic Overview
Optical Flow Overview
Toolset Overview
Working with Aux Deep Channels
Optical Flow Workflows
OpticalFlow
TimeSpeed, TimeStretcher
SmoothMotion
Repair Frame, Tween
Advanced Optical Flow Processing
Stereoscopic Workflows
Stereo Camera
Stereo Materials
Disparity
NewEye, StereoAlign
DisparityToZ, ZToDisparity
Separate vs. Stack
Setting Up Stereo in the Node Editor
About the Disparity Channel
Viewing of Disparity and Vector Channels
Stereo and Optical Flow Best Practices
Semi-Transparent Objects
Motion Blur
Depth of Field
Where to Calculate Disparity and Optical Flow?
Cropping the Source
Nodes with Multiple Outputs
Picking from Aux Channels
Vector and Disparity Channels
PART 9 – Fusion Page Effects
3 D Nodes
Alembic Mesh 3D [ABC]
Bender 3D [3BN]
Camera 3D [3CM]
Cube 3D [3CB]
Custom Vertex 3D [3CV]
Displace 3D [3DI]
Duplicate 3D [3DP]
FBX Exporter 3D [FBX]
FBX Mesh 3D [FBX]
Fog 3D [3FO]
Image Plane 3D [3IM]
Locator 3D [3LO]
Merge 3D [3MG]
Override 3D [3OV]
Point Cloud 3D [3PC]
Projector 3D [3PJ]
Renderer 3D [3RN]
Replace Material 3D [3RPL]
Replace Normals 3D [3RPN]
Replicate 3D [3REP]
Ribbon 3D [3RI]
Shape 3D [3SH]
Soft Clip [3SC]
Spherical Camera [3SC]
Text 3D [3TXT]
Transform 3D [3XF]
Triangulate 3D [3TRI]
UV Map 3D [3UV]
Weld 3D [3WE]
Modifier
The Common Controls
3 D Light Nodes
Ambient Light [3AL]
Directional Light [3DL]
Point Light [3PL]
Spot Light [3SL]
The Common Controls
3 D Material Nodes
Blinn [3BI]
Channel Boolean [3BOL]
Cook Torrance [3CT]
Material Merge 3D [3MM]
Phong [3PH]
Reflect [3RR]
Stereo Mix [3SMM]
Ward [3WD]
The Common Controls
3 D Texture Nodes
Bump Map [3Bu]
Catcher [3CA]
CubeMap [3CU]
Falloff [3FA]
Fast Noise Texture [3FN]
Gradient 3D [3GD]
Sphere Map [3SPM]
Texture 2D [3Tx]
Texture Transform [3TT]
The Common Controls
Blur Nodes
Blur [Blur]
Defocus [DFO]
Directional Blur [DRBL]
Glow [GLO]
Sharpen [SHRP]
Soft Glow [SGlo]
Unsharp Mask [USM]
Vari Blur [VBL]
Vector Motion Blur [VBL]
The Common Controls
Color Nodes
Auto Gain [AG]
Brightness Contrast [BC]
Channel Booleans [BOL]
Color Corrector [CC]
Color Curves [CCV]
Color Gain [CLR]
Color Matrix [CMX]
Color Space [CS]
Copy Aux [CPA]
Gamut [GMT]
Hue Curves [HCV]
OCIO CDL Transform [OCD]
OCIO Color Space [OCC]
OCIO File Transform [OCF]
Set Canvas Color [SCV]
White Balance [WB]
The Common Controls
Composite Nodes
Dissolve [DX]
Merge [MRG]
The Common Controls
Deep Pixel Nodes
Ambient Occlusion [SSAO]
Depth Blur [DBl]
Fog [Fog]
Shader [Shd]
Texture [Txr]
The Common Controls
Effect Nodes
Duplicate [DUP]
Highlight [HIL]
Hot Spot [HOT]
Pseudo Color [PSCL]
Rays [CIR]
Shadow [SH]
Trails [TRLS]
TV [TV]
The Common Controls
Film Nodes
Cineon Log [LOG]
Film Grain [FGR]
Grain [GRN]
Light Trim [LT]
Remove Noise [RN]
The Common Controls
Filter Nodes
Create Bump Map [CBu]
Custom Filter Node [CFlt]
Erode Dilate Node [ErDl]
Filter Node [Fltr]
Rank Filter Node [RFlt]
The Common Controls
Flow Nodes
Sticky Note [NTE]
Sticky Note Introduction
Usage
Underlay [UND]
Underlay Introduction
Usage
Flow Organizational Nodes
Groups
Groups Introduction
Usage
Macro
Macro Introduction
Usage
Macro Editor
The Final Macro
Pipe Router
Router Introduction
Usage
Router
Fuses
Fuses [FUS]
Fuses Introduction
Installing Fuses
Working with Fuses in a Composition
Generator Nodes
Background [Bg]
Day Sky [DS]
Fast Noise [FN]
Mandelbrot [Man]
Plasma [PLAS]
Text+ [TXT+]
Text+ Modifiers
Character Level Styling
Comp Name
Follower
Text Scramble
Text Timer
Time Code
The Common Controls
I/O Nodes
Loader Node [LD]
MediaIn Node [MI]
MediaOut Node [MO]
Saver Node [SV]
The Common Controls
LUT Nodes
File LUT [FLU]
LUT Cube Analyzer [LCA]
LUT Cube Apply [LCP]
LUT Cube Creator [LCC]
The Common Controls
Mask Nodes
Bitmap Mask [BMP]
B-Spline Mask [BSP]
Ellipse Mask [ELP]
Mask Paint [PNM]
Polygon Mask [PLY]
Ranges Mask [RNG]
Rectangle Mask [REC]
Triangle Mask [TRI]
Wand Mask [WND]
The Common Controls
Matte Nodes
Alpha Divide [ADV]
Alpha Multiply [AML]
Chroma Keyer [CKY]
Clean Plate
Delta Keyer
Difference Keyer [DfK]
Luma Keyer [LKY]
Matte Control [MAT]
Primatte [Pri]
How to Key with Primatte
Ultra Keyer [UKY]
The Common Controls
Metadata Nodes
Copy Metadata [META]
Set Metadata [SMETA]
Set Timecode [TCMETA]
The Common Controls
Miscellaneous Nodes
Auto Domain [ADoD]
Change Depth [CD]
Custom Tool [CT]
Fields [Flds]
Frame Average [Avg]
Keyframe Stretcher [KfS]
Run Command [Run]
Set Domain [DoD]
Time Speed [TSpd]
Time Stretcher [TSt]
Wireless Link [Wire]
The Common Controls
Optical Flow
Optical Flow [OF]
Repair Frame [Rep]
Smooth Motion [SM]
Tween [Tw]
The Common Controls
Paint Node
Paint
Paint Node Modifiers
Keyboard Shortcuts
Particle Nodes
Particle Nodes
pAvoid [pAv]
pBounce [pBn]
pChangeStyle [pCS]
pCustom [pCu]
pCustomForce [pCF]
pDirectionalForce [pDF]
pEmitter [pEm]
pFlock [pFl]
pFollow [pFo]
pFriction [pFr]
pGradientForce [pGF]
pImage Emitter [pLE]
pKill [pKI]
pMerge [pMg]
pPoint Force [pPF]
pRender [pRn]
pSpawn [pSp]
pTangent Force [pTF]
pTurbulence [pTr]
pVortex [pVt]
The Common Controls
Position Nodes
Volume Fog [VLF]
Volume Mask [VLM]
Z to World Pos [Z2W]
WPP Concept
The Common Controls
Resolve Connect
External Matte Saver [EMS]
Shape Nodes
sBoolean
sDuplicate
sEllipse
sExpand
sGrid
sJitter
sMerge
sNGon
sOutline
sRectangle
sRender
sStar
sTransform
Common Controls
Stereo Nodes
Anaglyph [Ana]
Combiner [Com]
Disparity [Dis]
Disparity To Z [D2Z]
Global Align [GA]
New Eye [NE]
Splitter [Spl]
Stereo Align [SA]
Z To Disparity [Z2D]
The Common Controls
Tracker Nodes
Tracker [Tra]
Planar Tracker Node [PTra]
Planar Transform Node [PXF]
Camera Tracker [CTra]
The Common Controls
Transform Nodes
Camera Shake [CSH]
Crop [CRP]
DVE [DVE]
Letterbox [LBX]
Resize [RSZ]
Scale [SCL]
Transform [XF]
The Common Controls
VR Nodes
VR Nodes
Lat Long Patcher [LLP]
Pano Map [PaM]
Spherical Camera [3SC]
Spherical Stabilizer
The Common Controls
Warp Nodes
Coordinate Space [CdS]
Corner Positioner [CPn]
Dent [Dnt]
Displace [Dsp]
Drip [DRP]
Grid Warp [Grd]
Lens Distort [Lens]
Perspective Positioner [PPn]
Vector Distortion [Dst]
Vortex [VTX]
The Common Controls
Modifiers
Modifiers
Anim Curves
Bézier Spline
B-Spline
Calculation
CoordTransform Position
Cubic Spline
Expression
From Image
Gradient Color
Key Stretcher Modifier
MIDI Extractor
Natural Cubic Spline
Offset (Angle, Distance, Position)
Path
Perturb
Probe
Publish
Resolve Parameter
Shake
Track
Vector Result
XY Path
PART 10 – Color
Introduction to Color Grading
The Goals of Color Correction
Maximizing the Look of Your Media
Emphasizing What’s Important
Audience Expectations
Balancing Scenes
Adding Style
Quality Control
Never Stop Experimenting
Using the Color Page
The Color Page Interface
The Interface Toolbar
Showing Which Panel Has Focus
Viewer
Gallery
LUT Browser
Media Pool
Node Editor
Timeline
Palette Area
Dual Monitor Layout
The Info Palette and Clip Information
Clip Info
System Info
Clip Details
Customizing the Color Page
Undo and Redo in DaVinci Resolve
Viewers, Monitoring, and Video Scopes
Using the Viewer
The Viewer Title Bar
Turning Grades and/or Fusion Effects Off
Viewing Isolated Channels
The Viewer Toolbar
The Onscreen Control (OSC) Menu
Toggling Viewer Overlays On and Off
Onscreen Controls and External Displays
Zooming into the Viewer
Using the Jog Bar and Transport Controls
Navigating Using the Arrow Keys
Controlling Playback Using the Spacebar and JKL Keys
Fast Review on the Color Page
Navigating Using Timecode
Viewer and Transport Timecode Displays
Enhanced, Full, and Cinema Viewing
Enhanced Viewing Mode
Full Viewing Mode
Cinema Viewing Mode
Safe Area Overlays in the Viewer
Use Gray Background
Monitor Calibration
Viewing Broadcast Safe Exceptions
Comparing Clips in the Viewer
Saving and Wiping Stills in the Gallery and Timeline
Different Viewer Reference Modes for Wipes
Wiping Between Clips in the Timeline
Using Split Screen Modes
Marker Overlays and Navigation
Timeline Marker List Available in Color Page Viewer Option Menu
Using Video Scopes
Video Scope Location
Video Scope Measurement Using Scales
Video Scope Performance and Detail
Display Qualifier Focus in Video Scope Graphs
Explanation of Each Video Scope
Waveform Monitor
Parade
Vectorscope
Histogram (RGB/YRGB parade histogram)
CIE Chromaticity Scope
Panning and Zooming the Video Scopes
Customizing the Video Scopes
Parade Scope Display Options
Waveform Scope Display Options
Vectorscope Display Options
Histogram Display Options
CIE Chromaticity Display Options
Color Page Timeline and Lightbox
Navigating Using the Color Page Timeline
Thumbnail Timeline
Mini-Timeline
Using Multiple Timeline Playheads
Show Current Clip With Handles
Thumbnail Info
Thumbnail Contextual Menu Commands
Sorting and Filtering Clips in the Thumbnail Timeline
Changing Timelines
A and C Mode Sorting
Flags, Clip Colors, and Markers
Timeline Filtering
Using the Lightbox
Automated Grading Commands and Imported Grades
Color Match Palette
Tips for Properly Shooting a Color Chart
How to Use Color Match
Configuration Controls
Reset Controls
Automatic Adjustments in the Primaries Palette
White Balance Eyedropper
Pick Black Point and Pick White Point
Auto Color
Shot Match
Shot Match Guidelines
How to Use Shot Match
Suggestions for Using Shot Match
Broadcast Safe
Black Sun Highlight Correction
Using CDL Grades (Studio Version Only)
Using ARRI Looks (Studio Version Only)
Camera Raw Palette
Introduction to the Camera Raw Palette
Copying, Versioning, and Protecting Camera Raw Settings
Making Changes to Clip Camera Raw Settings
Clip Decoder Settings
Resetting Camera Raw Settings
Updating Sidecar Settings for Blackmagic RAW (BRAW) Clips
Primaries Palette
Introduction to the Primaries Palette
HDR Grading With the Primaries Palette
Which Do I Start With, the Primaries or HDR Palette?
Shared Controls in the Primaries Palette
Switching Between Primaries Tools
Color Balance Controls
Master Wheels
Numeric Parameters
Shared Adjustment Controls
Auto Correction
Reset Controls
Color Wheels and Bars
3-Way Master Wheel Adjustments
Offset Color and Master Controls
Color Bars Mode
Log Wheels Mode
Using the Log Mode Controls to Grade Log-Encoded Media
Using the Log Mode Controls to Stylize Normalized Media
Adjusting the Default Tone Ranges in Log Mode
Adjusting Contrast in Log Mode
Log Offset Color and Master Controls
Offset and Printer Points
Adjusting Printer Points in the Bars Mode
Adjusting Printer Points Via Keyboard Shortcuts
Printer Light Step Project Settings
HDR Palette
Introduction to the HDR Palette
What Makes the HDR Palette Special?
The HDR Palette Interface
Navigating Multiple Zones in the Controls Panel
Making Global Adjustments
Black Offset Explained
Making Zone-Based Adjustments
Zone-Based Color Adjustments
Zone-Based Exposure Adjustments
An Example of Zone-Based Exposure Adjustment
Zone Controls
Customizing Zones Using the Zone Panel
The Zone Sidebar
Zones Graph
Customizing and Saving Presets
Resetting Color and Zone Adjustments
Using the HDR Palette With DaVinci Control Panels
Primary Grading Controls
Introduction to the RGB Mixer Palette
Preserve Luminance
Resetting the RGB Mixer
Swap Channels Buttons
Using the RGB Mixer in Monochrome Mode
Curves
Introduction to Curves
Adjusting Curves Using the Mouse
Sampling Images to Place Control Points on Curves
Showing Picker RGB Values
Curves Histograms
Custom Curves
Editing the Top and Bottom Control Points of Curves
HDR Grading Using Curves
Enabling Editable Splines in the Custom Curves
Adding Default Anchors to the Custom Curves
Ganging and Unganging Custom Curves
Copying Custom Curves From One Color Channel to Another
Curve Intensity Sliders
YSFX Sliders
Soft Clip
Ganging and Unganging Soft Clip Controls
Soft Clip Controls
The HSL Curves
Image Sampling for Hue and Sat Curves
Additional Controls in the Hue and Sat Curves
Hue vs. Hue
Hue vs. Sat
Hue vs. Lum
Lum vs. Sat
Sat vs. Sat
Sat vs. Lum Curve
Color Warper
Introduction to the Color Warper
The Color Warper Interface
Using the Grid Controls to Manipulate Color
Previewing Which Colors Are Warped By Each Control Point
Sampling to Warp Colors
Resetting Grid Points
Grid Resolution Affects The Specificity and Quality of Adjustments
You Can Warp Color in Different Color Spaces
Hue – Saturation Controls
Tools
Modifiers
Range
Auto Lock Controls
Smoothing Controls
Chroma – Luma Controls
Axis Angle
Tools
Modifiers
Range
Auto Lock Controls
Smoothing Controls
Secondary Qualifiers
Secondary Qualifiers
Adding a Secondary Operation to the Node Editor
The Qualifier Interfaces
Which Qualifier Do I Use?
Basic Qualification Using the 3D Qualifier
Basic Qualification Using the HSL Qualifier
HSL Qualifier Presets
Using Highlight to See What You’re Isolating
Using Highlight to Solo Nodes
Showing Picker RGB Values
Qualifier Parameters
HSL Qualification Controls
RGB Qualification Controls
Luma Qualification Controls
3 D Qualifier Controls
Matte Finesse Controls
The Many Ways to Invert a Key
Combining Qualifiers and Windows
Manipulating Keys Using Additional Nodes
Secondary Windows and Tracking
Power Windows
Adding Nodes with Windows
The Window Palette Interface
Managing Windows
Showing and Hiding Onscreen Window Controls
Using the High-Visibility Power Window Outline Option
Window Transform Controls
Window Softness
Drawing Curves
Converting Linear, Circular, and Polygon Windows into Bezier Curves
Resetting the Window Palette
Combining Power Windows with the Mask Control
Copying and Pasting Windows
Saving Window Presets
Using Windows and Qualifiers Together
Magic Mask
Magic Mask (Studio Version Only)
What Magic Mask Is Good For, and What It’s Not
The Magic Mask Interface
Magic Mask Toolbar
Stroke List
Mask Adjustment Controls and Matte Finesse
Choosing What to Isolate
Person Mode
Features Mode
Identifying More Than One Person
Using Matte Finesse Controls
Using Magic Mask as a Garbage Matte
Dealing With Hair
About Hats
Dealing With Accessories
Adding Strokes to Guide Mask Creation
Managing Strokes in the Stroke List
Stroke Duration
Tracking and Keyframing Strokes to Follow Subject Motion
Methods of Moving Strokes to Follow Subject Motion
Option Menu Commands for Removing Strokes and Tracking
An Example Stroke Tracking Workflow
Motion Tracking Windows
Motion Tracking Windows
Simple Tracking Using the Tracker Menu
Tracking Windows When You’ll Be Exporting Media With Handles
Simple Ways of Working With Existing Tracking Data
Tips for Better Tracking
Tracking One Frame at a Time
Copying and Pasting Tracking
Tracker Palette Controls in More Detail
Controls in the Window Tracker Palette
Cloud Tracker Workflows
Using Interactive Mode to Manually Choose Tracking Features
Dealing With Occlusions When Tracking
Point Tracker Workflows
Tracking a Window Using the Point Tracker
Removing Trackers
Using Frame Mode to Offset Track
Using the Gallery
Using the Gallery
Saving Stills
Selecting Stills
Deleting Stills
Where are Stills Saved?
Changing the PowerGrade Still Directory
Live Previews of Gallery Stills
Hover Scrub in the Gallery
Playing Stills and Setting Up Image Wipes
Timeline Wipes
Gang Timeline Wipe With Current Clip
Change a Timeline Wipe Using the Timelines Album of the Gallery
Labeling and Searching for Stills and Sources
Automatic Labeling
Manual Labeling
Searching For Stills
Match Reference Wipe Frame
Rotoscoping Window Shapes After Tracking
Rotoscoping Controls
Keyframing in Frame Mode
A Rotoscoping Workflow
Viewing a Window’s Motion Path
Gallery Options
Organizing Stills Using Albums
PowerGrade Albums
Browse all Grades from the Current Timeline
The Gallery Management Window
What’s Available in the Stills Navigator
Browse and Import Timeline Grades From Other Projects
Importing and Exporting Stills
Using and Organizing Memories
Grade Management
Using Versions to Manage Grades
Choosing to Copy Grades Manually or Automatically Using Versions
Using Local Versions by Default
Using Remote Versions to Enable Automatic Linking
Working with Versions
The Importance of “Version 1”
Deleting Unused Versions
Rendering Versions
Copying Grades
Protecting Adjustments with the Copy Grade Options
Copy and Paste From One Clip to Another
Copy and Paste Specific Parameters Using Paste Value
Applying Saved Grades From the Gallery
Preparing to Copy or Apply Grades
Copying Grades Using the Pointer
Copy Forward Commands
Copying Using Memories
Copying Using Preview Memory
Copying from Stills in the Gallery
Append Node Graph
Aligning Keyframes to a Specific Frame While Copying Grades
Copying Individual Nodes and Settings
Copying and Pasting All Settings From One Node to Another
Paste Attributes on the Color Page
Copying from the Node Graph of Other Clips or Gallery Stills
Rippling Adjustments Among Multiple Clips
Appending a Node to Multiple Clips
Using Shared Nodes
What Are Shared Nodes Good For?
Creating Shared Nodes
Locking Shared Nodes
Copying Shared Nodes
Converting Shared Nodes Back to Corrector Nodes
Deleting Shared Nodes
Using Adjustment Clips
Using Groups
Creating and Managing Groups
Using Group Modes to Control Which Grades Ripple and Which Don’t
Collapse Group Grades
Exporting Grades and LUTs
Node Editing Basics
Node Editor Basics
Thumbnail-Optional Nodes
The Node Editor Interface
The Components of a Node Tree
Node Badges and Labels
Selecting Nodes
Disabling Nodes
Turning Grades and/or Fusion Effects Off
Resetting Nodes
Previewing and Restoring Node Trees
Caching Specific Nodes to Improve Performance
Editing Node Trees
Adding Nodes
Adding Nodes with Windows Turned On
Deleting Nodes
Connecting and Disconnecting Nodes
Extracting a Node
Inserting a Node
Rearranging Node Order
Copying and Pasting All Settings From One Node to Another
Keeping Node Trees Organized
Using Compound Nodes
Adding Inputs and Outputs to Compound Nodes
Nesting Compound Nodes
Grading Compound Nodes
Identifying Nodes
Putting Nodes into HDR Mode
Clip vs. Timeline Grading
Image Processing Order of Operations
Overall Image Processing
Image Processing Within Grades
Serial, Parallel, and Layer Nodes
Serial, Parallel, and Layer Node Tree Structures
Serial Node Structures
Controlling What Feeds a Node’s RGB Input
Parallel Node Structures
Layer Mixer Node Structures
Layer Mixer Prioritization
Using Composite Modes With the Layer Mixer
Adjusting Layer Node Strength Using Key Output Gain
Converting Layer Mixers to Parallel Mixers
Combining Keys and Using Mattes
Introduction to Manipulating and Combining Keys
Outside Nodes
Feeding Keys From One Node to Another
Connecting Key Outputs to RGB Inputs, and Vice Versa
Using External Mattes
External Mattes to Limit Adjustments
Extracting External Mattes from OpenEXR Layers
Using External Mattes to Add Texture
Using External Mattes to Create Transparency
Key Palette Controls for the External Matte Node
Using Mattes From the Fusion Page
Using the Key Mixer
Adding Two Keys Together
Subtracting One Key from Another
Adding Inputs to Key Mixer Nodes
Using the Key Palette
Using the Key Palette to Affect Corrector Nodes
Using the Key Palette to Adjust Key Mixer Controls
The Many Uses of Key Output Gain
Channel Splitting and Image Compositing
Isolating, Splitting, and Converting Color Channels
Enabling, Disabling, and Converting Node Channels
Splitting Channels with the Splitter/Combiner Nodes
Multi-Channel RED HDRx Support
Introduction to Compositing Using the Alpha Output
Using a Qualifier Key to Create Transparency
Using a Matte to Create Transparency
Use an OFX Plug-in to Create Transparency
Keyframing in the Color Page
Introduction to Keyframing
The Keyframe Editor Interface
All/Color/Sizing
Keyframing Methods
Dynamic Keyframes (Dynamics)
Static Keyframes (Marks)
Mixing and Converting Dynamic and Static Keyframes
Keyframed Nodes Have a Badge
Using Specific Keyframing Tracks
Corrector Keyframing Tracks
ResolveFX Keyframe Tracks
The Sizing Keyframing Tracks
The Ext Matte Node’s Freeform Isolation Track
Automatic Keyframing
Modifying Keyframes
Navigating Among Keyframes
Moving Keyframes
Changing Keyframe Values
Changing Dynamic Attributes
Deleting Keyframes
Copying Keyframes
Keyframes and Saved Stills
Adding EDL Marks
Copying and Importing Grades Using ColorTrace
Copying Grades Using ColorTrace
Using ColorTrace in Automatic Mode
Using ColorTrace in Manual Mode
Importing CDL Data Using ColorTrace
Using CDL Adjustments
Calculating CDL Functions
Using LUTs
What is a LUT?
Supported LUT Formats
LUTs and ACES
Adding Lookup Tables of Your Own
Custom LUT Paths
LUT Paths for the macOS App Store Version of DaVinci Resolve
LUT Controls in the Project Settings
Applying LUTs to Source Clips
Using the Color Page LUT Browser
Applying a LUT Within a Node
LUTs Are the Last Operation Within a Node
Favorite LUTs Submenu in Node Editor
Exporting LUTs
DaVinci Resolve Control Panels
About The DaVinci Resolve Control Panels
The DaVinci Micro Panel
The DaVinci Resolve Mini Panel
The DaVinci Resolve Advanced Panel
Updating the Control Panels Firmware
Using the DaVinci Resolve Micro Panel
Primary Trackball Mode
Log Trackball Mode
Offset Trackball Mode
Control Knobs
Control Buttons
Using the DaVinci Resolve Mini Panel
Data and Power Connections
Palette Selection Buttons
Quick Selection Buttons
Using the DaVinci Resolve Advanced Control Panel (Legacy Layout)
Menus, Soft Keys, and Soft Knob Controls
Trackball Panel
T-bar Panel
Search Dial panel
Copying Grades Using the Advanced Control Panel
Rippling Changes Using the Advanced Control Panel
Using the DaVinci Resolve Advanced Control Panel (2020 Layout)
Three Panels Working Together
Using Fixed Keys and Shift Up/Shift Down Functions
Soft Menus, Including Soft Keys and Soft Rotary Controls
The Trackball Panel
The T-bar Panel
The Search Dial panel
Auto Color Using the DaVinci Resolve Advanced Control Panel
Adjusting Curves using the DaVinci Resolve Advanced Control Panel
The Advanced Panel Number Pad Does Many Things
Adding Tracking Points in Interactive Mode
Copying Grades Using the Advanced Control Panel
PART 11 – Color Page Effects
Using Open FX and Resolve FX
Resolve FX
Open FX
Where are OFX Installed?
Open FX Plug-Ins Can Be Processor Intensive
Browsing the Open FX Library
Open FX Library Favorites
Using Resolve FX and Open FX in the Color Page
Applying Resolve FX and Open FX Plug-Ins
Adding a Plug-In to a Corrector Node
Adding a Plug-In as a Stand-Alone OFX Node
Resolve FX and Open FX Settings
Editing Effects Using the Full Screen Viewer
Resolve FX and Open FX Onscreen Controls
Keyframing Resolve FX and OFX in the Inspector
Motion Tracking Resolve FX and Compatible OFX Plug-Ins
Sizing and Image Stabilization
The Five Color Page Sizing Modes
Sizing Order of Processing on the Color Page
Sizing Controls
Blanking Controls
Resetting the Sizing Palette
Input and Output Sizing Presets
Sizing Controls with the DaVinci Control Panel
Using Node Sizing for Channel and Paint Effects
Image Stabilization in the Tracker Palette
Using the Stabilizer
Using the Classic Stabilizer
Using Stabilization to Create a Match Move
Tracking and Stabilizing with the DaVinci Control Panel
The Motion Effects and Blur Palettes
Motion Effects Palette
Noise Reduction Controls
Limiting Noise Reduction in Useful Ways
Controlling the Order of Operations for Noise Reduction
Motion Blur
The Blur Palette
Blur
Sharpen
Mist
Dust Removal
Introduction to Dust Removal
Dirt and ROI Settings Parameters
Algorithms for Dirt and Dust Removal
PART 12 – Resolve FX Overview
Resolve FX
Catalogue of Resolve FX Filters
Resolve FX Blur
Box Blur
Directional Blur
Gaussian Blur
Lens Blur (Studio Version Only)
Shape
Speed
Controls
Mosaic Blur
Radial Blur
Zoom Blur
Resolve FX Color
ACES Transform
Chromatic Adaptation
Color Compressor (Studio Version Only)
Color Space Transform
Color Space Transform
Tone Mapping
Gamut Mapping
Advanced
Color Stabilizer (Studio Version Only)
Analysis Region
Channels to Stabilize
Captured Analysis Values
Contrast Pop (Studio Version Only)
DCTL (Studio Version Only)
Dehaze (Studio Version Only)
False Color (Studio Version Only)
General
Camera Model
Color Bands
Preprocessing
Scale/Legend
Global Blend
Flicker Addition
Main Controls
Flicker Quality
Gamut Limiter
Gamut Mapping (Studio Version Only)
Invert Color
Resolve FX Generate
Color Generator
Color Palette (Studio Version Only)
Grid
General
Line Properties
Resolve FX Key
3 D Keyer
Selection Range Controls
Behaviour Options
Usage Options
Key Adjustments
Matte Finesse
Garbage Matte
Output
Alpha Matte Shrink and Grow (Studio Version Only)
HSL Keyer
Selection Range Controls
Keyer Options
Matte Finesse
Garbage Matte
Output
Luma Keyer
Selection Range Controls
Matte Finesse
Garbage Matte
Output
Resolve FX Light
Aperture Diffraction (Studio Version Only)
Output
Isolation Controls
Aperture Controls
Diffraction Controls
Compositing Controls
Glow
Shape and Spread
Color and Composite
Lens Flare (Studio Version Only)
Lens Flare Preset
Select Output
Light Source Masking
Position
Global Corrections
Aperture
Elements
Lens Reflections (Studio Version Only)
Output
Isolation Controls
Global Controls
Presets
Reflecting Elements
Light Rays
Main Controls
Position
Appearance
Resolve FX Refine
Beauty (Studio Version Only)
Operating Mode
Auto Controls
Advanced Controls
Custom Mixer
Blend
Combine
Advanced Options
Face Refinement (Studio Version Only)
Main Controls
Skin Mask
Texture
Color Grading
Eye Retouching
Lip Retouching
Blush Retouching
About Forehead, Cheek, and Chin Retouching
Forehead Retouching
Cheek Retouching
Chin Retouching
Resolve FX Revival
Automatic Dirt Removal (Studio Version Only)
Main Controls
Fine Controls
Chromatic Aberration (Studio Version Only)
Dead Pixel Fixer (Studio Version Only)
General
Patch Type
Patch Options
Advanced Controls
Deband (Studio Version Only)
Deband Parameters
Deflicker (Studio Version Only)
Main Parameters
Isolate Flicker
Speed Optimization Options
Restore Original Detail After Deflicker
Output
Dust Buster (Studio Version Only)
General
Patch Type
Patch Options
Advanced Controls
Frame Replacer (Studio Version Only)
Noise Reduction (Studio Version Only)
Temporal NR Controls
Temporal Threshold Controls
Spatial NR Controls
Spatial Threshold Controls
Global Blend
Using Noise Reduction
Object Removal (Studio Version Only)
Patch Replacer (Studio Version Only)
Main Controls
Patch Positions
Onscreen Controls
Resolve FX Sharpen
Sharpen (Studio Version Only)
Main Controls
Detail Levels
Chroma
Sharpen Edges (Studio Version Only)
Main Controls
Edge Detection Controls
Soften and Sharpen (Studio Version Only)
Main Controls
Adjust Small Skin Texture Granularity
Resolve FX Stylize
Abstraction (Studio Version Only)
Main Controls
Quantization Controls
Draw Edge Controls
Blanking Fill
Source
Fill Extent
Fill Appearance
Drop Shadow
Drop Shadow
Edge Detect
Emboss
Channels
Halation (Studio Version Only)
Processing Color Space
Isolation
Dye Layer Reflections
Secondary Glow
Basic Grain
Global Adjustments
Mirrors
Main Controls
Individual Controls
Rosette Controls
Kaleidoscope Controls
Pencil Sketch in DaVinci (Studio Version Only)
Prism Blur
Scanlines
Appearance
Color
Composite
Stylize (Studio Version Only)
Tilt-Shift Blur (Studio Version Only)
Main Controls
Lens Iris
Depth of Field
Vignette
Watercolor (Studio Version Only)
Resolve FX Temporal
Motion Blur (Studio Version Only)
Motion Trails (Studio Version Only)
General
Advanced Options
Move Trail
Smear (Studio Version Only)
Stop Motion
Advanced Options
General
Resolve FX Texture
Analog Damage (Studio Version Only)
Detail Recovery (Studio Version Only)
Detail Recovery
Details Extraction
Film Damage
Blur and Shift Controls
Add Vignetting
Add Dirt
Add Scratch
Film Grain (Studio Version Only)
Main Controls
Grain Params
Advanced Controls
JPEG Damage
Texture Pop (Studio Version Only)
Mode Controls
Details Controls
Tonal Range Controls
Resolve FX Transform
Camera Shake (Studio Version Only)
Main Controls
Shake Levels
Shake Quality
Blanking Handling
Match Move (Studio Version Only)
A Match Move Workflow
Main Controls
Tracking Controls
Positioning
Compositing
Stabilizing
Transform
General
Control Options
Advanced Options
Global Blend
Video Collage
Create Background
Create Tile
Animating Tiles and Advanced Layouts
Video Collage Controls
Layout
Margins and Spacing
Synchronize Keyframing
Manage Tiles
Mute Tiles
Custom Size/Shape
Resize Content
Tile Styling
Drop Shadow
Tile Animation
Easing & Blur
Global Blend
Resolve FX Warp
Dent
Lens Distortion (Studio Version Only)
Ripples
Main Controls
Ripple Controls
Vortex
Warper (Studio Version Only)
Effect Options
Onscreen Controls
Waviness
PART 13 – Fairlight
Using the Fairlight Page
The Fairlight Page User Interface
The Interface Toolbar
Showing Which Panel Has Focus
The Audio Timeline
Controls in the Audio Timeline
Zooming Audio Waveform Height
Track Layering
Switching Among Multiple Timelines
Toolbar
Timeline View Options
Customizing Clip Display in the Timeline
Customizing the Timeline’s Display
Playhead Modes
Visible Video Tracks
Video and Audio Scrollers
Mixer
The Monitoring Panel
Viewer
The Media Pool
Importing Media Into the Media Pool on the Fairlight Page
Media Pool Preview Player
Bins, Power Bins, and Smart Bins
Showing Bins in Separate Windows
Filtering Bins Using Color Tags
Sorting the Bin List
Filtering Clips With Audio in the Fairlight Page
Effects Library
Effects Library Favorites
ADR
The List Panel
The Record Panel
The Setup Panel
Sound Library Browser
Library Controls
Display Controls and the Search Field
Preview and Audition Controls
Sound Effect List
Index
Edit Index
Tracks
Markers
Inspector
Metadata Editor
Test Tone Settings for Generating Tone, Noise, and Beeps
Pro Tools AAF Import
Dual Monitor Layout
Customizing the Fairlight Page
Undo and Redo in DaVinci Resolve
Setting Up Tracks, Buses, and Patching
Audio Tracks
What Is a Bus?
Bus to Bus Routing and Mixing
Types of Buses
Buses in Nested Timelines
Exposing Bus Tracks in the Timeline
Controlling Signal Flow
Managing Audio Tracks
Defining Timeline Audio Track Channels at Creation
Creating Tracks
Rearranging Tracks
Changing How Many Channels an Audio Track Has
Deleting Tracks
Linked Groups of Mono Tracks
Creating Buses
Assigning Buses
Patching Signal Paths
Using the Patch Input/Output Window
Using a Channel Strip’s Input Menu
Transport Controls, Timeline Navigation, and Markers
Transport Controls and JKL Navigation
Transport Controls
Using JKL to Control Playback
Dragging the Playhead to Scrub
Looping Playback
Loop Jog Scrubbing
Moving the Playhead Using Timecode
Clip, Marker, and Track Navigation
Selecting Tracks
Moving the Clip Selection
Moving the Track Selection
Zooming and Scrolling
Setting the Zoom Level of the Timeline
Scrolling Through the Timeline
Using Flags
Using Markers
Adding Markers to Clips
Adding Markers to Timelines
Recording
Setting Up to Record
Arming Tracks
Choosing Where to Record Audio Clips To
User-Selectable Input Monitoring Options
Recording Using the Onscreen Controls
Recording and Editing Multiple Takes Using Layering
Recording VSTi Instruments
ADR (Automated Dialog Replacement)
ADR (Automated Dialog Replacement)
The ADR Interface
Setting up to Do an ADR Session
Creating and Importing ADR Cue Lists
Manually Creating an ADR Cue List
Importing Cues
Recording ADR to the Timeline
Editing Basics in the Fairlight Page
Compatible Audio Formats
Editing Audio Clips Into the Timeline
Overwriting Vs. Layering Clips That Overlap
Choosing Parts of Clips to Edit in the Media Pool
Dragging Audio Clips Into the Timeline
Moving Audio Clips to Embedded Timecode Position
Support for Mixed Audio Track Formats from Source Clips
Making Audio Clip Selections in the Timeline
Fairlight Edit Mode Remains Between Application Restarts
Selecting Tracks
Using Selection Mode
Using Range Selection Mode
Using Edit Selection Mode
Commands For Editing and Extending the Selection
Locking Audio Tracks
Splitting Clips
Linked Clips in the Fairlight Page
Trimming Clips Without Rippling the Timeline
Multi-Point Editing Overview
Resizing the In and Out Points of a Clip
Trim Start and Trim End
Trim to Selection
Moving and Overwriting Clips
Slipping
Duplicating Clips
Disabling and Re-Enabling Clips in the Timeline
Deleting Audio Clips and Regions
Cut, Copy, and Paste
Conventional Cut, Copy, and Paste
Using the Cut/Copy Head and Tail Commands
Paste and Remove Attributes
Copying and Pasting Clip Attributes
Copying and Pasting Track Attributes
Removing Attributes
Audio Clip Layering
Audio Compound Clips
Audio Crossfades
Fades and Crossfades
Using Fades
Batch Fade and Crossfade Editor in the Fairlight Page
Fade In and Out to Playhead
Creating Crossfades With Overlapping Fades
Using Crossfades From the Edit Page
Finding Clips in the Media Pool
Changing Clip Color in the Timeline
Editing Audio Clips in External Editors
Exporting Audio Clips to External Files
Sample Editing
Waveform Zero Crossing Indicator
Audio Clip Specific Inspector Adjustments
Making Adjustments in the Inspector
Using the Inspector
Audio Settings in the Inspector
Adjusting Multiple Clips at the Same Time
Animated Inspector Adjustments
Paste and Remove Attributes
Setting Clip Volume
Adjusting Volume in the Inspector
Adjusting Volume in the Timeline
Adding and Adjusting Volume Keyframes in the Timeline
Normalize Audio Levels Command
Volume
Pan
Pitch Controls
Speed Change Controls
Equalizer Controls
Master EQ Controls
Graphical EQ Controls
Bands 1 and 4
Bands 2 and 3
Paste and Remove Attributes for Clips and Tracks
Mixing in the Fairlight Page
Introduction to Mixing
The Mixer
Tracks and Buses
Bus to Bus Routing and Mixing
Customizing the Onscreen Mixer Controls
Managing Channel Strips Using the Index
Selecting Channel Strips and Tracks
Multiple Selection of Mixer Tracks
Track Organization
Input
Effects
Insert
EQ
Master EQ Controls
Graphical EQ Controls
Bands 1 and 6
Bands 2–5
Dynamics
Master Dynamics Controls
Expander/Gate
Compressor
Limiter
Track Processing Order in the Fairlight Mixer
Bus Sends
Legacy Auxiliaries
Pan
The Stereo and Surround Pan Controls
The 3D Audio Pan Controls
Bus Assignment Buttons
VCA Groups (Fader Groups)
Making Fader Group Assignments
Using Fader Groups
Recording Fader Automation for Groups
Arm, Solo, and Mute Buttons
Fader Controls
Bouncing Audio
Third-Party Control Panel Support for Mixing
Automation Recording
Automation Recording
What You Can Automate
Automation Controls
How to Record Automation
Recording Automation for Multiple Tracks
Recording Automation for Specific Individual Tracks
Automation Preview Mode
Viewing Automation in the Timeline
Overwriting Automation
Automation Follows Edit
Editing Automation
Drawing Automation Keyframes
Adjusting and Deleting Automation Keyframes
Fairlight > Automation Controls
Playing Automation
Audio Effects
Elastic Wave Audio Retiming
About Audio Plug-Ins
Fairlight FX
VST and VSTi
Audio Units
Using Audio Plug-Ins
Applying Audio Plug-Ins to Buses
Dealing With Processor Intensive Plug-Ins
Caching Audio Clips With Plug-Ins
Exporting Audio Clips With Plug-Ins
Fairlight FX
Common Controls For All Fairlight FX
Chorus
De-Esser
De-Hummer
Delay
Dialog Processor
Distortion
Echo
Flanger
Foley Sampler
Frequency Analyzer
LFE
Limiter
Meter
Modulation
Multiband Compressor
Noise Reduction
Phase Meter
Pitch
Reverb
Soft Clipper
Stereo Fixer
Stereo Width
Surround Analyzer
Vocal Channel
Audio Meters and Audio Monitoring
The Monitoring Panel
Track Meters and Monitoring Controls
Using Post Fader or Track Source Meters
Bus Meters
Meter Plug-in
Surround Analyzer
Compound Meters and Output Bus Selection Menu
Monitoring Menus
Control Room Meters
Loudness Meters
Offline Loudness Analyzer
Viewer
Cinema Viewer on Fairlight Page
Signal Flow Diagrams
Signal Flow Overview
Audio Processing Path
Immersive Audio Workflows
About Immersive Audio Formats
Expanded Dolby Atmos Capabilities
Dolby Atmos Speaker Configurations
Enabling Dolby Atmos
The Components of a Dolby Atmos Mix
Predetermined Dolby Atmos Master Rules
Immersive Format Configuration
Exporting ADM BWF
New Surround Buses in Fairlight (Studio Version Only)
Object-Based Format Support (Studio Version Only)
Auro-3D Support (Studio Version Only)
Dolby Atmos Configuration Controls
MPEG-H Authoring
Track Configuration
Export
Quality Control
B-Chain Support for Audio Monitoring (Studio Version Only)
Overview of Setting Up a B-Chain Configuration
Space View Channel Monitoring
Using the Fairlight Desktop Console
About the Fairlight Desktop Console
Connecting to a Monitor via HDMI
Desktop Console Functional Overview
Types of Controls
Desktop Console Modes
Undo, Modifier and Arrow Keys
Track Select Buttons
Fairlight Desktop Console
Control Buttons
Fader Channel Strips
Automation Buttons
Channel Buttons
Monitoring Controls
Search Dial and Transport Controls
Modifier and Undo Buttons
Arrow Keys
User Buttons
Fairlight Desktop Console Configurations
Performing Firmware Updates
Using the Fairlight Audio Editor
About the Fairlight Audio Editor
Audio Editor Functional Overview
Types of Controls
Audio Editing Modes
Transport, Modifier, and Escape Keys
Latch, Long, and Momentary Key Press Functions
Track Selection Keys
Moving Track Selection with the Jog Wheel
Switching Pages
Fairlight Audio Editor
Monitor Section
Numeric Keypad
Jog Wheel with Fixed Keys and Soft Menu Picture Keys
Self-Labeling Picture Keyboard
Selecting a Clip vs a Range
Setup Mode Toolset
Record Mode Toolset
Monitor Mode Toolset
Macros Mode Toolset
Mix Mode Toolset
Edit Mode Toolset
Alternate Picture Key Toolsets
Editor Screen with Soft Controls
Visual Feedback between Soft Controls and the Editor Screen
Macro Quick Keys
Modular Fairlight Consoles
About the Fairlight Console Components
Fairlight Console Audio Editor
Channel Control Modes
Fairlight Console Channel Control
Channel Control Buttons and Channel Control Knobs
In-Line Channel Extension Buttons
Fairlight Console Channel Fader
LCD Fader Channel Display
Rotary Knob
Fader Channel Control Buttons
Touch-Sensitive Faders
Fader Bank Display Buttons
Fairlight LCD Monitors
Fairlight Console Configurations
Additional Fairlight Hardware
Performing Firmware Updates
Fairlight Studio Utility
Configuring the Fairlight Panels
DaVinci Control Panel Setup
Changing Network Settings
Fairlight Studio Utility
Selecting your Fairlight Console in DaVinci Resolve
PART 14 – Deliver
Delivery Effects Processing
Delivery Effects Processing
When Rendering a Single Clip or When Outputting to Tape
When Rendering Individual Source Clips for Round-Trip Workflows
More About Rendering Speed Effects
Determining the Rendered Output Resolution of Clips in Mixed Timelines
Rendering Edit and Input Sizing Adjustments
Rendering Mixed Frame Rate Timelines
Export Alpha Channels in Individual Clips Mode
Export Alpha Channels in Single Clip Mode
Using the Deliver Page
Using Quick Export
The Deliver Page
The Interface Toolbar
Rendering Files vs. Outputting to Tape
The Render Settings
The Deliver Page Timeline
Filtering the Thumbnail Timeline
The Viewer
Disabling Viewer Updates While Rendering
The Render Queue
Rendering Media
Using Presets for Fast Rendering
Custom
YouTube, Vimeo, and Twitter Presets
ProRes Master
H.264 Master
H.265 Master
IMF (Studio Version Only)
Frame.io
Final Cut Pro 7 or X XML
Premiere XML
Avid AAF
Pro Tools
Audio Only
Creating and Using Your Own Presets
Choosing a Location to Render
Single Clip vs. Individual Clips
Single Clip
Individual Clips
All Other Render Settings for Output
Video Panel
Audio Panel
File
Additional Outputs
How to Avoid Overwriting Clips When Rendering Output Media
Defining a Range of Clips and Versions to Render
Choosing Which Versions to Render for Each Clip
Using the Render Queue
Rendering Jobs from Multiple Projects at Once
Remote Rendering
Using Multiple Databases in Remote Rendering
Sharing Storage
Setting Up and Using Remote Rendering
When You’re Finished Remote Rendering
Setting Up a “Headless” Remote Rendering Workstation
Delivering DCP and IMF
Native IMF Encoding and Decoding (Studio Version Only)
Native Unencrypted DCP Encoding and Decoding (Studio Version Only)
Native DCP Encoding Parameters
Rendering IMF Segments and DCP Reels
Creating DCP/IMF Supplemental Packages
Importing a DCP or IMF Into a Timeline
Editing the Resulting Timeline
Dolby Vision Metadata
Exporting
Photon Validation of IMF Packages
Validating in the Media Pool
Validating on Export
Using and Licensing EasyDCP
Requesting Your Server Certificate Set
Importing Your Server Certificate Set
Switching Between Native DCP and EasyDCP Encoding
EasyDCP Color Management
EasyDCP Output in the Deliver Page
KDM Generation and Management
Publishing Your Encrypted Digital Cinema Package
Playing Your Digital Cinema Package
Playing Third-Party Digital Cinema Packages
Delivering to Tape
The Tape Output Interface
Gang Timecode to Tape
Insert/Assemble Drop-down Menu
Start Record Button
Setting Up for Tape Output
General Options
Capture and Playout Settings
Capture
Playout Settings
Edit to Tape Queue Option Menu Settings
Tape Output Procedures
Power Mastering
Outputting a Program From the Timeline
Batch Outputting Multiple Clips
Exporting Timelines and Metadata
Exporting to AAF/XML
More About Exporting to AAF
Exporting an EDL
Exporting a Missing Clips EDL
Exporting Timeline Markers to EDL
Exporting to CDL
Exporting the Edit Index as a CSV or TXT File
Exporting to ALE
Exporting to ALE with CDL
Exporting Timeline Markers to EDL
Exporting and Importing Media Pool Metadata
PART 15 – Advanced Workflows
Workflow Integrations
Workflow Integrations in DaVinci Resolve (Studio Version Only)
Creating Workflow Integration Plugins
Workflow Integration Plugins
EditShare
Studio Network Solutions (SNS)
Codec Plug-ins (Studio Version Only)
MainConcept
Creating DCTL LUTs
About DCTL
DCTL Syntax
A Simple DCT LUT Example
A Matrix DCT LUT Example
A More Complex DCT LUT Example
TCP Protocol for DaVinci Resolve Transport Control
About the TCP Protocol Version 1.2
Data Types
Command Format
Response Format
Communication Delays
Status Response Values
TCP Protocol Stream
connect
goto
play
gettc
getframerate
PART 16 – Project Databases, Collaborative, and Remote Workflows
Managing Databases and Project Servers
Why Use a Project Server?
Multiple Users Sharing Projects
Using Collaborative Workflow
Using the DaVinci Resolve Project Server Application
The DaVinci Resolve Project Server Interface
Using the Project Server Application to Manage Databases
Creating New PostgreSQL Databases
Backing Up and Restoring Databases
Upgrading Databases
Reconnecting Databases You Previously Disconnected
Viewing Database Contents
Optimizing Databases
Sharing Databases to Create a Project Server
Collaborative Workflow
Introduction to Collaborative Workflow
Collaborative Render Cache Support
Collaborative Support for Individual Monitoring
Collaborative Marker, Flag, and Clip Color Support
Read Only Mode
Collaborative Support for HDR
Requirements for Collaboration
Enabling Project Collaboration
Opening Projects to Collaborate
Customizing Your Collaborator Identification
How Collaboration Works
Automatic Bin and Timeline Locking
Managing Bin Locks Manually
Manually Unlocking Timelines
Automatic Clip Locking
Receiving Changes Made by Collaborators
Examples of Collaborators Working Together
Multiple Editors Working Together
Editors and Assistant Editors Working Together
Editors and Compositing Artists Working Together
Multiple Compositing Artists Working Together
Editors and Colorists Working Together
Multiple Colorists Working Together
Managing Notes Among Collaborators
Collaboration Chat
Remote Grading
Introduction to Remote Grading
Requirements for Remote Grading
Setting Up for Remote Grading
Remote Grading Restrictions
PART 17 – Menu Descriptions
Menu Descriptions
DaVinci Resolve
File
Edit
Trim
Timeline
Clip
Mark
View
Playback
Fusion
Color
Fairlight
Workspace
Help
PART 18 – Other Information
Regulatory Notices
Safety Information
Warranty
Page 3364/3625
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File type: PDF
File name: 91922860_dv-res-bbpnlmic.pdf
File size: 156.02 MB
File Language: English
Pages: 3625
Author: Blackmagic Design
File created: 2021-11-03
Published:
2023-08-29
Updated: 2023-08-29
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Table of Contents
×
Contents
3
Getting Started
10
PART 1 – DaVinci Resolve Interface
12
Introduction to DaVinci Resolve
13
The Project Manager
15
Preferences and Project Settings
15
Individual Preferences and Settings Based on Login
16
Preferences
16
System Preferences
16
User Preferences
17
Project Settings
18
Switching Among Pages
19
Minimizing the Resolve Page Bar
19
Switching Pages Using Keyboard Shortcuts
19
Hide Pages You Don’t Use
19
Hide Page Navigation Altogether
19
The Media Page
20
The Media Storage Browser
20
Viewer
21
Media Pool
22
Metadata Editor
22
Audio Panel
23
The Cut Page
23
The Media Pool
24
The Viewer
25
Audio Meter
25
The Timeline
26
The Edit Page
27
The Media Pool
27
Effects Library Browsing
28
Edit Index
28
Source/Offline and Timeline Viewers
29
Inspector
30
Toolbar
30
Timeline
30
Floating Timecode Window
31
Motion Graphics and Visual Effects in DaVinci Resolve
31
VFX Connect
31
The Fusion Page
32
The Work Area
33
Viewers
33
Toolbar
34
Effects Library
34
Node Editor
34
Inspector
35
Thumbnail Timeline
36
Media Pool
36
Status Bar
37
The Console
37
The Color Page
37
Viewer
38
Gallery
39
Node Editor
39
Timeline
40
Left Palettes
40
Center Palettes
41
Keyframe Editor
41
The Fairlight Page
42
The Audio Timeline
42
Toolbar
44
Mixer
44
Dedicated Channel Strip Controls
44
The Monitoring Panel
46
Floating Timecode Window
47
The Deliver Page
47
The Render Settings List
47
The Deliver Page Timeline
48
The Viewer
49
The Render Queue
49
Using the DaVinci Resolve User Interface
50
Basic Documentation Terminology
51
What Is the “UI” or “GUI”
51
What Is “the Pointer”
51
About Keyboard Shortcuts
51
Customizing the DaVinci Resolve Interface
51
Working Full Screen vs. Within a Floating Window
52
Panels and Panel Focus
52
Showing and Hiding Panels Using the Interface Toolbar
53
Showing and Hiding Panels in the Workspace Submenu
53
Adjusting the Size of Different Panels
53
Using Single vs. Dual Monitor Layouts
55
Video Clean Feed
56
Saving Custom Screen Layouts
57
Resetting to the Default Layout
57
Undocking Specific Panels of the Interface
57
DaVinci Resolve User Interface Conventions
59
Contextual Menus
59
Drop-down Menus
59
Adjusting Parameters
60
Using a Mouse or Other Input Device
61
Mouse, Trackpad, and Tablet Behaviors
62
Timeline Scroll Behavior
63
Viewer Behavior
63
Keyboard Shortcuts
64
Undo and Redo in DaVinci Resolve
64
PART 2 – Setup and Workflows
67
Managing Projects and Databases
68
Using the Project Manager
69
Project Management
70
Importing DaVinci Resolve Projects (.DRP Files)
70
Project Manager View Options
71
Searching for Projects
72
Organizing Projects in Folders
73
Managing Databases with the Databases Sidebar
73
Opening the Databases Sidebar
74
Moving Projects From One Database to Another on the Same Workstation
74
Managing Databases in the Databases Sidebar
75
Legacy User Organization in the Databases Sidebar
79
Saving Projects
79
Live Save
80
Project Backups
81
Project Notes
83
Dynamic Project Switching
83
Archiving and Restoring Projects
84
System and User Preferences
86
DaVinci Resolve Preferences
87
Adjusting Preferences
88
Individual Preferences and Settings Based on Login
88
Resetting Preferences
88
System
88
Memory and GPU
88
Media Storage
89
Decode Options
91
Video & Audio I/O
91
Video Plug-ins
94
Audio Plug-ins
95
Control Panels
95
General
96
Internet Accounts
97
Advanced
98
User
98
Saving User Preference Presets
98
UI Settings
98
Project Save and Load
99
Editing
101
Color
103
Fairlight
105
Playback Settings
106
Control Panels
106
Metadata
107
Keyboard Customization
108
Choosing Keyboard Shortcut Emulation Presets
108
Viewing Commands Assigned to Specific Key Combinations
109
Searching for Keyboard Shortcuts
109
Managing Keyboard Mappings
110
Remapping a Command to One or More Keys
111
DaVinci Control Panels Setup
113
DaVinci Control Panels Setup
114
DaVinci Control Panels Setup Layout
114
Using DaVinci Control Panels Setup
115
Firmware
116
Ethernet Connection
117
Settings
117
Project Settings
119
What Are the Project Settings?
120
Opening and Editing Project Settings
120
Presets
121
Master Settings
122
Timeline Format
122
Video Monitoring
123
Optimized Media and Render Cache
125
Working Folders
125
Frame Interpolation
126
Image Scaling
127
Image Scaling
127
Input Scaling
128
Output Scaling
128
Color Management
128
Color Space and Transforms
129
Dolby Vision™
129
HDR10+
130
Lookup Tables
130
Broadcast Safe
132
General Options
132
Conform Options
132
Color
134
Dynamics Profile
136
Versions
136
Camera Raw
137
Capture and Playback
137
Deck Settings
137
Capture
138
Playout
138
Subtitles
139
Fairlight
139
Audio Metering
140
Immersive Audio
140
Camera Raw Settings
141
Camera Raw Decoding Explained
142
Camera Raw Project Settings
142
Camera Raw Image Inspector
143
ARRI ALEXA
144
Master Settings
144
Project Settings
144
Use Camera Metadata
145
Blackmagic RAW
146
BRAW Sidecar Metadata Files
146
Master Settings
146
Project Settings
146
Use Camera Metadata
148
Canon RAW
149
Master Settings
149
Project Settings
149
Use Camera Metadata
150
CinemaDNG
150
Master Settings
151
Project Settings
151
Use Camera Metadata
153
Panasonic Varicam RAW
153
Master Settings
153
Project Settings
154
Use Camera Metadata
154
Phantom Cine
155
Master Settings
155
Project Settings
155
RED
156
Master RED Settings
156
Master
156
Project Settings
157
Decoder Settings
160
Use Camera Metadata
161
Sony RAW
161
Master Settings
161
Project Settings
162
Use Camera Metadata
163
Improving Performance, Proxies, and the Render Cache
164
Understanding the GPU Status Display
166
Prioritizing Audio or Video Playback in the Edit Page
166
Performance Mode Improves Overall Performance
167
Adjusting Performance Mode
167
Timeline Proxy Mode Improves Effects Performance
167
Reducing Decode Quality Improves Raw Media Performance
168
Optimized Media Improves Overall Performance
169
Creating Optimized Media
169
Optimized Media for Raw Source Clips
170
Customizing the Type of Optimized Media You Create
170
Switching Between Optimized and Original Media
171
Sharing Optimized Media Between Projects
171
Rediscovering Lost Optimized Media
172
Deleting Optimized Media
172
Using Optimized Media for Delivery
172
Using the Smart or User Cache Improves Effects Performance
172
How Cached Media Is Organized
173
Choosing a Cache Format and Location
175
When Caching Happens
175
The Difference Between the Smart Cache and User Cache Modes
176
Manually Controlling the Cache
177
Controlling Fusion Output Caching
177
Controlling Node Caching
177
Controlling Color Output Caching
177
Controlling Edit Page Filter Caching
178
Clearing Cached Media
178
Using Cached Media When Rendering in the Deliver Page
178
Using Proxy Media
178
Creating and Using Proxy Media
178
Generating Proxy Media in Other Applications
179
Managing Proxy Media
180
Using Proxy Files for Delivery
181
Moving Proxies Using a DaVinci Resolve Archive (.dra)
181
Working Remotely Using Proxy Media
182
Proxy Media vs. Other Playback Optimizations in DaVinci Resolve
183
Using Optimized Media, Proxy Media, and Caching Together
183
Which Playback Optimization Method Should I Use?
184
Other Project Settings That Improve Performance
184
Data Levels, Color Management, and ACES
186
Data Levels Settings and Conversions
187
Converting Between Ranges and Clipping
188
Internal Image Processing and Clip Data Levels
188
Assigning Clip Levels in the Media Pool
189
Video Monitoring Data Levels
189
Deck Capture and Playback Data Level
190
Output Data Level Settings in the Deliver Page
190
So, What’s the “Proper” Data Range for Output?
191
Introduction to DaVinci Resolve Color Management
191
Display Referred vs. Scene Referred Color Management
191
Updated RCM In DaVinci Resolve 17
192
Resolve Color Management for Editors
192
The Input, Timeline, and Output Color Space
193
The RCM Image Processing Pipeline
194
Identifying the Input Color Space of Different Clips
194
Simple RCM Setup
196
Automatic Color Management
196
Resolve Color Management Presets
197
Output Color Space
198
Advanced RCM Setup
199
Single Setting vs. Dual Setting RCM
199
Setting the Input Color Space
200
Choosing a Timeline Color Space
200
Timeline Working Luminance
203
203 Nit Support for SDR to HDR
203
Gamut Limiting, Restricting Values Within a Larger Gamut
204
Input DRT Tone Mapping
204
Output DRT Tone Mapping
205
Use Inverse DRT for SDR to HDR Conversion
206
Use White Point Adaptation
207
Color Space Aware Grading Tools
207
Apply Resize Transformations In
207
Graphics White Level
208
Display HDR On Viewers If Available
208
HDR Mastering Is For (Studio Version Only)
208
Resolve Color Management and the Fusion Page
208
Ability to Bypass Color Management Per Clip
209
Exporting Color Space Information to QuickTime Files
209
Color Management Using ACES
210
Setting Up ACES in the Project Settings Window
210
The Timeline Color Space in ACES Workflows is Fixed
214
Tips for Rendering Out of an ACES Project
214
HDR Setup and Grading
215
High Dynamic Range (HDR) Grading in DaVinci Resolve
216
HDR Isn’t Just for Televisions
217
The Different Ways of Mastering HDR
217
What Do I Do With HDR?
218
Analyzing HDR Signals Using Video Scopes
218
Dolby Vision®
219
Organizing Your Timeline for Dolby Vision Mastering
221
Letterboxing for Dolby Vision Mastering
221
Setting Up Color Management for Dolby Vision Mastering
222
Choosing Mastering Displays for Dolby Vision
222
Using the Dolby Vision Internal Content Mapping Unit (iCMU)
222
Simultaneous Master and Target Display Output for Dolby Vision
223
External Content Mapping Unit (eCMU) for Dolby Vision
223
Auto Analysis is Available to All Studio Users
224
Licensing DaVinci Resolve to Expose Dolby Vision Trim Controls
224
Dolby Vision® Trim Controls in DaVinci Resolve
225
Previewing and Trimming At Different Levels
227
Managing Dolby Vision Metadata
228
Setting Up Resolve Color Management for Grading HDR
229
DaVinci Resolve Grading Workflow For Dolby Vision
230
Delivering Dolby Vision
230
SMPTE ST.2084 and HDR10
231
Monitoring and Grading to ST.2084 in DaVinci Resolve
233
Connecting to HDR-Capable Displays using HDMI 2.0a
233
HDR10+™
233
Monitoring and Grading to ST.2084 for HDR10+
234
HDR10+ Grading Workflow
234
Simultaneous Master and Target Display Output for HDR10+
234
HDR10+ Auto Analysis Commands
235
Delivering HDR10+
235
Hybrid Log-Gamma (HLG)
235
Grading Hybrid Log-Gamma in DaVinci Resolve
236
Ouputting Hybrid Log-Gamma
236
Image Sizing and Resolution Independence
237
About Resolution Independence
238
Timeline Resolution
239
Mixing Clip Resolutions
239
Changing the Timeline Resolution
239
You Can Use Separate Timelines to Output Different Resolutions
239
You Don’t Need Separate Timelines to Output Different Resolutions
239
Using High Resolution Media in Lower Resolution Projects
240
Clip Source Resolution
240
Pixel Aspect Ratio (PAR)
240
Clip Resolution
241
The DaVinci Resolve Sizing Pipeline
241
“Super Scale” High Quality Upscaling (Studio Version Only)
241
Fusion Effects and Resolution
242
Image Scaling
244
Edit Sizing in the Cut and Edit pages
247
Image Stabilization
248
Input Sizing on the Color Page
248
Node Sizing on the Color Page
249
Output Sizing on the Color Page
249
Output Blanking
249
Format Resolution on the Delivery Page
249
Rendering Sizing Adjustments and Blanking
250
Data Burn-In
251
Data Burn-In
252
Project vs. Clip Mode
253
Setting Up Burned-In Metadata
253
Saving and Loading Burn-In Presets
253
Data Burn-In Metadata
254
Custom Output Options
255
Gang Rendered Text Styles
256
Prefix Render Text
256
Frame.io & Dropbox Replay Integration
257
Enabling Frame.io Integration in Preferences
258
Deliver and Upload to Frame.io
258
Frame.io Comments Sync with Timeline Markers
259
Importing Media from Frame.io
261
Linking Media Pool Clips and Timelines with Frame.io Clips
261
Enabling Dropbox Replay Integration in Preferences
262
Deliver and Upload to Dropbox Replay
262
Dropbox Replay Comments Sync with Timeline Markers
263
Working With Dropbox Markers
264
Resolve Live
266
More About Resolve Live
267
Configuring Your System for Resolve Live
267
Grading Live
268
Getting Started
268
Going Live
268
Using Freeze
269
Using Snapshot
269
Using Resolve Live Grades Later
270
Using LUTs in Resolve Live Workflows
270
Stereoscopic Workflows
271
Stereoscopic Workflows
272
Hardware Requirements for Working in Stereo 3D
272
Setting Up to Display Stereo 3D via SDI
273
Setting Up to Display Stereo 3D via HDMI
273
Supported Stereo 3D Media
274
Using Dual Sets of Media in Any Supported Format
274
Using Stereoscopic OpenEXR Media
274
Using Stereoscopic CineForm Media
274
Creating Stereo 3D Clips From Separate Files
275
Step 1—Import and Organize Your Media
275
Step 2—Generate 3D Stereo Clips
275
Step 3—(Optional) Create Optimized Media
277
Monitoring Stereoscopic 3D in the Edit Page
277
Converting Clips Between Stereo and Mono
277
Converting Stereo Clips Back to Mono
277
Converting Mono Clips or an Entire Timeline to Stereo
277
Attaching Mattes to Stereo 3D Clips
278
Organizing and Grading Stereo 3D Dailies
278
Step 1—Create 3D Stereo Clips
278
Step 2—Edit the New Stereo Clips Into One or More Timelines for Grading
278
Step 3—Align Your Media
278
Step 4—Grading Stereo Media
279
Step 5—Output Offline or Online Media for Editing
280
Conforming Projects to Stereo 3D Media
281
Grading Mastered Stereoscopic Media From Tape
281
Adjusting Clips Using the Stereo 3D Palette
282
Stereo Eye Selection
282
Stereo 3D Geometry Controls
283
Swap and Copy Controls
284
Automatic Image Processing for Stereo 3D
285
Stereo 3D Monitoring Controls
287
Floating Windows
288
Stereo Controls on the DaVinci Control Panel
290
Outputting Stereo 3D Media in the Deliver Page
290
Rendering Frame-Compatible Media
290
Rendering Individual Left- and Right-Eye Clips
290
Using Variables and Keywords
291
Using Metadata Variables
292
Where Variables Can Be Used
292
How to Edit Metadata Variables
292
Available Variables in DaVinci Resolve
293
Using Keywords
295
PART 3 – Ingest and Organize Media
296
Using the Media Page
297
Understanding the Media Page User Interface
298
The Interface Toolbar
298
Showing Which Panel Has Focus
299
The Media Storage Browser
299
Playing Media in the Media Storage Browser
300
The Media Storage Browser’s Volume List
300
The Media Storage Browser Area
301
Revealing a Finder Location in the Media Browser
305
Viewer
305
Live Media Preview
306
Media Pool
306
The Bin List
306
Showing Bins in Separate Windows
307
Bins, Power Bins, and Smart Bins
307
Filtering Bins Using Color Tags
308
Sorting the Bin List
309
Thumbnail, List, and Metadata Views in the Media Pool
309
Display Audio Clip Waveforms in Media Pool and Media Storage
309
Metadata Editor
310
Audio Panel
311
Dual Monitor Layout
311
Customizing the Media Page
312
Undo and Redo in DaVinci Resolve
313
Adding and Organizing Media with the Media Pool
315
Copying Media Using the Clone Tool
317
Adding Media to the Media Pool
319
Basic Methods for Adding Media in the Media Page
319
Adding Subclips From the Media Storage Panel
320
Adding Individual Frames From Image Sequences
321
Adding Media Based on EDLs
321
Splitting Clips Based on EDLs
322
Import Clips With Metadata Via Final Cut Pro 7 XML
322
Adding Media With Offset Timecode
322
Adding Media to the Cut, Edit, Fusion, and Fairlight Pages
323
Removing Media From the Media Pool
323
Adding and Removing External Mattes
324
What Are Mattes For?
325
Adding Mattes
325
Using Embedded Mattes in OpenEXR Files
326
Adding Offline Reference Movies
326
Extracting Audio in Media Storage
327
Manually Organizing the Media Pool
327
To Select Clips in the Media Pool
327
Organizing Media into Bins
327
Import and Export DaVinci Resolve Project Bins (.drb)
328
Import and Export DaVinci Resolve Timelines (.drt)
329
Sharing Media Among Projects Using Power Bins
329
Automated Organization Using Smart Bins
330
Smart Bins Are Only As Good As Your Metadata
330
Smart Bins Update Their Contents Dynamically
331
Automatic Smart Bin Creation
331
Manual Smart Bin Creation
332
Organizing Smart Bins
334
Duplicating Clips in the Media Pool
335
Duplicating Timelines
335
Choosing How to Display Bins
335
Showing Bins in Separate Windows
335
Using the Media Pool in Thumbnail View
336
Working With Columns in List View
336
Editable Description and Comments Columns
339
Using Metadata View in the Media Pool
339
Finding Clips, Timelines, and Media
341
Finding Clips and/or Timelines Within the Media Pool
341
Finding Synced Audio
342
Finding Timeline Clips in the Media Pool
343
Finding Timelines in the Media Pool
343
Finding Media in the Media Storage Panel and Finder
343
Going Immediately to a File System Location in the Media Browser
343
Tracking Media Usage
343
Thumbnail Clip Usage Indicators
343
List View Clip Usage Column
344
Relinking Media Simply
344
Relink Media
344
Relink Selected Clips
345
Change Source Folder
346
Using Clip Metadata
347
Editing Clip Metadata
348
Automatically Imported Metadata
348
Using the Metadata Editor
348
Editing Keywords
349
Editing Metadata Using the File Inspector
350
Face Detection to Generate People Keywords
352
Creating Custom Metadata Groups
354
Importing and Exporting Media Pool Metadata
355
Different Ways of Using Clip Metadata
356
Renaming Clips Using Clip Names
356
Switching Between File Names and Clip Names
357
Using Metadata to Define Clip Names
357
Using the Inspector in the Media Page
359
Using the Inspector
360
Adjusting Media Pool Clips in the Inspector
360
Video
360
Audio
364
Image
365
File
365
Syncing Audio and Video
367
Syncing Audio to Video
368
Syncing Audio to Video Using Timecode
368
Syncing Audio to Video by Matching Waveforms
369
Manually Syncing Audio to Video
370
Offsetting the Sync of Previously Synced Clips
371
Finding Synced Audio Files
371
Displaying Synced Audio File Names on the Timeline
371
Modifying Clips and Clip Attributes
373
Adjusting Media Pool Clips in the Inspector
374
Changing Clip Attributes
374
Video Attributes
374
Real-Time 3:2 Pulldown Removal
377
Audio Attributes
377
Timecode Attributes
380
Reel Name Attributes
381
Update Timecode from Audio – LTC
382
Changing Clip Thumbnails in the Media Pool
382
Creating Subclips
383
Removing or Changing Subclip Limits
383
Organizing Stereo 3D Media
383
Camera Raw Decoding
384
Using Scene Detection
385
Scene Cut Detection on the Timeline (Studio Version Only)
386
Scene Detection in the Media Pool
387
The Scene Detect Window Interface
387
The Scene Detect Viewers
387
The Scene Detect Graph
389
Cut List
390
The Scene Detect Options Drop-down Menu
391
An Example Scene Detect Workflow
391
Ingesting From Tape
393
Tape Ingest
394
The Tape Capture Interface
394
Setting Up to Capture From Tape
395
Deck Settings
395
Capture
396
The Three Methods of Capture
397
Using Capture Now
397
Logging and Capturing Individual Clips
397
Logging and Capturing Multiple Clips
397
Batch Capture Via EDL
398
Capturing From the Cintel Film Scanner
400
Controlling the Cintel Film Scanner
401
The Cintel Scanner Interface
402
Film Scanning Workflows
408
Adjusting the Color of the Scanner
411
Scanning One or More Sections of Film
412
Extracting Audio
413
Audio Extraction Settings
414
Color Space and Sizing
416
PART 4 – The Cut Page
418
Using the Cut Page
419
Overview of the Cut Page
420
Overview of the Cut Page User Interface
420
Customizing the UI
420
Choose Settings Before You Start
421
Timeline Resolution Quick Menu
421
The Media Pool
422
The Viewer
423
Playing Clips and Navigating the Timeline
424
Tools
424
Bypass Color Grades and Fusion
425
Audio Meter
425
The Timeline
426
Upper Timeline
426
Lower Timeline
426
Tracks
427
Gaps
429
Timeline Controls
429
Undo and Redo in DaVinci Resolve
430
Importing and Organizing Media in the Cut Page
432
Importing Media
433
Removing Media
434
Organizing Media into Bins
434
Master Bin
434
Creating and Using Bins
434
Opening Bins
435
Create Bin With Selected Clips
435
Renaming Bins
435
Import and Export Specific DaVinci Resolve Project Bins
435
Import and Export Individual DaVinci Resolve Timelines
436
ATEM Switcher Integration
437
Importing ATEM Mini Pro ISO Projects
437
Relinking Blackmagic Camera Masters to ATEM ISOs
438
Media Pool Views
439
Metadata View
439
Thumbnail View
441
Filmstrip View
442
List View
442
Sorting and Searching
443
Searching
443
Navigable Clip Paths
443
Sort Media By
443
Finding Timeline Clips in the Media Pool
444
Clip Color
444
Generate Optimized Media
445
Relinking Media
446
Relink Media
446
Relink Selected Clips
446
Fast Editing in the Cut Page
448
Creating and Modifying Timelines
449
Creating New Timelines
449
Opening Timelines
450
About Tracks in the Cut Page Timeline
450
Adding Tracks
450
Deleting Tracks
450
Navigating Clips in the Viewer and Timeline
451
Viewer Options
451
Full Screen Viewer
452
Playing Clips and Navigating the Timeline in the Viewer
452
Scrolling Through the Timeline
453
Smart Reframe (Studio Version Only)
454
The Boring Detector
455
Setting In and Out Points
456
Setting In and Out Points Using the Keyboard
456
Setting In and Out Points Using the Pointer
457
Editing the Duration Field in the Cut Page Viewer
457
Change Clip Duration Dialog
457
Video Only and Audio Only Edits
458
Drag and Drop Editing
459
Append
459
Ripple Overwrite
459
Overwrite
460
Using Cut Page Edit Commands
460
Smart Indicators
460
Setting Up and Performing Edits
461
Smart Insert
461
Append
462
Ripple Overwrite
462
Close Up
463
Place On Top
463
Source Overwrite
464
Overwrite
465
Source Tape Editing
465
Metadata Entry Using the File Inspector
465
Using the Source Tape
467
Limiting the Source Tape Scope by Folder Structure
467
Sync Bin Multicam Editing
468
Preparing Footage for Sync Bin Editing
469
Sync Clips Window
469
Sync Bin Editing
471
Trimming in the Cut Page
474
Tools That Help You Work in the Timeline
475
Snapping
475
Locking, Muting and Disabling Tracks
476
Audio Trim View
477
Timeline Markers
477
Add Track
478
Making Selections
478
Moving Clips in the Timeline
480
Ripple Overwriting An Entire Clip in Track 1
480
Overwriting the Middle of Other Clips
480
Overwriting The Edges of Other Clips
481
Swapping Clips
481
Copy, Cut, and Paste
482
Splitting Clips
482
Disabling and Deleting Clips
483
Disabling and Muting Clips
483
Deleting Clips
483
Deleting Parts of Clips
484
Trimming Clips
484
Resize Clips While Rippling the Timeline
484
Rolling an Edit
485
Slipping Clip Content
486
Trimming Edits in the Viewer
486
Trimming Transitions in the Viewer
487
Using the Inspector in the Cut Page
488
Using the Inspector
489
Video
489
Audio
495
Effects
496
Transition
497
Image
498
File
499
Video and Audio Effects in the Cut Page
500
Adding Transitions
501
Adding Dissolves
501
Adding Dissolve Using Keyboard Shortcuts
501
Changing a Transition to a Cut
502
Adding Smooth Cuts
502
Adding Other Kinds of Transitions
502
Editing and Removing Transitions
503
Titles
504
Adding Titles
504
Editing Titles
504
Adding Resolve FX and Other Plug-ins
506
Video Effects
506
Audio Effects
506
Generators
506
Clip Tools
507
Shared Controls
507
Transform
507
Crop
508
Dynamic Zoom
508
Composite
509
Speed
509
Stabilization
510
Lens Correction
511
Color
511
Audio
511
Quick Export
512
Quick Export
513
Customizing Quick Export
513
PART 5 – Edit
514
Using the Edit Page
515
The Edit Page User Interface
517
Navigating the Edit Page
518
Showing Which Panel Has Focus
518
The Media Pool
518
Importing Media Into the Media Pool on the Edit Page
519
Bins, Power Bins, and Smart Bins
520
Showing Bins in Separate Windows
520
Filtering Bins Using Color Tags
521
Sorting the Bin List
522
More About Timelines and Grading
523
Timelines, Grades, and Versions
523
Enabling the Use of a Master Timeline
523
Using the Effects Library
524
The Toolbox
525
OpenFX
525
Audio FX
525
Effects Library Favorites
526
Edit Index
526
Navigating the Timeline Using the Edit Index
527
Edit Index Columns
527
Filtering the Edit Index
528
Exporting the Edit Index
529
Source and Timeline Viewers
529
How Each Clip’s Grade Looks in Each Viewer
530
Source and Timeline Viewers vs. Single Viewer Mode
530
Viewer Controls
531
Simultaneous Audio Waveform Display in the Source Viewer
534
Cinema Viewer Mode
535
Viewer Indicators
535
Other Viewer Options
535
Fast Review in the Timeline Viewer
536
Opening Clips in the Source Viewer
536
Timeline Viewer Edit Overlays
536
Copy and Paste Timecode in Viewer Timecode Fields
537
Metadata Editor
537
Inspector
538
Timeline
539
Timeline Options
541
Switching Among Multiple Timelines
542
Toolbar
542
Toolbar Audio Monitoring Controls
544
The Mixer and Meters
545
Displaying Audio Meters
545
Using Video Scopes
546
Floating Timecode Window
546
Dual Monitor Layout
547
Customizing the Edit Page
548
Undo and Redo in DaVinci Resolve
548
Creating and Working with Timelines
551
Keyboard Shortcuts in This Chapter
552
Creating and Duplicating Timelines
552
Individual Timeline Settings for Format, Monitoring, and Output
552
Creating Blank and Stringout Timelines
553
Creating Timelines by Drag and Drop
554
Creating Timelines From Bins and Selections
555
Creating Timelines Using an IMF or DCP Composition Playlist (CPL)
555
Duplicating Timelines
556
Disabling Timelines
556
Timeline View Options
556
Modifying Timeline Tracks
558
Naming Timeline Tracks
559
Using Timeline Snapping and Zooming
559
Zoom Around Mouse Pointer
560
Scrolling Through the Timeline
560
Scroll Wheel Controls on Timeline
560
Resizing the Timeline’s Video and Audio Track Regions
561
Tabbed and Stacked Timelines
561
Tabbed Timelines
561
Stacked Timelines
562
Duplicate Frame Detection
563
Comparing Timelines
564
The Timeline Comparison Window
564
Preparing Clips for Editing and Viewer Playback
566
Keyboard Shortcuts in This Chapter
567
Browsing Clips in the Media Pool
568
Selecting Clips in the Media Pool to Edit
569
Duplicating Clips in the Media Pool
570
Viewer Playback and Navigation
570
Source and Timeline Viewers vs. Single Viewer Mode
570
Opening Clips Into the Source Viewer to Prepare for Editing
571
Viewer Transport Controls
572
Simple Keyboard Shortcuts for Playback and Navigation
573
Using JKL to Control Playback
574
Special-Purpose Playback Commands
574
Option to “Stop and Go to Last Position”
575
Enabling and Disabling Audio Scrubbing
575
Playback Post-Roll
575
Moving the Playhead Using Timecode
576
How to Enter Timecode Values
576
Absolute Timecode Entry
576
Relative Timecode Entry
576
Copy and Paste Timecode in Viewer Timecode Fields
577
Gang Viewers (Playhead Ganging)
577
Adding Markers
577
Adding Markers to Clips
578
Setting In and Out Points
579
Setting Clip In and Out Points in the Media Pool
579
Setting Clip In and Out Points in the Source Viewer
579
Clearing and Navigating In and Out Points
580
Clip Edit Points Are Saved
581
Turning In and Out Points into Markers With Duration and Back Again
581
Organizing Media by Creating Subclips
583
Removing or Changing Subclip Limits
583
Editing Basics
584
Keyboard Shortcuts in This Chapter
585
Drag and Drop Editing
586
Drag and Drop Editing of Individual Clips Into the Timeline
586
Drag and Drop Editing of Several Clips Into the Timeline At Once
587
Drag and Drop Editing of Video-Only or Audio-Only Edits
589
Drag and Drop Insert Editing
589
Dragging Clips From the File System Into the Timeline
590
Inserting Multiple Clips into the Timeline From the Media Pool
590
Insert Selected Clips to Timeline Using Timecode
590
Insert Selected Clips to Timeline With Handles
591
Audio Track Creation While Editing
591
Using Keyboard Shortcuts and Three-Point Editing to Assemble a Program
591
Example: Assembling Clips Into the Timeline From the Source Viewer
592
Example: Assembling Clips Into the Timeline From the Media Pool
593
Making Selections in the Timeline
594
Manually Selecting Clips in the Timeline
594
Selecting Clips Based on Markers, Flags, and Clip Color
595
Selecting Edits in the Timeline
596
A Practical Example of Keyboard-Driven Selections
597
Using Auto Select Controls to Define Selections
598
Defining Selections With the Help of Auto Select Controls
598
Overriding Automatic Selections by Making Manual Selections
599
Using Auto Select Controls to Control Other Operations
599
Locking Tracks You Don’t Want to Change
601
Position Lock for Finishing
602
Position Locking All Tracks
602
Position Locking Individual Tracks
602
Disabling and Re-Enabling Clips in the Timeline
603
Deleting Clips and Gaps From the Timeline
603
Finding, Selecting, and Deleting Gaps in the Timeline
605
Deleting Multiple Timeline Gaps at Once
605
Audio/Video Linking
607
Controlling Linked Selection
607
Linked Move Across Tracks
608
Dealing with Audio Video Sync Offsets
609
Manually Unlinking and Relinking Audio and Video
609
Linking Multiple Clips in the Timeline
610
Commands for Slipping Audio/Video Sync
611
Using the Inspector in the Edit Page
612
Using the Inspector
613
Video
613
Audio
619
Effects
620
Transition
621
Image
622
File
623
Modifying Clips in the Timeline
624
Keyboard Shortcuts in This Chapter
625
Moving, Resizing, and Rolling Clips in Selection Mode
626
Trimming Gaps
629
Modifying Clip Duration Via Timecode
629
Resizing or Trimming Clips in the Source Viewer
629
Using the Selection Tool
630
Using the Trim Tool
630
Doing a Slip Edit in the Viewer
630
Shuffle/Swap Insert Edits
630
Splitting and Joining Clips
633
Through Edits
633
Enabling and Disabling Clips and Tracks
634
Copying and Pasting Clips in the Timeline
635
Paste Insert
635
Cut/Copy/Paste of Partial Clip Segments Using In and Out Points
635
Copying and Pasting Clips to a Different Track
636
Audio Channels When Copying and Pasting Audio Clips
636
Auto Align Clips
637
Duplicating Clips and Transitions in the Timeline
639
Smart Reframe (Studio Version Only)
639
Scene Cut Detection on the Timeline
640
Clean Up Video Tracks
641
Three- and Four‑Point Editing
642
Keyboard Shortcuts in This Chapter
643
Introduction to Three-Point Editing
644
Choosing a Track to Edit to Using Destination Controls
644
Setting In and Out Points in the Timeline
645
Mark Clip and Mark Current Selection
647
Preview Marks During Three‑Point Editing
648
Dragging Preview Marks to Change an Edit
649
The Rules of Three-Point Editing
650
Editing Rules for Split In and Out Points
652
Editing a Specific Range of the Source Clip Into the Timeline
652
Editing Part of a Source Clip to Fit Into a Specific Range of the Timeline
653
Backtiming a Source Clip When Editing Into the Timeline
654
Switch Focus to Timeline After Edit
655
Different Types of Three‑ and Four‑Point Edits
656
Overwrite Edits
656
Insert Edits
657
Replace Edits
658
Fit to Fill
661
Place on Top
662
Ripple Overwrite
663
Append at End
665
Insert Selected Clips to Timeline Using Timecode
666
Insert Selected Clips to Timeline With Handles
666
Three-Point Editing From the Media Pool
667
Example: Assembling Clips Into the Timeline From the Media Pool
667
Marking and Finding Clips in the Timeline
668
Using Flags
669
Using Markers
670
Adding Markers to Clips
670
Adding Markers to Timelines
672
Saving In and Out Point Ranges As Markers with Duration
673
Editing Marker Information and Keywords
673
Changing Marker Timing
675
Drawn Annotations on the Viewer
676
Frame.io Timeline Markers
677
Working With Frame.io Markers
678
Dropbox Replay Timeline Markers
678
Working With Dropbox Markers
679
Reading Marker Information
680
Using Markers for Navigation
681
Using Timeline Markers for Chapters
681
Exposing Markers in Lists
682
Using Markers in the Media Pool
682
Hiding Markers By Color
683
Deleting Markers By Color
683
Renaming Clips in the Timeline
684
Color Labeling Clips in the Timeline
684
Custom Clip Colors
685
Clip Color Appearance
685
Assigning Clip Colors
686
Track Colors
686
Finding Clips, Media, Markers, Gaps, and Timelines
687
Finding Clips in the Timeline
687
Finding Offline Clips in the Timeline
687
Finding Edit Index Events Using Clips in the Timeline
687
Finding Clips
688
Finding Clips Using Markers or Flags
688
Finding Gaps
688
Finding the Currently Open Timeline in the Media Pool
689
Finding Media Using Match Frame Operations
689
Matching From the Timeline
689
Matching From a Source Clip
691
Finding a Clip in the Media Pool Using a Timeline Clip
691
Using a Clip in the Source Viewer to Find a Media Pool Clip
691
Using a Clip in the Timeline to Find a Media Pool Clip
691
Tracking Media Usage
691
Thumbnail Clip Usage Indicators
691
List View Clip Usage Column
692
Multicam Editing
693
Introduction to Multicam Editing
694
Creating and Modifying Multicam Clips
694
Converting Compound Clips or Timelines to Multicam Clips
695
Logging and Editing Multicam Clips
696
Setting up a Timeline for Multicam Editing
696
Opening and Altering Multicam Clips
697
Performing a Multicam Edit
697
Multicam Controls in the Source Viewer
699
Multicam Keyboard Controls
700
Editing Multicam Clips in the Timeline
700
Grading Multicam Clips
701
Take Selectors, Compound Clips, and Nested Timelines
703
Take Selectors
704
Compositing and Grading Take Selectors
705
Compound Clips
705
Compositing With and Grading Compound Clips
708
Nested Timelines
709
Re-Editing a Nested Timeline
709
Swapping the Contents of the Source Viewer and Timeline
710
Editing Source Media From a Timeline or Compound Clip
710
Marking Clips in Timelines Loaded into the Source Viewer
710
Decomposing Nested Timelines
710
Compositing and Grading Nested Timelines
711
Audio Buses in Nested Timelines
711
Converting Compound Clips or Timelines to Multicam Clips
712
Trimming
713
Keyboard Shortcuts in This Chapter
714
Summarizing Trim Operations
715
Selection-Based Trimming Using the Trim Tool
715
How the Trim Tool Differs From the Selection Tool
716
Using the Trim Tool With the Mouse
717
Turning Off the Heads Up Display While You Trim
720
Trim Tool Operations With the Keyboard
721
Important Trimming Keyboard Shortcuts
721
Trimming Using Timecode Entry
723
How to Enter Timecode Values
723
Commands to Make Selections and Trim
724
Trimming Clips in the Source Viewer
725
Ripple Editing Rules
726
Using Auto Select Controls to Control Trimming
728
Using Auto Select to Control Which Clips Are Trimmed
728
Using Manual Selections to Control Which Clips Are Trimmed
729
Using Auto Select to Control Which Tracks Are Rippled
730
Trimming Multiple Edits or Clips at Once
732
Resizing and Rolling Multiple Edit Points
732
Rippling Multiple Edit Points
732
Asymmetric Trimming
734
Slipping Multiple Clips
736
Sliding Multiple Clips
736
Keyboard Trimming During Looped Playback
736
Dynamic JKL Trimming
737
Quick Trimming
738
Dynamic Trimming (or “JKL Trimming”)
738
Trim Operations that are Targeted Using the Playhead
740
Trim Start and Trim End
740
Resize, Ripple, and Roll Start and End Commands
741
Slip and Slide Playhead to In and Out Commands
742
Extend Edits
742
Working with Audio in the Edit Page
745
Audio in the Edit vs. Fairlight Pages
747
Compatible Audio Formats
747
Assigning Audio Channels in the Media Pool
747
How to Assign Audio Channels
747
Support for Mixed Audio Track Formats from Source Clips
750
Editing Audio Into the Timeline
751
Editing Audio Using the Source Viewer
751
Simultaneous Audio Waveform Display in the Source Viewer
751
Using Multi-Channel Timeline Tracks
752
Creating Timelines With Audio Mixer Presets
754
Editing Audio Clips Into the Timeline
754
Changing Audio Clip Attributes After Editing
755
Displaying Waveforms in the Timeline
755
Editing Audio In the Timeline Using In and Out Points
757
Resizing Audio Clips in Subframe Increments
758
Enabling and Disabling Subframe Editing
758
Subframe Editing of In and Out Points
758
Eliminating Subframe Audio Edits
759
Audio Settings in the Inspector
759
Setting Volume
759
Adjusting Audio in the Inspector
760
Adjusting Audio in the Timeline
760
Adjusting Volume Using Keyboard Shortcuts
761
Normalize Audio Volume Command
761
Pan
762
Pitch
762
Equalizer
763
Master EQ Controls
763
Graphical EQ controls
763
Bands 1 and 4
764
Bands 2 and 3
764
Keyframing Audio
764
Overlay Controls for Volume
764
How to Add and Adjust Volume Keyframes
765
Audio Fade Handles
766
Audio Crossfades
767
The Audio Mixer
767
Audio Mixer Controls
768
Mute and Solo Tracks For Output
769
Displaying Audio Meters
769
Audio Compound Clips
769
Audio Playback for Variable Speed Clips
770
Using Audio Filters
770
Installing Audio Filters
771
The Fairlight Page
772
Pro Tools Export
772
Media Management
773
What Is Media Management in DaVinci Resolve?
774
Media Management of Timelines Creates .drt Files
774
File Formats That Are Compatible With Media Management
774
Using Media Management
775
Continuing Media Management Jobs on Error
778
Options in the Media Management Window
778
Options for Transcode Only
779
File Naming When You Consolidate Media
779
PART 6 – Editing Effects and Transitions
780
Editing, Adding, and Copying Effects and Filters
781
Using the Effects Library
782
The Toolbox
782
Open FX
783
Audio FX
783
Effects Library Favorites
783
Converting Fusion Compositions to Edit Effects
784
Seeing Effects in the Timeline
784
Using the Inspector
784
Inspector Effects Controls
785
Adding Filters to Video Clips
786
Render in Place
789
Adjusting Multiple Clips at the Same Time
790
Adjustment Clips
791
Paste Attributes
792
Keyframe Options for Pasting Keyframed Attributes
792
Option to Ripple the Timeline for Pasting Speed Effects
792
Remove Attributes
793
Using Transitions
794
Working With Transitions
795
Previewing Transitions
795
Adding and Editing Transitions
796
Adding Transitions When There’s Not Enough Handles
797
Adding Transitions By Dragging to Create Overlap
798
Transition Properties in the Inspector
799
Using Transition Curves in the Edit Page
800
Favorite Transitions
801
Changing the Standard Transition
801
Creating Transition Presets
802
Changing Transitions to Fusion Compositions
802
Video Transitions
803
Dissolve
803
Iris
804
Motion
805
Shape
806
Wipe
807
User Transitions
808
Fusion Transitions
808
Resolve FX Transitions
808
Burn Away Transition
808
DCTL Transition
810
Audio Transitions
810
OpenFX Transitions
810
Titles, Generators, and Stills
811
Adding Titles
812
Using Safe Area Overlays
813
Custom Action and Title Safe Areas
813
Types of Title Generators
813
DaVinci Resolve Title Generators
814
Editing Titles Within the Timeline Viewer
814
Title Generator Panels
815
Shared Title Generator Parameters
815
Title Generator Settings Parameters
817
The Text+ Title Generator
817
Fusion Titles and Fusion Templates
818
Saving Titles in the Media Pool for Future Use
819
Using Generators
820
ITU-R BT.2111-1 Color Bar Generators
820
Fusion Generators
821
Using Stills
822
Photoshop File Support
822
Using the DaVinci Resolve Speed Editor and Editor Keyboard
823
Introducing the DaVinci Resolve Speed Editor
825
Connecting the Speed Editor via USB-C
825
Charging the Speed Editor
825
Updating the Speed Editor Firmware
826
Troubleshooting the Speed Editor via USB
826
Connecting the Speed Editor via Bluetooth
826
Troubleshooting the Speed Editor via Bluetooth
828
Resetting the Speed Editor
828
Using the Speed Editor Keys
828
Navigation Using the Search Dial
829
Intelligent Keyboard Edit Modes
830
Search Dial Live Trimming Tools
835
Transition Keys
836
Function Keys
837
Sync Bin Multi Camera Selection
840
Live Overwrite Mode
841
Introducing the DaVinci Resolve Editor Keyboard
844
Connecting the Editor Keyboard via USB-C
844
Updating the Editor Keyboard Firmware
845
Navigation Using the Search Dial
845
Sort Media Pool Keys
846
Editorial Tools
847
Trimming Tools
850
Transition Keys
851
Function Keys
852
Timecode Entry
855
QWERTY Keyboard Commands
856
Editor Keyboard Function (Fn) Key Map
857
Using the Speed Editor and Editor Keyboard In Other DaVinci Resolve Pages
858
Using the Keyboards in the Media Page
858
Using the Keyboards in the Fusion Page
858
Using the Keyboards in the Color Page
858
Using the Keyboards in the Fairlight Page
858
Using the Keyboards in the Deliver Page
858
Compositing and Transforms in the Timeline
859
Composite Modes and Transparency Effects
860
More About Composite Modes
861
Opacity
864
Video Fader Handles
864
Fade In and Out to Playhead Commands
865
Alpha Channel Support
865
Keying in the Timeline Using Resolve FX
865
Setting Up a Green Screen (Chroma Key) on the Timeline
865
Using Resolve FX and Open FX Alpha for Track Compositing
867
Transform and Cropping in the Video Inspector
867
Transform
867
Smart Reframe (Studio Version Only)
868
Cropping
868
Dynamic Zoom
868
Stabilization
869
Lens Correction
870
Retime and Scaling
870
Onscreen Controls for Transform, Crop, and Dynamic Zoom
871
Object Snapping in the Viewer
871
Using Onscreen Controls
872
Speed Effects
874
Speed Effects and Retiming
875
Creating Freeze Frames
875
Creating Simple Linear Speed Effects
876
Speed Change Controls in the Video Inspector
877
Clip Retiming Controls
877
Retiming an Entire Clip
878
Rippling or Overwriting the Timeline When Using Retime
878
Reading Clip Speed Arrows
878
Creating Variable Speed Effects Using the Retime Controls
879
Closing Retime Controls
881
Using Retime Curves
882
Speed Effect Processing
884
Optical Flow Quality Settings Affecting Speed Effects
885
Subtitles and Closed Captioning
886
Subtitles and Closed Captioning Support
887
Viewing Subtitle/Caption Tracks
887
Adjusting QC Thresholds For Subtitle/Caption Timing
887
Importing Subtitles and Captions
888
Adding Subtitles and Captions Manually
890
Editing Subtitles and Captions
892
Styling Subtitles and Captions
892
Linking Subtitles to Clips
892
Using Subtitles in Nested Timelines
893
Naming Subtitle Tracks
893
Exporting Subtitles and Closed Captions
895
Exporting Subtitles Via the File Menu
895
Exporting Subtitles Via the Subtitle Track Header
895
Exporting, Burning, or Embedding Subtitles During Delivery
895
Keyframing Effects in the Edit Page
897
Keyframing Effects in the Edit Page
898
Keyframing in the Video Inspector
899
Keyframing Motion Paths in the Timeline Viewer
901
Keyframing in the Edit Timeline and Curve Editor
903
The Keyframe Editor
903
The Curve Editor
905
Keyframable Open FX and Resolve FX
908
VFX Connect
909
Using VFX Connect
910
How Clips are translated into Node Trees
912
Altering VFX Connect Clips
913
Creating Multiple Versions of Fusion Clips
913
Switching Versions of VFX Connect Clips in DaVinci Resolve
914
Sending a VFX Connect Directory to Another Machine
914
Creating Multiple Versions of Fusion Clips on Another Machine
915
Updating VFX Connect Clips Using Render Media and Refresh
915
PART 7 – Import and Conform Projects
916
Preparing Timelines for Import and Comparison
917
Preparing to Move Your Project to DaVinci Resolve
918
Move Clips to the Lowest Video Track
918
Organize Unsupported Media Files
919
Creating an Offline Reference Movie
919
Mixed Frame Sizes and Mixed Codecs
919
Mixed Frame Rates
919
Importing Effects when Conforming Edits
921
About Supported Color Corrections
921
About Supported Transitions
922
Transition Names
922
About Supported Opacity, Position, Scale, and Rotation Settings
923
About Flip and Flop Support
923
Pitch and Yaw
923
About “Ken Burns Effect” and Dynamic Zoom
923
About Speed Effects
923
About Nested Sequences and Compound Clips
924
About Supported Composite Modes
924
About Supported Still Image Formats
924
About Supported Alpha Channels
924
About Imported Text Effects
925
About Imported Audio in AAF Projects
925
Verifying Imported Timelines Using Offline References
926
Why Set Up An Offline Comparison?
926
Assigning a Clip or Timeline for Offline Comparison
927
Setting Up an Offline Reference/Timeline Comparison
928
Conforming and Relinking Clips
930
Conforming and Relinking Media
931
Conforming and Relinking During Project Import
931
Conforming and Relinking Existing Timelines and Clips
931
The Difference Between Unlinked and Missing Clips
932
Duplicate Clips are Considered Separate Sources
933
Summary of Methods for Conforming and Relinking
933
Unlinking Clips
935
Conforming Clips During XML and AAF Import
935
Importing Clips Before Importing an EDL, AAF, or XML
937
Essential Clip Metadata for Easy Conforming and Relinking
937
Defining Clip Metadata When Adding Media to the Media Pool
938
How Reel Names Are Identified
938
Conform Missing Clips by Importing Their Source Media
941
Using the Import Additional Clips Command
942
Using Conform Lock As a Command
943
Relinking Clips to Media Files on Disk
943
Using “Change Source Folder” to Relink Clips
944
Using the “Reconform From Bins” Command
944
Using Reconform From Media Storage
947
Understanding, Fixing, and Using Reel Conflicts
950
Using Clip Conflicts as a Conform Tool
950
Resolving Clip Conflicts
951
Re-editing Media Directly to the Timeline
952
How Grades Are Linked to Multiple Timelines
952
Creating Digital Dailies for Round Trip Workflows
953
Step 1–Ingest Media and Add/Edit Metadata
954
Step 2–Sync Audio to the Dailies
954
Step 3–Do Whatever Grading is Necessary
955
Step 4–Export Media Suitable for Editing
957
Step 5–Reconform Media to an EDL, AAF, or XML Project File
958
Step 6–Output Final Media for Finishing
958
Conforming XML Files
959
More About Conforming XML Files
960
Importing XML Project Files
960
Conforming AAF Files
964
Supported Media Types in AAF Workflows
965
Transcoding to DNxHD or DNxHR Always Works
965
Linking to Media Using AMA and Consolidating
965
Fast Imported Media
966
Logged Errors When Importing AAF
967
Simple AAF Import
967
Importing Boris Continuum FX with AAF Timelines
970
Importing AAF Timelines with Nested Clips
970
Performing an AAF Avid Round Trip
971
Step 1–Create a Project in Media Composer
971
Step 2–Exporting an AAF for DaVinci Resolve
971
Step 3–Conforming Your AAF in DaVinci Resolve
972
Step 4–Continue Editing, Grading, and Finishing the Project
974
Step 5–Render Graded Media and Export a New AAF
974
Step 6–Copy the Graded Media to Avid MediaFiles
975
Step 7–Import the Graded AAF
975
Relinking Transcoded Media to AMA Media
976
Step 1–Relink Your Transcoded Media to AMA-Linked Source
976
Step 2–Export an AAF File
976
Step 3–Import the AAF, Grade, Render, and Export
976
Step 4–Reimport the AAF into Media Composer/Symphony
976
Audio AAF Import from Pro Tools
977
Import AAF, EDL, XML
977
Import AAF to Current Timeline
977
Conforming EDL Files
978
Conforming EDL Files
979
EDL Export of a Project and Its Media
980
Conforming EDLs to Individual Media Files
980
Preconforming “Flat” Media Files to EDLs
981
Override Input Color Space of Clips in Preconform Workflows Using Color Management
982
Conforming “Flat” Media Files Using Split and Add
982
Importing an EDL to a New Track
983
PART 8 – Fusion Fundamentals
984
Introduction to Compositing in Fusion
985
What Is Fusion?
986
The Fusion Page within DaVinci Resolve
986
The Fusion Studio Stand-Alone Application
987
What Kinds of Effects Does Fusion Offer?
988
How Hard Will This Be to Learn?
989
Exploring the Fusion Interface
990
The Fusion User Interface
992
The Work Area
993
Interface Toolbar
993
Choosing Which Panel Has Focus
994
Viewers
994
Zooming and Panning into Viewers
996
Loading Nodes Into Viewers
996
Clearing Viewers
997
Viewer Controls
997
Time Ruler and Transport Controls
999
Time Ruler Controls in the Fusion Page
999
Time Ruler Controls in Fusion Studio
1000
The Playhead
1000
Zoom and Scroll Bar
1001
Transport Controls in the Fusion Page
1001
Audio Monitoring
1003
Transport Controls in Fusion Studio
1004
Changing the Time Display Format
1008
Keyframe Display in the Time Ruler
1008
The Fusion RAM Cache for Playback
1008
Toolbar
1010
Customizing the Toolbar
1010
Node Editor
1012
Adding Nodes to Your Composition
1012
Removing Nodes from Your Composition
1013
Identifying Node Inputs and Node Outputs
1013
Node Editing Essentials
1013
Navigating the Node Editor
1015
Vertical Node Editor Layouts
1015
Keeping Organized
1016
Status Bar
1016
Effects Library
1017
The Inspector
1018
The Tools and Modifiers Panels
1019
Parameter Header Controls
1019
Parameter Tabs
1019
Keyframes Editor
1020
Keyframes Editor Control Summary
1020
Adjusting Clip Timings
1021
Adjusting Effect Timings
1021
Adjusting Keyframe Timings
1021
Spline Editor
1022
Spline Editor Control Summary
1023
Choosing Which Parameters to Show
1023
Essential Spline Editing
1024
Essential Spline Editing Tools and Modes
1024
Thumbnail Timeline in the Fusion Page
1026
The Media Pool in the Fusion Page
1026
Importing Media Into the Media Pool on the Fusion Page
1027
Bins in Fusion Studio
1028
Bins Interface
1028
The Bin Studio Player
1029
The Console
1030
Customizing Fusion
1031
The Fusion Settings Window
1031
Showing and Hiding Panels
1032
Resizing Panels
1032
Fusion Studio Floating Frame
1032
Fusion Studio Keyboard Remapping
1033
Undo and Redo
1034
Getting Clips into Fusion
1036
Preparing Compositions in the Fusion Page
1037
Working on Single Clips in the Fusion Page
1037
Turning One or More Clips into Fusion Clips
1038
Adding Fusion Composition Generators
1039
Creating a Fusion Composition Clip in a Bin
1040
Using Fusion Transitions
1040
Adding Clips from the Media Pool
1041
Adding Clips from the File System
1042
Using MediaIn Nodes
1042
MediaIn Node Inputs
1042
Inspector Properties of MediaIn Nodes
1042
Using Loader and Saver Nodes in the Fusion Page
1045
Preparing Compositions in Fusion Studio
1047
Setting Up a Composition
1049
Reading Clips into Fusion Studio
1050
Aligning Clips in a Fusion Studio Composition
1051
Loader Node Inputs
1052
Using Proxies for Better Performance
1052
Presetting Proxy Quality
1053
File Format Options
1054
Loading Audio WAV Files in Fusion Studio
1056
Rendering Using Saver Nodes
1057
Rendering Overview
1058
Rendering in the Fusion Page
1058
Rendering in Fusion Studio
1059
Rendering with the Saver Node
1059
Setting Filenames for Export
1060
Using the Render Settings Dialog
1061
Render Settings Dialog Options
1062
Rendering Previews
1063
Setting Up Network Rendering in Fusion Studio
1063
Licensing for Network Rendering
1064
Configuring the Render Master and Render Nodes
1065
Setting Up the Render Manager
1067
Submitting Comps to Network Render
1068
Using the Render Settings Dialog for Network Rendering
1068
Using the Render Manager Window for Network Rendering
1069
Working with Node Groups
1070
Viewing the Render Log
1071
Using Third-Party Render Managers with Fusion Studio
1071
Preparing Compositions for Network Rendering
1073
Using Relative Paths
1073
Using Mapped Drives
1074
Installing All Fonts on Render Nodes
1075
Installing Third-Party Plug-Ins on Render Nodes
1075
Other Uses of Network Rendering
1075
Flipbook Previews
1075
Disk Cache
1075
When Renders Fail
1076
Automatic Rejoining of the Queue
1076
Relaunching Render Nodes with Fusion Server
1076
Frame Timeouts
1076
Heartbeats
1077
Managing Memory Use
1077
Override Composition Settings
1077
Render Several Frames at Once
1077
Simultaneous Branching
1078
Limitations of Render Nodes
1078
Time Stretching
1078
Linear Tools
1078
Saving to Multi-Frame Formats
1078
Troubleshooting
1078
Checking the Render Log
1079
Check the Composition
1079
Working in the Node Editor
1080
Learning to Use the Node Editor
1082
Navigating within the Node Editor
1082
Automatic Node Editor Navigation
1083
Using the Node Navigator
1083
Node View Bookmarks
1084
Adding Nodes to a Composition
1085
Adding, Inserting, and Replacing Nodes Using the Toolbar
1086
Adding Nodes Quickly Using the Select Tool Window
1087
Adding Nodes from the Effects Library
1087
Adding, Inserting, and Replacing Nodes Using the Contextual Menu
1090
Deleting Nodes
1090
Disconnected Nodes
1090
Selecting and Deselecting Nodes
1091
Selecting Nodes
1091
The Active Node
1091
Deselecting Nodes
1091
Loading Nodes into Viewers
1092
Viewed Nodes When You First Open Fusion
1092
Node View Indicators
1093
Drag and Drop Nodes into a Viewer
1093
Using the Contextual Menu
1093
Clearing Viewers
1093
Create/Play Preview
1094
Connecting and Disconnecting Nodes
1094
Node Basics
1094
How to Connect Nodes
1094
Dropping Connections on Top of Nodes
1095
Identifying Node Inputs
1097
Node Order Matters
1097
Upstream and Downstream Nodes
1099
Disconnecting and Reconnecting Nodes
1099
Tracing Connections Through the Node Tree
1100
Branching
1100
Connecting Merge Nodes
1101
Automatically Creating a Merge Node When Adding Nodes
1102
Automatically Creating a Merge Node by Connecting Two Outputs
1102
Connection Options and Routers
1103
Using Routers to Reshape and Branch Connections
1104
Swapping Node Inputs
1105
Extracting and Inserting Nodes
1105
Cut, Copy, and Paste Nodes
1106
Cut, Copy, and Paste in the Node Editor
1106
Pasting Node Settings
1107
Copying and Pasting Nodes to and from Any Text Editor
1107
Instancing Nodes
1108
Using Instanced Nodes
1109
De-Instancing and Re-Instancing Specific Parameters
1110
Keeping Node Trees Organized
1110
Moving Nodes
1110
Renaming Nodes
1111
Changing Node Colors
1112
Using Sticky Notes
1112
Using Underlay Boxes
1112
Node Thumbnails
1114
Choosing Which Nodes Show Thumbnails
1114
Switching Thumbnails between Images and Icons
1115
Finding Nodes
1116
Performing Simple Searches
1116
Using Regular Expressions
1116
Custom Node Settings
1117
Managing Saved Settings
1117
Resetting Defaults
1118
Saving and Loading Alternate Node Settings
1118
Adding Saved Settings from the File System
1119
Node Modes Including Disable and Lock
1119
Node Editor Options
1119
Node Tooltips and the Status Bar
1120
Node Groups, Macros, and Fusion Templates
1121
Groups
1122
Creating Groups
1122
Deleting Groups
1123
Expanding and Collapsing Groups
1123
Panning and Scaling within Open Group Windows
1123
Ungrouping Nodes
1123
Saving and Reusing Groups
1123
Macros
1124
Creating Macros
1124
Using Macros
1126
Re-Editing Macros
1126
Other Macro Examples
1126
Creating Fusion Templates
1126
Getting Started with a Fusion Title Template
1126
Saving a Title Macro
1127
Using Your New Title Template
1130
Getting Started with a Fusion Transition Template
1131
Creating a Fusion Transition Template
1132
Using Your New Transition Template
1134
Getting Started with a Fusion Generator Template
1134
Creating a Fusion Generator Template
1135
Using Your New Generator Template
1137
Creating a Fusion Effect Template
1137
Changing Durations of a Template
1138
Creating a Custom Template Icon
1139
Using Fusion Template Bundles
1139
Using Viewers
1141
Viewer Overview
1142
Single vs. Dual Viewers
1143
Floating Viewers in Fusion Studio
1143
Video Output
1143
Clean Feed
1143
Loading Nodes into Viewers
1143
Clearing Viewers
1144
Position and Layout
1144
The Viewer Divider
1144
Zooming and Panning into Viewers
1145
Flipbook Previews
1146
Creating Flipbook Previews
1146
Playing Flipbook Previews
1147
Removing Flipbook Previews
1147
Flipbook Preview Render Settings
1147
Onscreen Controls
1148
Showing and Hiding Onscreen Controls
1149
Making Fine Adjustments to Onscreen Controls
1149
Toolbars
1150
Viewer Toolbar
1150
Node Toolbars
1150
A/B Buffers
1150
Flipping between Buffers
1151
Split Wipes between Buffers
1151
Moving the Wipe Divider
1152
Subviews
1152
Showing and Hiding Subviews
1153
Changing the Subview Type
1153
Swapping the Subview with the Main View
1153
Viewer and Subview Types
1154
Viewing Selective Channels
1158
Viewing Color Channels
1158
Viewing Auxiliary Channels
1158
The 3D Viewer
1159
Panning, Scaling, and Rotating a 3D Viewer
1159
Viewing Objects via Wireframe
1159
Changing the POV of a 3D Viewer
1159
Copying a Viewer’s POV to a Camera
1160
Lighting and Shadows in 3D Viewers
1161
Transparency in 3D Viewers
1162
Grid
1162
Vertex Normals
1163
Quad View
1164
Quad View Layouts
1164
Using Quad Views for 2D Scenes
1164
Guides
1165
Frame Format Settings
1166
Domain of Definition and Region of Interest
1166
Domain of Definition (DoD)
1166
Region of Interest (RoI)
1167
Enabling RoI Controls
1167
Managing Viewer Lookup Tables (LUTs)
1169
How Lookup Tables Work in Fusion
1169
Types of Viewer LUTs
1169
Using Viewer LUTs
1171
Editing Viewer LUTs
1171
LUT Processing Order
1173
Applying Multiple LUTs
1174
Saving Custom LUTs
1174
LUT Files
1175
Viewer Preferences and Settings
1176
Viewer Settings
1176
The Viewer Options Menu
1177
Locking the Viewer (Command-L)
1177
Additional Viewer Options
1178
Status Bar Information
1178
Editing Parameters in the Inspector
1179
Overview of the Inspector
1180
The Tools and Modifiers Panels
1181
Customizing the Inspector
1181
Inspector Height
1181
Inspector Display Preferences
1181
Opening Nodes in the Inspector
1182
Pinning Multiple Nodes in the Inspector
1183
Hiding Inspector Controls
1184
Using the Inspector Header
1184
Selecting and Viewing Nodes in the Inspector
1185
Using Header Controls
1185
Versioning Nodes
1186
Parameter Tabs
1186
The Settings Tab
1186
Inspector Controls Explained
1190
Fusion Slider Controls
1190
Thumbwheel
1191
Range Controls
1191
Checkboxes
1191
Drop-Down Menus
1192
Button Arrays
1192
Color Chooser and Picker
1192
Gradients
1194
Modifiers
1196
Animating Parameters in the Inspector
1196
Removing Animation From a Parameter
1197
Attaching a Parameter to an Existing Animation Curve
1197
Connecting Parameters
1198
Connecting Parameters by Publishing
1198
Connecting Parameters by Pick Whipping
1198
Contextual Menus
1199
Customizing Node Parameters with User Controls
1199
An Example of Customizing Directional Blur
1200
Animating in Fusion’s Keyframes Editor
1202
Keyframing in the Inspector
1203
Removing Animation in the Inspector
1204
Attaching a Parameter to an Existing Animation Curve
1204
Keyframes Editor Overview
1204
Keyframes Editor Tracks
1205
The Timeline Header
1205
The Playhead
1206
Spreadsheet
1206
Scaling and Panning the Timeline
1206
Working with Segments in the Timeline
1207
Moving Segments in the Timeline
1207
Trimming Segments
1207
Holding the First or Last Frame
1208
Working with Keyframes in the Timeline
1208
Drag and Drop Keyframe Editing
1208
Keyframe Editing Using the Time Editor
1209
The Keyframe Spreadsheet
1209
Duplicating Spline Keyframes
1209
Time Stretching Keyframes
1209
Showing Keyframe Values
1210
Timeline Filters
1210
Selected Filtering
1211
Sorting in the Timeline
1211
The Tree Item Order Menu
1212
The Sort Menu
1212
Markers
1213
Jumping to Markers
1213
Renaming Markers
1213
Show Marker List
1214
Deleting Markers
1214
Autosnap
1214
Autosnap Points
1214
Autosnap Markers
1215
The Spreadsheet Editor
1215
Selecting a Node to Edit
1215
Inserting Keyframes
1216
Selecting Multiple Nodes to Edit
1216
Customizing the Keyframes Editor
1216
Line Size
1216
Display Point Values
1216
Animating in Fusion’s Spline Editor
1219
Spline Editor Overview
1220
Spline Editor Interface
1220
The Graph, Header, and Toolbar
1220
Renaming Splines
1222
Changing Spline Colors
1222
Navigating Around the Spline Editor
1222
Markers
1224
Autosnap
1226
Creating Animation Splines
1226
Animating with Different Spline Types
1227
Working with Keyframes and Splines
1229
Adding Keyframes
1229
Locked and Unlocked Controls Points
1230
Selecting, Moving, and Deleting Keyframes
1231
Showing Key Markers
1231
Copying and Pasting Keyframes
1232
Time and Value Editors
1233
Modifying Spline Handles
1235
Reducing Points
1235
Filtering the Spline Editor
1236
Working with Filters
1237
Changing a Spline’s Status
1238
Selection States
1238
Reshaping Splines Using the Toolbar
1239
Interpolation
1239
Reversing Splines
1241
Looping Splines
1241
Time Stretching
1244
Shape Box
1245
Ease In/Out
1245
Importing and Exporting Splines
1246
Animating with Motion Paths
1247
Animating Using Motion Paths
1248
Types of Motion Paths
1249
Polyline Path
1249
Path Modifier
1252
Controlling Speed and Orientation along a Path
1253
XY Path
1255
Types of Control Points
1257
Locked Points
1257
Unlocked Points
1260
Locking and Unlocking Points
1261
Tips for Manipulating Motion Paths
1261
Compound Motion Paths Using Path Centers
1261
Copying and Pasting Motion Paths
1262
Removing Motion Paths
1262
Recording Motion Paths
1263
Importing and Exporting Polylines
1263
Native Format
1263
Using Modifiers, Expressions, and Custom Controls
1264
The Contextual Menu for Parameters in the Inspector
1265
Using Modifiers
1265
Adding the Right Modifier for the Job
1265
Adding Modifiers to Individual Parameters
1265
Combining Modifiers and Keyframes
1266
Publishing a Parameter
1266
Connecting Multiple Parameters to One Modifier
1267
Adding and Inserting Multiple Modifiers
1267
Performing Calculations in Parameter Fields
1268
Using SimpleExpressions
1268
Pick Whipping to Create an Expression
1271
Removing SimpleExpressions
1271
Customizing User Controls
1271
FusionScript
1274
Bins
1276
Bins Overview
1277
Bins Interface
1277
Viewing and Sorting Bins
1278
Organizing Bins
1279
Adding and Using Content
1281
File Type Details
1282
Using Content from Bins
1282
Jog and Shuttle
1283
Stamp Files
1283
Using the Studio Player
1284
Playing a Single Clip
1284
Creating a Reel
1285
Connecting Bins Over a Network
1292
Adding a Remote Bin Entry
1293
Accessing Remote Bins
1293
Permissions
1293
Studio Player and Bin Server
1293
Fusion Connect
1295
Fusion Connect Overview
1296
System Requirements
1296
The Effects Palette
1296
The Layer Input Dialog
1297
Applying Fusion Connect to a Transition Point
1297
Export Clips
1297
Edit Effect
1298
Browse for Location
1298
Auto Render in Fusion
1299
Red on Missing Frames
1299
Compress Exported Frames
1299
Edit Effect Also Launches Fusion
1299
Versioning
1299
Create New Version
1299
Version
1299
About RAW Images
1299
About Color Depth
1300
Manual vs. Auto-Render
1300
Fusion/Avid Project Relationship
1302
Rendering with Fusion
1302
Directory Structure of Fusion Connect Media
1303
Advanced Project Paths
1304
Configuring Paths on macOS
1304
Configuring Paths on Windows
1305
Fields and Variables
1305
Environment Variables
1305
Preferences
1308
Preferences Overview
1309
Categories of Preferences
1310
Preferences In Depth
1312
AVI
1314
Defaults
1314
Flow
1315
Frame Format
1317
General
1318
GPU
1320
Layout
1322
Loader
1323
Memory
1324
Network
1326
Path Maps
1327
Preview
1331
QuickTime
1332
Script
1333
Spline Editor
1334
Splines
1335
Timeline
1336
Tweaks
1337
User Interface
1340
Video Monitoring
1341
View
1342
VR Headsets
1343
Bins/Security
1345
Bins/Server
1346
Bins/Settings
1347
EDL Import
1348
Customization
1348
Shortcuts Customization
1349
Customizing Preferences
1350
Controlling Image Processing and Resolution
1351
Fusion’s Place in the DaVinci Resolve Image-Processing Pipeline
1352
Source Media into the Fusion Page
1352
Forcing Effects into the Fusion Page
1352
Output from the Fusion Page to the Color Page
1353
What Viewers Show in Different DaVinci Resolve Pages
1353
Managing Resolution In Fusion
1353
Changing the Resolution of a Clip
1354
Compositing with Different-Resolution Clips
1354
Sizing Between DaVinci Resolve Pages
1355
Color Bit Depths
1355
Understanding Integer vs. Float
1355
Setting Color Depth in Fusion Studio
1356
Combining Images with Different Color Depths
1357
Advantages of Floating-Point Processing
1358
Managing Color for Visual Effects
1360
Color Management
1361
All Compositing Is Math
1361
Introducing Color Management in Fusion
1362
Converting to Linear Gamma
1362
Applying LUTs to a Viewer
1365
Using Resolve Color Management
1367
Using ACES Color Management in Resolve
1368
Using OCIO for ACES Color Management in Fusion
1369
Applying OCIO LUTs in the Viewer
1370
Understanding Image Channels
1372
Channels in Fusion
1373
Types of Channels Supported by Fusion
1373
Fusion Node Connections Carry Multiple Channels
1374
Node Inputs and Outputs
1374
Node Colors Tell You Which Nodes Go Together
1377
Using Channels in a Composition
1379
Channel Limiting
1379
Adding Alpha Channels
1380
How Channels Propagate During Compositing
1381
Rearranging or Combining Channels
1382
Understanding Premultiplication
1382
The Rules of Premultiplication
1385
Alpha Channel Status in MediaIn and Loader Nodes
1387
Controlling Premultiplication in Color Correction Nodes
1387
Controlling Premultiplication With Alpha Divide and Alpha Multiply
1387
Multi Channel Compositing
1388
Compositing with Beauty Passes
1388
Working with Auxiliary Channels
1393
Auxiliary Channels Explained
1395
Propagating Auxiliary Channels
1402
Nodes That Use Auxiliary Channels
1403
Image Formats That Support Aux Channels
1404
Creating Auxiliary Channels in Fusion
1404
Compositing Layers in Fusion
1405
Applying Effects
1406
Adding a Node to the Tree
1406
Editing Parameters in the Inspector
1406
Replacing Nodes
1407
Adjusting Fusion Sliders
1408
Compositing Two Clips Together
1408
Adding Additional Media to Compositions
1408
Automatically Creating Merge Nodes
1409
Fixing Problem Edges in a Composite
1410
Using Composite Modes in the Merge Node
1411
Creating and Using Text
1412
Creating Text Using the Text+ Node
1412
Styling and Adjusting Text
1413
Using Text as a Mask
1414
Using Transform Controls in the Merge Node
1417
Building a Simple Green-Screen Composite
1418
Mapping Timeline Layers to Nodes in Fusion
1418
Pulling a Green-Screen Key Using the Delta Keyer
1420
Dealing with Spill
1423
Masking a Graphic
1424
Rotoscoping with Masks
1427
Introduction to Masks and Polylines
1428
Mask Nodes
1428
Polyline Types
1429
Converting Polylines from One Type to Another
1430
How to Use Masks with Other Nodes
1431
Attaching Masks to an Image for Rotoscoping
1431
Combining Multiple Masks
1433
Mask Inputs on Other Nodes
1433
Creating and Editing Polylines In-Depth
1436
The Polyline Toolbar
1436
Selecting a Specific Polyline
1436
Polyline Creation Modes
1437
Protection Modes
1438
Closing Polylines
1438
Selecting and Adjusting Polylines
1439
Polyline Points Selection
1439
Moving Polyline Points
1439
Smoothing a Polyline Segment
1440
Linearizing a Polyline Segment
1440
Transforming Individual or Multiple Points
1440
Deleting Selected Points
1440
Editing Bézier Handles
1441
Point Editor
1441
Reduce Points
1442
Shape Box
1442
Showing and Hiding Onscreen Polyline Controls
1443
Stop Rendering
1444
Roto Assist
1444
Creating Softness Using Double Polylines
1444
Converting a Single Polyline to a Double Polyline
1445
Adding Softness to a Segment
1446
Adding Additional Points to the Shape
1446
Locking/Unlocking Point Pairs
1446
Animating Polyline Masks
1446
Removing Animation from a Polyline Mask
1447
Adding and Removing Points from an Animated Mask
1447
Publishing Specific Control Points
1447
Paint
1449
Paint Overview
1450
Types of Paint Nodes
1450
Setting Up the Paint Node
1450
Setting the Paint Node’s Resolution
1451
Paint Node Workflow
1451
Select the Correct Paint Stroke Type
1452
Setting the Brush Size
1454
Choosing an Apply Mode
1454
Editing Paint Strokes
1458
Editing Paint Strokes in the Modifiers Tab
1459
Deleting Strokes
1459
Animating and Tracking Paint Strokes
1460
Animating with Write-On Controls
1460
Tracking a Paint Stroke
1460
Using the Planar Tracker with the Paint Tool
1462
Inverting the Steady Effect to Put the Motion Back In
1468
Painting a Clean Plate
1469
Using the Tracker Node
1473
Introduction to Tracking
1474
Tracker Node Overview
1475
Modes of the Tracker Node
1475
Basic Tracker Node Operation
1475
Connect to a Tracker’s Background Input
1475
Analyze the Image to be Tracked
1476
Apply the Tracking Data
1477
Viewing Tracking Data in the Spline Editor
1479
Tracker Inspector Controls
1479
Motion Tracking Workflow In Depth
1481
Connect the Image to Track
1481
Add Trackers
1481
Refine the Search Area
1483
Perform the Track Analysis
1484
Tips for Choosing a Good Pattern
1485
Using the Pattern Flipbooks
1486
Using Adaptive Pattern Tracking
1486
Dealing with Obscured Patterns
1487
Dealing with Patterns That Leave the Frame
1487
Setting Up Tracker Offsets
1488
Stabilizing with the Tracker Node
1489
Stabilization Using the Tracker Match Move Mode
1489
Smoothing Motion
1490
Using the Tracker Node for Match Moving
1491
Simple Match Moving
1491
Corner Positioning Operations
1491
Perspective Positioning Operations
1492
Connecting to Trackers’ Operations
1492
Steady Position
1492
Steady Angle
1492
Offset Position
1493
Unsteady Position
1493
Steady Size
1493
Using the Outputs of a Tracker
1493
Using the Tracker as a Modifier
1495
Match Moving Text Example
1497
Adding a Layer to Match Move
1497
Setting Up Motion Tracking
1498
A Simple Tracking Workflow
1499
Connecting Motion Track Data to Match Move
1502
Offsetting the Position of a Match Moved Image
1503
Planar Tracking
1505
Introduction to Tracking
1506
Using the Planar Tracker
1506
Different Ways of Using the Planar Tracker Node
1506
Setting Up to Use the Planar Tracker
1507
Check for Lens Distortion
1507
A Basic Planar Tracker Match Move Workflow
1507
Tips for Choosing Good Planes to Track
1510
Using Open FX, Resolve FX, and Fuse Plug-Ins
1511
What Are Open FX?
1512
What Are Resolve FX?
1512
Applying Open FX and Resolve FX Plug-Ins
1512
Introduction to Fuse Plug-Ins
1513
3 D Compositing Basics
1514
An Overview of 3D Compositing
1515
3 D Compositing Fundamentals
1516
Creating a Minimal 3D Scene
1517
The Elements of a 3D Scene
1518
Geometry Nodes
1518
The Merge3D Node
1520
The Renderer3D Node
1523
Software vs. GPU Rendering
1523
Software Renderer
1523
OpenGL Renderer
1524
OpenGL UV Renderer
1524
Loading 3D Nodes into the Viewer
1525
Navigating the 3D View
1527
Transforming Cameras and Lights Using the Viewers
1527
Transparency Sorting
1528
Material Viewer
1529
Transformations
1529
Onscreen Transform Controls
1530
Pivot
1531
Target
1531
Parenting
1533
Cameras
1533
Quickly Viewing a Scene Through a Camera
1534
Plane of Focus and Depth of Field
1534
Importing Cameras
1535
Lighting and Shadows
1536
Enabling Lighting in the Viewer
1536
Enabling Lighting to Be Rendered
1536
Cotrolling Lighting within Each 3D Object
1537
Lighting Types Explained
1537
Materials and Textures
1541
Material Components
1542
Alpha Detail
1544
Illumination Models
1545
Textures
1546
Reflections and Refractions
1547
Bump Maps
1549
Projection Mapping
1550
Project a Texture onto a Catcher Material
1551
Project Using the UVMap Node
1552
Geometry
1553
Common Visibility Parameters
1553
Adding FBX Models
1554
Using Text3D
1555
Fog 3D and Soft Clipping
1558
Material and Object IDs
1560
World Position Pass
1561
Point Clouds
1562
3 D Camera Tracking
1565
Introduction to Tracking
1566
What Is 3D Camera Tracking?
1566
How Camera Tracking Works
1566
The Camera Tracking Workflow
1567
Clips That Don’t Work Well for Camera Tracking
1567
Outputting from the Camera Tracker
1568
2 D View
1568
3 D View
1569
Auto-Tracking in the Camera Tracker
1570
Increasing Auto-Generated Tracking Points
1570
Masking Out Objects
1571
Matching the Live-Action Camera
1573
Running the Solver
1573
How Do You Know When to Stop?
1574
Using Seed Frames
1575
Cleaning Up Camera Solves
1575
Exporting a 3D Scene for Efficiency
1578
Unalign the 3D Scene Transforms
1578
Setting the Ground Plane
1578
Setting the Origin
1579
Setting the Scale
1579
Realign the Scene
1579
Viewing the Exported Results
1580
Particle Systems
1582
Introduction to Particle Systems
1583
Anatomy of a Simple Particle System
1584
Particle System Distribution
1586
Particle Nodes Explained by Type
1587
Emitters
1587
Forces
1588
Compositing
1588
Rendering
1588
Example Particle Systems
1589
Optical Flow and Stereoscopic Nodes
1590
Overview
1591
Stereoscopic Overview
1591
Optical Flow Overview
1591
Toolset Overview
1591
Working with Aux Deep Channels
1592
Optical Flow Workflows
1593
OpticalFlow
1593
TimeSpeed, TimeStretcher
1593
SmoothMotion
1593
Repair Frame, Tween
1594
Advanced Optical Flow Processing
1594
Stereoscopic Workflows
1594
Stereo Camera
1595
Stereo Materials
1595
Disparity
1595
NewEye, StereoAlign
1596
DisparityToZ, ZToDisparity
1596
Separate vs. Stack
1596
Setting Up Stereo in the Node Editor
1596
About the Disparity Channel
1597
Viewing of Disparity and Vector Channels
1597
Stereo and Optical Flow Best Practices
1598
Semi-Transparent Objects
1598
Motion Blur
1598
Depth of Field
1598
Where to Calculate Disparity and Optical Flow?
1598
Cropping the Source
1599
Nodes with Multiple Outputs
1599
Picking from Aux Channels
1599
Vector and Disparity Channels
1599
PART 9 – Fusion Page Effects
1601
3 D Nodes
1602
Alembic Mesh 3D [ABC]
1603
Bender 3D [3BN]
1606
Camera 3D [3CM]
1608
Cube 3D [3CB]
1618
Custom Vertex 3D [3CV]
1620
Displace 3D [3DI]
1625
Duplicate 3D [3DP]
1627
FBX Exporter 3D [FBX]
1632
FBX Mesh 3D [FBX]
1635
Fog 3D [3FO]
1637
Image Plane 3D [3IM]
1640
Locator 3D [3LO]
1642
Merge 3D [3MG]
1645
Override 3D [3OV]
1646
Point Cloud 3D [3PC]
1648
Projector 3D [3PJ]
1652
Renderer 3D [3RN]
1656
Replace Material 3D [3RPL]
1665
Replace Normals 3D [3RPN]
1667
Replicate 3D [3REP]
1669
Ribbon 3D [3RI]
1674
Shape 3D [3SH]
1676
Soft Clip [3SC]
1679
Spherical Camera [3SC]
1681
Text 3D [3TXT]
1684
Transform 3D [3XF]
1693
Triangulate 3D [3TRI]
1696
UV Map 3D [3UV]
1697
Weld 3D [3WE]
1700
Modifier
1703
The Common Controls
1704
3 D Light Nodes
1712
Ambient Light [3AL]
1713
Directional Light [3DL]
1714
Point Light [3PL]
1716
Spot Light [3SL]
1718
The Common Controls
1722
3 D Material Nodes
1725
Blinn [3BI]
1726
Channel Boolean [3BOL]
1730
Cook Torrance [3CT]
1733
Material Merge 3D [3MM]
1737
Phong [3PH]
1738
Reflect [3RR]
1742
Stereo Mix [3SMM]
1745
Ward [3WD]
1746
The Common Controls
1751
3 D Texture Nodes
1752
Bump Map [3Bu]
1753
Catcher [3CA]
1756
CubeMap [3CU]
1758
Falloff [3FA]
1761
Fast Noise Texture [3FN]
1763
Gradient 3D [3GD]
1766
Sphere Map [3SPM]
1769
Texture 2D [3Tx]
1771
Texture Transform [3TT]
1773
The Common Controls
1775
Blur Nodes
1777
Blur [Blur]
1778
Defocus [DFO]
1780
Directional Blur [DRBL]
1782
Glow [GLO]
1785
Sharpen [SHRP]
1788
Soft Glow [SGlo]
1790
Unsharp Mask [USM]
1793
Vari Blur [VBL]
1794
Vector Motion Blur [VBL]
1796
The Common Controls
1798
Color Nodes
1801
Auto Gain [AG]
1802
Brightness Contrast [BC]
1803
Channel Booleans [BOL]
1806
Color Corrector [CC]
1809
Color Curves [CCV]
1819
Color Gain [CLR]
1822
Color Matrix [CMX]
1826
Color Space [CS]
1830
Copy Aux [CPA]
1832
Gamut [GMT]
1836
Hue Curves [HCV]
1838
OCIO CDL Transform [OCD]
1841
OCIO Color Space [OCC]
1844
OCIO File Transform [OCF]
1846
Set Canvas Color [SCV]
1847
White Balance [WB]
1849
The Common Controls
1853
Composite Nodes
1856
Dissolve [DX]
1857
Merge [MRG]
1859
The Common Controls
1867
Deep Pixel Nodes
1870
Ambient Occlusion [SSAO]
1871
Depth Blur [DBl]
1874
Fog [Fog]
1876
Shader [Shd]
1878
Texture [Txr]
1881
The Common Controls
1883
Effect Nodes
1886
Duplicate [DUP]
1887
Highlight [HIL]
1893
Hot Spot [HOT]
1895
Pseudo Color [PSCL]
1901
Rays [CIR]
1902
Shadow [SH]
1904
Trails [TRLS]
1906
TV [TV]
1911
The Common Controls
1914
Film Nodes
1917
Cineon Log [LOG]
1918
Film Grain [FGR]
1921
Grain [GRN]
1924
Light Trim [LT]
1927
Remove Noise [RN]
1929
The Common Controls
1931
Filter Nodes
1934
Create Bump Map [CBu]
1935
Custom Filter Node [CFlt]
1937
Erode Dilate Node [ErDl]
1941
Filter Node [Fltr]
1943
Rank Filter Node [RFlt]
1945
The Common Controls
1947
Flow Nodes
1950
Sticky Note [NTE]
1951
Sticky Note Introduction
1951
Usage
1951
Underlay [UND]
1952
Underlay Introduction
1952
Usage
1952
Flow Organizational Nodes
1953
Groups
1954
Groups Introduction
1954
Usage
1954
Macro
1955
Macro Introduction
1955
Usage
1955
Macro Editor
1955
The Final Macro
1956
Pipe Router
1956
Router Introduction
1956
Usage
1957
Router
1957
Fuses
1958
Fuses [FUS]
1959
Fuses Introduction
1959
Installing Fuses
1959
Working with Fuses in a Composition
1959
Generator Nodes
1960
Background [Bg]
1961
Day Sky [DS]
1965
Fast Noise [FN]
1967
Mandelbrot [Man]
1970
Plasma [PLAS]
1973
Text+ [TXT+]
1975
Text+ Modifiers
1987
Character Level Styling
1987
Comp Name
1988
Follower
1988
Text Scramble
1989
Text Timer
1990
Time Code
1991
The Common Controls
1992
I/O Nodes
1997
Loader Node [LD]
1998
MediaIn Node [MI]
2005
MediaOut Node [MO]
2009
Saver Node [SV]
2010
The Common Controls
2017
LUT Nodes
2019
File LUT [FLU]
2020
LUT Cube Analyzer [LCA]
2022
LUT Cube Apply [LCP]
2023
LUT Cube Creator [LCC]
2024
The Common Controls
2026
Mask Nodes
2028
Bitmap Mask [BMP]
2029
B-Spline Mask [BSP]
2034
Ellipse Mask [ELP]
2038
Mask Paint [PNM]
2041
Polygon Mask [PLY]
2044
Ranges Mask [RNG]
2049
Rectangle Mask [REC]
2054
Triangle Mask [TRI]
2057
Wand Mask [WND]
2060
The Common Controls
2063
Matte Nodes
2066
Alpha Divide [ADV]
2067
Alpha Multiply [AML]
2068
Chroma Keyer [CKY]
2069
Clean Plate
2074
Delta Keyer
2077
Difference Keyer [DfK]
2085
Luma Keyer [LKY]
2089
Matte Control [MAT]
2092
Primatte [Pri]
2097
How to Key with Primatte
2107
Ultra Keyer [UKY]
2109
The Common Controls
2116
Metadata Nodes
2119
Copy Metadata [META]
2120
Set Metadata [SMETA]
2121
Set Timecode [TCMETA]
2122
The Common Controls
2124
Miscellaneous Nodes
2126
Auto Domain [ADoD]
2127
Change Depth [CD]
2129
Custom Tool [CT]
2130
Fields [Flds]
2140
Frame Average [Avg]
2142
Keyframe Stretcher [KfS]
2143
Run Command [Run]
2146
Set Domain [DoD]
2148
Time Speed [TSpd]
2150
Time Stretcher [TSt]
2153
Wireless Link [Wire]
2156
The Common Controls
2157
Optical Flow
2160
Optical Flow [OF]
2161
Repair Frame [Rep]
2164
Smooth Motion [SM]
2166
Tween [Tw]
2168
The Common Controls
2171
Paint Node
2174
Paint
2175
Paint Node Modifiers
2181
Keyboard Shortcuts
2182
Particle Nodes
2183
Particle Nodes
2184
pAvoid [pAv]
2184
pBounce [pBn]
2186
pChangeStyle [pCS]
2188
pCustom [pCu]
2190
pCustomForce [pCF]
2194
pDirectionalForce [pDF]
2195
pEmitter [pEm]
2197
pFlock [pFl]
2202
pFollow [pFo]
2204
pFriction [pFr]
2206
pGradientForce [pGF]
2207
pImage Emitter [pLE]
2209
pKill [pKI]
2212
pMerge [pMg]
2213
pPoint Force [pPF]
2214
pRender [pRn]
2215
pSpawn [pSp]
2222
pTangent Force [pTF]
2224
pTurbulence [pTr]
2225
pVortex [pVt]
2227
The Common Controls
2228
Position Nodes
2240
Volume Fog [VLF]
2241
Volume Mask [VLM]
2248
Z to World Pos [Z2W]
2252
WPP Concept
2253
The Common Controls
2255
Resolve Connect
2258
External Matte Saver [EMS]
2259
Shape Nodes
2264
sBoolean
2265
sDuplicate
2268
sEllipse
2270
sExpand
2273
sGrid
2274
sJitter
2275
sMerge
2277
sNGon
2278
sOutline
2281
sRectangle
2283
sRender
2286
sStar
2288
sTransform
2291
Common Controls
2293
Stereo Nodes
2295
Anaglyph [Ana]
2296
Combiner [Com]
2299
Disparity [Dis]
2301
Disparity To Z [D2Z]
2304
Global Align [GA]
2308
New Eye [NE]
2310
Splitter [Spl]
2313
Stereo Align [SA]
2314
Z To Disparity [Z2D]
2320
The Common Controls
2323
Tracker Nodes
2325
Tracker [Tra]
2326
Planar Tracker Node [PTra]
2340
Planar Transform Node [PXF]
2350
Camera Tracker [CTra]
2352
The Common Controls
2367
Transform Nodes
2370
Camera Shake [CSH]
2371
Crop [CRP]
2374
DVE [DVE]
2377
Letterbox [LBX]
2379
Resize [RSZ]
2382
Scale [SCL]
2385
Transform [XF]
2388
The Common Controls
2392
VR Nodes
2395
VR Nodes
2396
Lat Long Patcher [LLP]
2397
Pano Map [PaM]
2398
Spherical Camera [3SC]
2400
Spherical Stabilizer
2400
The Common Controls
2403
Warp Nodes
2405
Coordinate Space [CdS]
2406
Corner Positioner [CPn]
2407
Dent [Dnt]
2409
Displace [Dsp]
2411
Drip [DRP]
2413
Grid Warp [Grd]
2415
Lens Distort [Lens]
2422
Perspective Positioner [PPn]
2424
Vector Distortion [Dst]
2426
Vortex [VTX]
2428
The Common Controls
2430
Modifiers
2433
Modifiers
2434
Anim Curves
2434
Bézier Spline
2437
B-Spline
2438
Calculation
2438
CoordTransform Position
2441
Cubic Spline
2442
Expression
2442
From Image
2447
Gradient Color
2448
Key Stretcher Modifier
2450
MIDI Extractor
2450
Natural Cubic Spline
2454
Offset (Angle, Distance, Position)
2454
Path
2457
Perturb
2458
Probe
2460
Publish
2462
Resolve Parameter
2462
Shake
2463
Track
2464
Vector Result
2466
XY Path
2467
PART 10 – Color
2469
Introduction to Color Grading
2470
The Goals of Color Correction
2471
Maximizing the Look of Your Media
2471
Emphasizing What’s Important
2473
Audience Expectations
2474
Balancing Scenes
2476
Adding Style
2477
Quality Control
2479
Never Stop Experimenting
2480
Using the Color Page
2481
The Color Page Interface
2482
The Interface Toolbar
2482
Showing Which Panel Has Focus
2482
Viewer
2483
Gallery
2485
LUT Browser
2485
Media Pool
2487
Node Editor
2487
Timeline
2488
Palette Area
2489
Dual Monitor Layout
2491
The Info Palette and Clip Information
2492
Clip Info
2493
System Info
2493
Clip Details
2494
Customizing the Color Page
2495
Undo and Redo in DaVinci Resolve
2495
Viewers, Monitoring, and Video Scopes
2498
Using the Viewer
2500
The Viewer Title Bar
2500
Turning Grades and/or Fusion Effects Off
2500
Viewing Isolated Channels
2501
The Viewer Toolbar
2501
The Onscreen Control (OSC) Menu
2502
Toggling Viewer Overlays On and Off
2503
Onscreen Controls and External Displays
2503
Zooming into the Viewer
2504
Using the Jog Bar and Transport Controls
2504
Navigating Using the Arrow Keys
2505
Controlling Playback Using the Spacebar and JKL Keys
2505
Fast Review on the Color Page
2505
Navigating Using Timecode
2505
Viewer and Transport Timecode Displays
2506
Enhanced, Full, and Cinema Viewing
2506
Enhanced Viewing Mode
2506
Full Viewing Mode
2507
Cinema Viewing Mode
2507
Safe Area Overlays in the Viewer
2508
Use Gray Background
2509
Monitor Calibration
2509
Viewing Broadcast Safe Exceptions
2510
Comparing Clips in the Viewer
2511
Saving and Wiping Stills in the Gallery and Timeline
2511
Different Viewer Reference Modes for Wipes
2513
Wiping Between Clips in the Timeline
2513
Using Split Screen Modes
2514
Marker Overlays and Navigation
2517
Timeline Marker List Available in Color Page Viewer Option Menu
2517
Using Video Scopes
2518
Video Scope Location
2518
Video Scope Measurement Using Scales
2519
Video Scope Performance and Detail
2521
Display Qualifier Focus in Video Scope Graphs
2522
Explanation of Each Video Scope
2522
Waveform Monitor
2522
Parade
2523
Vectorscope
2523
Histogram (RGB/YRGB parade histogram)
2524
CIE Chromaticity Scope
2525
Panning and Zooming the Video Scopes
2526
Customizing the Video Scopes
2526
Parade Scope Display Options
2527
Waveform Scope Display Options
2528
Vectorscope Display Options
2529
Histogram Display Options
2530
CIE Chromaticity Display Options
2530
Color Page Timeline and Lightbox
2532
Navigating Using the Color Page Timeline
2533
Thumbnail Timeline
2533
Mini-Timeline
2533
Using Multiple Timeline Playheads
2534
Show Current Clip With Handles
2535
Thumbnail Info
2535
Thumbnail Contextual Menu Commands
2537
Sorting and Filtering Clips in the Thumbnail Timeline
2537
Changing Timelines
2537
A and C Mode Sorting
2538
Flags, Clip Colors, and Markers
2539
Timeline Filtering
2540
Using the Lightbox
2544
Automated Grading Commands and Imported Grades
2547
Color Match Palette
2548
Tips for Properly Shooting a Color Chart
2549
How to Use Color Match
2550
Configuration Controls
2552
Reset Controls
2552
Automatic Adjustments in the Primaries Palette
2552
White Balance Eyedropper
2552
Pick Black Point and Pick White Point
2553
Auto Color
2554
Shot Match
2555
Shot Match Guidelines
2556
How to Use Shot Match
2557
Suggestions for Using Shot Match
2558
Broadcast Safe
2558
Black Sun Highlight Correction
2559
Using CDL Grades (Studio Version Only)
2560
Using ARRI Looks (Studio Version Only)
2560
Camera Raw Palette
2561
Introduction to the Camera Raw Palette
2562
Copying, Versioning, and Protecting Camera Raw Settings
2562
Making Changes to Clip Camera Raw Settings
2563
Clip Decoder Settings
2564
Resetting Camera Raw Settings
2565
Updating Sidecar Settings for Blackmagic RAW (BRAW) Clips
2565
Primaries Palette
2567
Introduction to the Primaries Palette
2568
HDR Grading With the Primaries Palette
2569
Which Do I Start With, the Primaries or HDR Palette?
2569
Shared Controls in the Primaries Palette
2569
Switching Between Primaries Tools
2569
Color Balance Controls
2570
Master Wheels
2570
Numeric Parameters
2570
Shared Adjustment Controls
2571
Auto Correction
2573
Reset Controls
2573
Color Wheels and Bars
2573
3-Way Master Wheel Adjustments
2574
Offset Color and Master Controls
2575
Color Bars Mode
2576
Log Wheels Mode
2576
Using the Log Mode Controls to Grade Log-Encoded Media
2577
Using the Log Mode Controls to Stylize Normalized Media
2579
Adjusting the Default Tone Ranges in Log Mode
2580
Adjusting Contrast in Log Mode
2580
Log Offset Color and Master Controls
2580
Offset and Printer Points
2581
Adjusting Printer Points in the Bars Mode
2581
Adjusting Printer Points Via Keyboard Shortcuts
2582
Printer Light Step Project Settings
2583
HDR Palette
2584
Introduction to the HDR Palette
2585
What Makes the HDR Palette Special?
2586
The HDR Palette Interface
2587
Navigating Multiple Zones in the Controls Panel
2588
Making Global Adjustments
2589
Black Offset Explained
2593
Making Zone-Based Adjustments
2594
Zone-Based Color Adjustments
2595
Zone-Based Exposure Adjustments
2597
An Example of Zone-Based Exposure Adjustment
2599
Zone Controls
2601
Customizing Zones Using the Zone Panel
2602
The Zone Sidebar
2602
Zones Graph
2603
Customizing and Saving Presets
2604
Resetting Color and Zone Adjustments
2605
Using the HDR Palette With DaVinci Control Panels
2605
Primary Grading Controls
2606
Introduction to the RGB Mixer Palette
2607
Preserve Luminance
2607
Resetting the RGB Mixer
2608
Swap Channels Buttons
2608
Using the RGB Mixer in Monochrome Mode
2608
Curves
2610
Introduction to Curves
2611
Adjusting Curves Using the Mouse
2611
Sampling Images to Place Control Points on Curves
2613
Showing Picker RGB Values
2613
Curves Histograms
2613
Custom Curves
2614
Editing the Top and Bottom Control Points of Curves
2615
HDR Grading Using Curves
2616
Enabling Editable Splines in the Custom Curves
2616
Adding Default Anchors to the Custom Curves
2616
Ganging and Unganging Custom Curves
2617
Copying Custom Curves From One Color Channel to Another
2618
Curve Intensity Sliders
2618
YSFX Sliders
2618
Soft Clip
2619
Ganging and Unganging Soft Clip Controls
2620
Soft Clip Controls
2620
The HSL Curves
2622
Image Sampling for Hue and Sat Curves
2623
Additional Controls in the Hue and Sat Curves
2624
Hue vs. Hue
2624
Hue vs. Sat
2625
Hue vs. Lum
2625
Lum vs. Sat
2625
Sat vs. Sat
2626
Sat vs. Lum Curve
2627
Color Warper
2629
Introduction to the Color Warper
2630
The Color Warper Interface
2632
Using the Grid Controls to Manipulate Color
2632
Previewing Which Colors Are Warped By Each Control Point
2635
Sampling to Warp Colors
2635
Resetting Grid Points
2636
Grid Resolution Affects The Specificity and Quality of Adjustments
2637
You Can Warp Color in Different Color Spaces
2638
Hue – Saturation Controls
2639
Tools
2639
Modifiers
2640
Range
2640
Auto Lock Controls
2640
Smoothing Controls
2641
Chroma – Luma Controls
2641
Axis Angle
2643
Tools
2643
Modifiers
2643
Range
2644
Auto Lock Controls
2644
Smoothing Controls
2645
Secondary Qualifiers
2646
Secondary Qualifiers
2647
Adding a Secondary Operation to the Node Editor
2648
The Qualifier Interfaces
2648
Which Qualifier Do I Use?
2649
Basic Qualification Using the 3D Qualifier
2650
Basic Qualification Using the HSL Qualifier
2654
HSL Qualifier Presets
2657
Using Highlight to See What You’re Isolating
2657
Using Highlight to Solo Nodes
2658
Showing Picker RGB Values
2659
Qualifier Parameters
2659
HSL Qualification Controls
2659
RGB Qualification Controls
2661
Luma Qualification Controls
2662
3 D Qualifier Controls
2662
Matte Finesse Controls
2665
The Many Ways to Invert a Key
2668
Combining Qualifiers and Windows
2669
Manipulating Keys Using Additional Nodes
2669
Secondary Windows and Tracking
2671
Power Windows
2672
Adding Nodes with Windows
2673
The Window Palette Interface
2674
Managing Windows
2675
Showing and Hiding Onscreen Window Controls
2675
Using the High-Visibility Power Window Outline Option
2676
Window Transform Controls
2676
Window Softness
2678
Drawing Curves
2678
Converting Linear, Circular, and Polygon Windows into Bezier Curves
2680
Resetting the Window Palette
2680
Combining Power Windows with the Mask Control
2680
Copying and Pasting Windows
2682
Saving Window Presets
2682
Using Windows and Qualifiers Together
2683
Magic Mask
2684
Magic Mask (Studio Version Only)
2685
What Magic Mask Is Good For, and What It’s Not
2687
The Magic Mask Interface
2688
Magic Mask Toolbar
2688
Stroke List
2689
Mask Adjustment Controls and Matte Finesse
2690
Choosing What to Isolate
2691
Person Mode
2691
Features Mode
2691
Identifying More Than One Person
2692
Using Matte Finesse Controls
2692
Using Magic Mask as a Garbage Matte
2693
Dealing With Hair
2693
About Hats
2694
Dealing With Accessories
2694
Adding Strokes to Guide Mask Creation
2695
Managing Strokes in the Stroke List
2697
Stroke Duration
2698
Tracking and Keyframing Strokes to Follow Subject Motion
2698
Methods of Moving Strokes to Follow Subject Motion
2698
Option Menu Commands for Removing Strokes and Tracking
2699
An Example Stroke Tracking Workflow
2700
Motion Tracking Windows
2702
Motion Tracking Windows
2703
Simple Tracking Using the Tracker Menu
2703
Tracking Windows When You’ll Be Exporting Media With Handles
2705
Simple Ways of Working With Existing Tracking Data
2705
Tips for Better Tracking
2705
Tracking One Frame at a Time
2705
Copying and Pasting Tracking
2706
Tracker Palette Controls in More Detail
2706
Controls in the Window Tracker Palette
2706
Cloud Tracker Workflows
2710
Using Interactive Mode to Manually Choose Tracking Features
2710
Dealing With Occlusions When Tracking
2713
Point Tracker Workflows
2715
Tracking a Window Using the Point Tracker
2716
Removing Trackers
2718
Using Frame Mode to Offset Track
2718
Using the Gallery
2725
Using the Gallery
2726
Saving Stills
2726
Selecting Stills
2727
Deleting Stills
2727
Where are Stills Saved?
2728
Changing the PowerGrade Still Directory
2728
Live Previews of Gallery Stills
2728
Hover Scrub in the Gallery
2728
Playing Stills and Setting Up Image Wipes
2729
Timeline Wipes
2730
Gang Timeline Wipe With Current Clip
2730
Change a Timeline Wipe Using the Timelines Album of the Gallery
2730
Labeling and Searching for Stills and Sources
2730
Automatic Labeling
2730
Manual Labeling
2731
Searching For Stills
2731
Match Reference Wipe Frame
2732
Rotoscoping Window Shapes After Tracking
2720
Rotoscoping Controls
2721
Keyframing in Frame Mode
2721
A Rotoscoping Workflow
2721
Viewing a Window’s Motion Path
2724
Gallery Options
2732
Organizing Stills Using Albums
2733
PowerGrade Albums
2734
Browse all Grades from the Current Timeline
2735
The Gallery Management Window
2735
What’s Available in the Stills Navigator
2736
Browse and Import Timeline Grades From Other Projects
2737
Importing and Exporting Stills
2738
Using and Organizing Memories
2739
Grade Management
2741
Using Versions to Manage Grades
2742
Choosing to Copy Grades Manually or Automatically Using Versions
2742
Using Local Versions by Default
2743
Using Remote Versions to Enable Automatic Linking
2743
Working with Versions
2748
The Importance of “Version 1”
2750
Deleting Unused Versions
2751
Rendering Versions
2751
Copying Grades
2752
Protecting Adjustments with the Copy Grade Options
2752
Copy and Paste From One Clip to Another
2753
Copy and Paste Specific Parameters Using Paste Value
2753
Applying Saved Grades From the Gallery
2753
Preparing to Copy or Apply Grades
2754
Copying Grades Using the Pointer
2754
Copy Forward Commands
2755
Copying Using Memories
2755
Copying Using Preview Memory
2756
Copying from Stills in the Gallery
2756
Append Node Graph
2757
Aligning Keyframes to a Specific Frame While Copying Grades
2758
Copying Individual Nodes and Settings
2758
Copying and Pasting All Settings From One Node to Another
2758
Paste Attributes on the Color Page
2758
Copying from the Node Graph of Other Clips or Gallery Stills
2759
Rippling Adjustments Among Multiple Clips
2763
Appending a Node to Multiple Clips
2764
Using Shared Nodes
2764
What Are Shared Nodes Good For?
2765
Creating Shared Nodes
2765
Locking Shared Nodes
2765
Copying Shared Nodes
2766
Converting Shared Nodes Back to Corrector Nodes
2766
Deleting Shared Nodes
2766
Using Adjustment Clips
2767
Using Groups
2768
Creating and Managing Groups
2768
Using Group Modes to Control Which Grades Ripple and Which Don’t
2769
Collapse Group Grades
2773
Exporting Grades and LUTs
2774
Node Editing Basics
2775
Node Editor Basics
2776
Thumbnail-Optional Nodes
2776
The Node Editor Interface
2777
The Components of a Node Tree
2778
Node Badges and Labels
2780
Selecting Nodes
2780
Disabling Nodes
2781
Turning Grades and/or Fusion Effects Off
2782
Resetting Nodes
2783
Previewing and Restoring Node Trees
2783
Caching Specific Nodes to Improve Performance
2783
Editing Node Trees
2784
Adding Nodes
2784
Adding Nodes with Windows Turned On
2784
Deleting Nodes
2785
Connecting and Disconnecting Nodes
2785
Extracting a Node
2786
Inserting a Node
2786
Rearranging Node Order
2786
Copying and Pasting All Settings From One Node to Another
2786
Keeping Node Trees Organized
2787
Using Compound Nodes
2788
Adding Inputs and Outputs to Compound Nodes
2789
Nesting Compound Nodes
2789
Grading Compound Nodes
2789
Identifying Nodes
2790
Putting Nodes into HDR Mode
2790
Clip vs. Timeline Grading
2791
Image Processing Order of Operations
2793
Overall Image Processing
2794
Image Processing Within Grades
2795
Serial, Parallel, and Layer Nodes
2796
Serial, Parallel, and Layer Node Tree Structures
2797
Serial Node Structures
2797
Controlling What Feeds a Node’s RGB Input
2797
Parallel Node Structures
2798
Layer Mixer Node Structures
2800
Layer Mixer Prioritization
2800
Using Composite Modes With the Layer Mixer
2801
Adjusting Layer Node Strength Using Key Output Gain
2802
Converting Layer Mixers to Parallel Mixers
2802
Combining Keys and Using Mattes
2803
Introduction to Manipulating and Combining Keys
2804
Outside Nodes
2804
Feeding Keys From One Node to Another
2805
Connecting Key Outputs to RGB Inputs, and Vice Versa
2807
Using External Mattes
2808
External Mattes to Limit Adjustments
2809
Extracting External Mattes from OpenEXR Layers
2811
Using External Mattes to Add Texture
2812
Using External Mattes to Create Transparency
2813
Key Palette Controls for the External Matte Node
2814
Using Mattes From the Fusion Page
2814
Using the Key Mixer
2817
Adding Two Keys Together
2817
Subtracting One Key from Another
2818
Adding Inputs to Key Mixer Nodes
2821
Using the Key Palette
2821
Using the Key Palette to Affect Corrector Nodes
2822
Using the Key Palette to Adjust Key Mixer Controls
2823
The Many Uses of Key Output Gain
2824
Channel Splitting and Image Compositing
2825
Isolating, Splitting, and Converting Color Channels
2826
Enabling, Disabling, and Converting Node Channels
2826
Splitting Channels with the Splitter/Combiner Nodes
2828
Multi-Channel RED HDRx Support
2829
Introduction to Compositing Using the Alpha Output
2832
Using a Qualifier Key to Create Transparency
2832
Using a Matte to Create Transparency
2835
Use an OFX Plug-in to Create Transparency
2836
Keyframing in the Color Page
2839
Introduction to Keyframing
2840
The Keyframe Editor Interface
2840
All/Color/Sizing
2842
Keyframing Methods
2843
Dynamic Keyframes (Dynamics)
2843
Static Keyframes (Marks)
2843
Mixing and Converting Dynamic and Static Keyframes
2844
Keyframed Nodes Have a Badge
2845
Using Specific Keyframing Tracks
2845
Corrector Keyframing Tracks
2846
ResolveFX Keyframe Tracks
2847
The Sizing Keyframing Tracks
2847
The Ext Matte Node’s Freeform Isolation Track
2848
Automatic Keyframing
2848
Modifying Keyframes
2848
Navigating Among Keyframes
2848
Moving Keyframes
2848
Changing Keyframe Values
2849
Changing Dynamic Attributes
2849
Deleting Keyframes
2850
Copying Keyframes
2850
Keyframes and Saved Stills
2851
Adding EDL Marks
2851
Copying and Importing Grades Using ColorTrace
2853
Copying Grades Using ColorTrace
2854
Using ColorTrace in Automatic Mode
2855
Using ColorTrace in Manual Mode
2858
Importing CDL Data Using ColorTrace
2860
Using CDL Adjustments
2861
Calculating CDL Functions
2861
Using LUTs
2862
What is a LUT?
2863
Supported LUT Formats
2863
LUTs and ACES
2864
Adding Lookup Tables of Your Own
2865
Custom LUT Paths
2865
LUT Paths for the macOS App Store Version of DaVinci Resolve
2865
LUT Controls in the Project Settings
2866
Applying LUTs to Source Clips
2866
Using the Color Page LUT Browser
2866
Applying a LUT Within a Node
2868
LUTs Are the Last Operation Within a Node
2868
Favorite LUTs Submenu in Node Editor
2868
Exporting LUTs
2869
DaVinci Resolve Control Panels
2870
About The DaVinci Resolve Control Panels
2871
The DaVinci Micro Panel
2872
The DaVinci Resolve Mini Panel
2872
The DaVinci Resolve Advanced Panel
2872
Updating the Control Panels Firmware
2873
Using the DaVinci Resolve Micro Panel
2873
Primary Trackball Mode
2873
Log Trackball Mode
2874
Offset Trackball Mode
2875
Control Knobs
2876
Control Buttons
2876
Using the DaVinci Resolve Mini Panel
2878
Data and Power Connections
2878
Palette Selection Buttons
2879
Quick Selection Buttons
2883
Using the DaVinci Resolve Advanced Control Panel (Legacy Layout)
2885
Menus, Soft Keys, and Soft Knob Controls
2885
Trackball Panel
2886
T-bar Panel
2887
Search Dial panel
2892
Copying Grades Using the Advanced Control Panel
2896
Rippling Changes Using the Advanced Control Panel
2897
Using the DaVinci Resolve Advanced Control Panel (2020 Layout)
2900
Three Panels Working Together
2900
Using Fixed Keys and Shift Up/Shift Down Functions
2901
Soft Menus, Including Soft Keys and Soft Rotary Controls
2904
The Trackball Panel
2906
The T-bar Panel
2913
The Search Dial panel
2927
Auto Color Using the DaVinci Resolve Advanced Control Panel
2940
Adjusting Curves using the DaVinci Resolve Advanced Control Panel
2941
The Advanced Panel Number Pad Does Many Things
2943
Adding Tracking Points in Interactive Mode
2944
Copying Grades Using the Advanced Control Panel
2944
PART 11 – Color Page Effects
2948
Using Open FX and Resolve FX
2949
Resolve FX
2950
Open FX
2950
Where are OFX Installed?
2951
Open FX Plug-Ins Can Be Processor Intensive
2951
Browsing the Open FX Library
2951
Open FX Library Favorites
2952
Using Resolve FX and Open FX in the Color Page
2953
Applying Resolve FX and Open FX Plug-Ins
2953
Adding a Plug-In to a Corrector Node
2953
Adding a Plug-In as a Stand-Alone OFX Node
2954
Resolve FX and Open FX Settings
2954
Editing Effects Using the Full Screen Viewer
2955
Resolve FX and Open FX Onscreen Controls
2956
Keyframing Resolve FX and OFX in the Inspector
2956
Motion Tracking Resolve FX and Compatible OFX Plug-Ins
2957
Sizing and Image Stabilization
2960
The Five Color Page Sizing Modes
2961
Sizing Order of Processing on the Color Page
2961
Sizing Controls
2961
Blanking Controls
2962
Resetting the Sizing Palette
2963
Input and Output Sizing Presets
2963
Sizing Controls with the DaVinci Control Panel
2964
Using Node Sizing for Channel and Paint Effects
2965
Image Stabilization in the Tracker Palette
2966
Using the Stabilizer
2966
Using the Classic Stabilizer
2968
Using Stabilization to Create a Match Move
2973
Tracking and Stabilizing with the DaVinci Control Panel
2974
The Motion Effects and Blur Palettes
2976
Motion Effects Palette
2977
Noise Reduction Controls
2977
Limiting Noise Reduction in Useful Ways
2981
Controlling the Order of Operations for Noise Reduction
2981
Motion Blur
2982
The Blur Palette
2982
Blur
2983
Sharpen
2984
Mist
2985
Dust Removal
2986
Introduction to Dust Removal
2987
Dirt and ROI Settings Parameters
2987
Algorithms for Dirt and Dust Removal
2988
PART 12 – Resolve FX Overview
2989
Resolve FX
2990
Catalogue of Resolve FX Filters
2991
Resolve FX Blur
2992
Box Blur
2993
Directional Blur
2993
Gaussian Blur
2993
Lens Blur (Studio Version Only)
2993
Shape
2994
Speed
2994
Controls
2995
Mosaic Blur
2995
Radial Blur
2996
Zoom Blur
2996
Resolve FX Color
2997
ACES Transform
2998
Chromatic Adaptation
2998
Color Compressor (Studio Version Only)
2999
Color Space Transform
3000
Color Space Transform
3000
Tone Mapping
3000
Gamut Mapping
3001
Advanced
3002
Color Stabilizer (Studio Version Only)
3002
Analysis Region
3003
Channels to Stabilize
3003
Captured Analysis Values
3003
Contrast Pop (Studio Version Only)
3003
DCTL (Studio Version Only)
3004
Dehaze (Studio Version Only)
3004
False Color (Studio Version Only)
3004
General
3005
Camera Model
3005
Color Bands
3005
Preprocessing
3005
Scale/Legend
3005
Global Blend
3006
Flicker Addition
3006
Main Controls
3006
Flicker Quality
3006
Gamut Limiter
3007
Gamut Mapping (Studio Version Only)
3007
Invert Color
3008
Resolve FX Generate
3009
Color Generator
3010
Color Palette (Studio Version Only)
3010
Grid
3010
General
3010
Line Properties
3011
Resolve FX Key
3012
3 D Keyer
3013
Selection Range Controls
3013
Behaviour Options
3013
Usage Options
3014
Key Adjustments
3015
Matte Finesse
3015
Garbage Matte
3016
Output
3017
Alpha Matte Shrink and Grow (Studio Version Only)
3017
HSL Keyer
3018
Selection Range Controls
3018
Keyer Options
3019
Matte Finesse
3019
Garbage Matte
3020
Output
3020
Luma Keyer
3021
Selection Range Controls
3021
Matte Finesse
3022
Garbage Matte
3023
Output
3023
Resolve FX Light
3024
Aperture Diffraction (Studio Version Only)
3025
Output
3025
Isolation Controls
3025
Aperture Controls
3026
Diffraction Controls
3026
Compositing Controls
3026
Glow
3026
Shape and Spread
3027
Color and Composite
3027
Lens Flare (Studio Version Only)
3027
Lens Flare Preset
3027
Select Output
3027
Light Source Masking
3027
Position
3028
Global Corrections
3028
Aperture
3028
Elements
3029
Lens Reflections (Studio Version Only)
3030
Output
3031
Isolation Controls
3031
Global Controls
3031
Presets
3031
Reflecting Elements
3032
Light Rays
3032
Main Controls
3032
Position
3032
Appearance
3033
Resolve FX Refine
3034
Beauty (Studio Version Only)
3035
Operating Mode
3035
Auto Controls
3035
Advanced Controls
3036
Custom Mixer
3036
Blend
3037
Combine
3037
Advanced Options
3038
Face Refinement (Studio Version Only)
3039
Main Controls
3039
Skin Mask
3040
Texture
3040
Color Grading
3041
Eye Retouching
3042
Lip Retouching
3042
Blush Retouching
3042
About Forehead, Cheek, and Chin Retouching
3042
Forehead Retouching
3043
Cheek Retouching
3043
Chin Retouching
3043
Resolve FX Revival
3044
Automatic Dirt Removal (Studio Version Only)
3045
Main Controls
3045
Fine Controls
3045
Chromatic Aberration (Studio Version Only)
3046
Dead Pixel Fixer (Studio Version Only)
3046
General
3047
Patch Type
3048
Patch Options
3048
Advanced Controls
3048
Deband (Studio Version Only)
3049
Deband Parameters
3050
Deflicker (Studio Version Only)
3050
Main Parameters
3051
Isolate Flicker
3051
Speed Optimization Options
3051
Restore Original Detail After Deflicker
3052
Output
3052
Dust Buster (Studio Version Only)
3052
General
3052
Patch Type
3053
Patch Options
3054
Advanced Controls
3054
Frame Replacer (Studio Version Only)
3054
Noise Reduction (Studio Version Only)
3055
Temporal NR Controls
3055
Temporal Threshold Controls
3055
Spatial NR Controls
3056
Spatial Threshold Controls
3056
Global Blend
3057
Using Noise Reduction
3057
Object Removal (Studio Version Only)
3058
Patch Replacer (Studio Version Only)
3060
Main Controls
3061
Patch Positions
3061
Onscreen Controls
3061
Resolve FX Sharpen
3062
Sharpen (Studio Version Only)
3063
Main Controls
3063
Detail Levels
3063
Chroma
3063
Sharpen Edges (Studio Version Only)
3063
Main Controls
3063
Edge Detection Controls
3064
Soften and Sharpen (Studio Version Only)
3064
Main Controls
3064
Adjust Small Skin Texture Granularity
3065
Resolve FX Stylize
3066
Abstraction (Studio Version Only)
3067
Main Controls
3067
Quantization Controls
3067
Draw Edge Controls
3067
Blanking Fill
3067
Source
3068
Fill Extent
3068
Fill Appearance
3069
Drop Shadow
3069
Drop Shadow
3069
Edge Detect
3069
Emboss
3070
Channels
3070
Halation (Studio Version Only)
3070
Processing Color Space
3071
Isolation
3071
Dye Layer Reflections
3071
Secondary Glow
3072
Basic Grain
3072
Global Adjustments
3072
Mirrors
3073
Main Controls
3073
Individual Controls
3073
Rosette Controls
3073
Kaleidoscope Controls
3073
Pencil Sketch in DaVinci (Studio Version Only)
3074
Prism Blur
3074
Scanlines
3074
Appearance
3075
Color
3075
Composite
3075
Stylize (Studio Version Only)
3075
Tilt-Shift Blur (Studio Version Only)
3076
Main Controls
3076
Lens Iris
3076
Depth of Field
3077
Vignette
3077
Watercolor (Studio Version Only)
3077
Resolve FX Temporal
3078
Motion Blur (Studio Version Only)
3079
Motion Trails (Studio Version Only)
3079
General
3079
Advanced Options
3079
Move Trail
3080
Smear (Studio Version Only)
3080
Stop Motion
3081
Advanced Options
3081
General
3081
Resolve FX Texture
3082
Analog Damage (Studio Version Only)
3083
Detail Recovery (Studio Version Only)
3083
Detail Recovery
3084
Details Extraction
3084
Film Damage
3085
Blur and Shift Controls
3085
Add Vignetting
3085
Add Dirt
3085
Add Scratch
3086
Film Grain (Studio Version Only)
3086
Main Controls
3086
Grain Params
3086
Advanced Controls
3087
JPEG Damage
3087
Texture Pop (Studio Version Only)
3087
Mode Controls
3089
Details Controls
3089
Tonal Range Controls
3089
Resolve FX Transform
3090
Camera Shake (Studio Version Only)
3091
Main Controls
3091
Shake Levels
3091
Shake Quality
3091
Blanking Handling
3092
Match Move (Studio Version Only)
3092
A Match Move Workflow
3093
Main Controls
3096
Tracking Controls
3096
Positioning
3097
Compositing
3098
Stabilizing
3098
Transform
3099
General
3099
Control Options
3100
Advanced Options
3100
Global Blend
3100
Video Collage
3101
Create Background
3101
Create Tile
3102
Animating Tiles and Advanced Layouts
3106
Video Collage Controls
3107
Layout
3108
Margins and Spacing
3108
Synchronize Keyframing
3108
Manage Tiles
3108
Mute Tiles
3109
Custom Size/Shape
3109
Resize Content
3110
Tile Styling
3110
Drop Shadow
3110
Tile Animation
3111
Easing & Blur
3111
Global Blend
3112
Resolve FX Warp
3113
Dent
3114
Lens Distortion (Studio Version Only)
3114
Ripples
3115
Main Controls
3115
Ripple Controls
3115
Vortex
3115
Warper (Studio Version Only)
3116
Effect Options
3117
Onscreen Controls
3118
Waviness
3119
PART 13 – Fairlight
3120
Using the Fairlight Page
3121
The Fairlight Page User Interface
3123
The Interface Toolbar
3123
Showing Which Panel Has Focus
3124
The Audio Timeline
3124
Controls in the Audio Timeline
3125
Zooming Audio Waveform Height
3127
Track Layering
3128
Switching Among Multiple Timelines
3128
Toolbar
3129
Timeline View Options
3130
Customizing Clip Display in the Timeline
3132
Customizing the Timeline’s Display
3132
Playhead Modes
3132
Visible Video Tracks
3132
Video and Audio Scrollers
3133
Mixer
3134
The Monitoring Panel
3137
Viewer
3139
The Media Pool
3139
Importing Media Into the Media Pool on the Fairlight Page
3140
Media Pool Preview Player
3141
Bins, Power Bins, and Smart Bins
3141
Showing Bins in Separate Windows
3142
Filtering Bins Using Color Tags
3142
Sorting the Bin List
3143
Filtering Clips With Audio in the Fairlight Page
3144
Effects Library
3144
Effects Library Favorites
3145
ADR
3145
The List Panel
3146
The Record Panel
3146
The Setup Panel
3147
Sound Library Browser
3147
Library Controls
3148
Display Controls and the Search Field
3149
Preview and Audition Controls
3151
Sound Effect List
3152
Index
3152
Edit Index
3152
Tracks
3153
Markers
3156
Inspector
3156
Metadata Editor
3156
Test Tone Settings for Generating Tone, Noise, and Beeps
3157
Pro Tools AAF Import
3158
Dual Monitor Layout
3158
Customizing the Fairlight Page
3159
Undo and Redo in DaVinci Resolve
3160
Setting Up Tracks, Buses, and Patching
3162
Audio Tracks
3163
What Is a Bus?
3164
Bus to Bus Routing and Mixing
3164
Types of Buses
3165
Buses in Nested Timelines
3166
Exposing Bus Tracks in the Timeline
3166
Controlling Signal Flow
3166
Managing Audio Tracks
3166
Defining Timeline Audio Track Channels at Creation
3167
Creating Tracks
3167
Rearranging Tracks
3167
Changing How Many Channels an Audio Track Has
3167
Deleting Tracks
3168
Linked Groups of Mono Tracks
3168
Creating Buses
3170
Assigning Buses
3172
Patching Signal Paths
3173
Using the Patch Input/Output Window
3174
Using a Channel Strip’s Input Menu
3176
Transport Controls, Timeline Navigation, and Markers
3179
Transport Controls and JKL Navigation
3180
Transport Controls
3180
Using JKL to Control Playback
3180
Dragging the Playhead to Scrub
3181
Looping Playback
3181
Loop Jog Scrubbing
3181
Moving the Playhead Using Timecode
3181
Clip, Marker, and Track Navigation
3183
Selecting Tracks
3183
Moving the Clip Selection
3183
Moving the Track Selection
3183
Zooming and Scrolling
3183
Setting the Zoom Level of the Timeline
3184
Scrolling Through the Timeline
3185
Using Flags
3185
Using Markers
3185
Adding Markers to Clips
3186
Adding Markers to Timelines
3186
Recording
3187
Setting Up to Record
3188
Arming Tracks
3189
Choosing Where to Record Audio Clips To
3189
User-Selectable Input Monitoring Options
3189
Recording Using the Onscreen Controls
3190
Recording and Editing Multiple Takes Using Layering
3190
Recording VSTi Instruments
3191
ADR (Automated Dialog Replacement)
3194
ADR (Automated Dialog Replacement)
3195
The ADR Interface
3195
Setting up to Do an ADR Session
3199
Creating and Importing ADR Cue Lists
3200
Manually Creating an ADR Cue List
3200
Importing Cues
3200
Recording ADR to the Timeline
3201
Editing Basics in the Fairlight Page
3203
Compatible Audio Formats
3205
Editing Audio Clips Into the Timeline
3205
Overwriting Vs. Layering Clips That Overlap
3205
Choosing Parts of Clips to Edit in the Media Pool
3206
Dragging Audio Clips Into the Timeline
3206
Moving Audio Clips to Embedded Timecode Position
3208
Support for Mixed Audio Track Formats from Source Clips
3210
Making Audio Clip Selections in the Timeline
3210
Fairlight Edit Mode Remains Between Application Restarts
3211
Selecting Tracks
3211
Using Selection Mode
3212
Using Range Selection Mode
3214
Using Edit Selection Mode
3218
Commands For Editing and Extending the Selection
3220
Locking Audio Tracks
3221
Splitting Clips
3222
Linked Clips in the Fairlight Page
3222
Trimming Clips Without Rippling the Timeline
3222
Multi-Point Editing Overview
3222
Resizing the In and Out Points of a Clip
3223
Trim Start and Trim End
3223
Trim to Selection
3224
Moving and Overwriting Clips
3224
Slipping
3225
Duplicating Clips
3225
Disabling and Re-Enabling Clips in the Timeline
3226
Deleting Audio Clips and Regions
3226
Cut, Copy, and Paste
3226
Conventional Cut, Copy, and Paste
3226
Using the Cut/Copy Head and Tail Commands
3229
Paste and Remove Attributes
3230
Copying and Pasting Clip Attributes
3230
Copying and Pasting Track Attributes
3230
Removing Attributes
3231
Audio Clip Layering
3231
Audio Compound Clips
3232
Audio Crossfades
3233
Fades and Crossfades
3233
Using Fades
3233
Batch Fade and Crossfade Editor in the Fairlight Page
3234
Fade In and Out to Playhead
3237
Creating Crossfades With Overlapping Fades
3237
Using Crossfades From the Edit Page
3238
Finding Clips in the Media Pool
3239
Changing Clip Color in the Timeline
3239
Editing Audio Clips in External Editors
3239
Exporting Audio Clips to External Files
3240
Sample Editing
3241
Waveform Zero Crossing Indicator
3242
Audio Clip Specific Inspector Adjustments
3243
Making Adjustments in the Inspector
3244
Using the Inspector
3244
Audio Settings in the Inspector
3245
Adjusting Multiple Clips at the Same Time
3246
Animated Inspector Adjustments
3247
Paste and Remove Attributes
3248
Setting Clip Volume
3248
Adjusting Volume in the Inspector
3248
Adjusting Volume in the Timeline
3248
Adding and Adjusting Volume Keyframes in the Timeline
3249
Normalize Audio Levels Command
3250
Volume
3251
Pan
3251
Pitch Controls
3251
Speed Change Controls
3252
Equalizer Controls
3252
Master EQ Controls
3253
Graphical EQ Controls
3253
Bands 1 and 4
3253
Bands 2 and 3
3254
Paste and Remove Attributes for Clips and Tracks
3254
Mixing in the Fairlight Page
3255
Introduction to Mixing
3256
The Mixer
3256
Tracks and Buses
3257
Bus to Bus Routing and Mixing
3257
Customizing the Onscreen Mixer Controls
3259
Managing Channel Strips Using the Index
3260
Selecting Channel Strips and Tracks
3261
Multiple Selection of Mixer Tracks
3261
Track Organization
3261
Input
3262
Effects
3262
Insert
3263
EQ
3263
Master EQ Controls
3263
Graphical EQ Controls
3264
Bands 1 and 6
3264
Bands 2–5
3265
Dynamics
3265
Master Dynamics Controls
3266
Expander/Gate
3266
Compressor
3267
Limiter
3269
Track Processing Order in the Fairlight Mixer
3269
Bus Sends
3270
Legacy Auxiliaries
3271
Pan
3271
The Stereo and Surround Pan Controls
3271
The 3D Audio Pan Controls
3273
Bus Assignment Buttons
3274
VCA Groups (Fader Groups)
3274
Making Fader Group Assignments
3274
Using Fader Groups
3275
Recording Fader Automation for Groups
3276
Arm, Solo, and Mute Buttons
3276
Fader Controls
3276
Bouncing Audio
3277
Third-Party Control Panel Support for Mixing
3278
Automation Recording
3280
Automation Recording
3281
What You Can Automate
3281
Automation Controls
3281
How to Record Automation
3282
Recording Automation for Multiple Tracks
3282
Recording Automation for Specific Individual Tracks
3283
Automation Preview Mode
3284
Viewing Automation in the Timeline
3285
Overwriting Automation
3285
Automation Follows Edit
3286
Editing Automation
3286
Drawing Automation Keyframes
3287
Adjusting and Deleting Automation Keyframes
3287
Fairlight > Automation Controls
3289
Playing Automation
3289
Audio Effects
3290
Elastic Wave Audio Retiming
3291
About Audio Plug-Ins
3293
Fairlight FX
3293
VST and VSTi
3293
Audio Units
3293
Using Audio Plug-Ins
3294
Applying Audio Plug-Ins to Buses
3297
Dealing With Processor Intensive Plug-Ins
3297
Caching Audio Clips With Plug-Ins
3297
Exporting Audio Clips With Plug-Ins
3298
Fairlight FX
3299
Common Controls For All Fairlight FX
3300
Chorus
3300
De-Esser
3302
De-Hummer
3303
Delay
3303
Dialog Processor
3304
Distortion
3305
Echo
3306
Flanger
3307
Foley Sampler
3309
Frequency Analyzer
3312
LFE
3312
Limiter
3312
Meter
3313
Modulation
3314
Multiband Compressor
3315
Noise Reduction
3317
Phase Meter
3318
Pitch
3318
Reverb
3319
Soft Clipper
3320
Stereo Fixer
3321
Stereo Width
3322
Surround Analyzer
3323
Vocal Channel
3323
Audio Meters and Audio Monitoring
3325
The Monitoring Panel
3326
Track Meters and Monitoring Controls
3326
Using Post Fader or Track Source Meters
3327
Bus Meters
3327
Meter Plug-in
3328
Surround Analyzer
3328
Compound Meters and Output Bus Selection Menu
3329
Monitoring Menus
3329
Control Room Meters
3330
Loudness Meters
3330
Offline Loudness Analyzer
3332
Viewer
3333
Cinema Viewer on Fairlight Page
3334
Signal Flow Diagrams
3335
Signal Flow Overview
3336
Audio Processing Path
3336
Immersive Audio Workflows
3337
About Immersive Audio Formats
3338
Expanded Dolby Atmos Capabilities
3338
Dolby Atmos Speaker Configurations
3339
Enabling Dolby Atmos
3339
The Components of a Dolby Atmos Mix
3339
Predetermined Dolby Atmos Master Rules
3340
Immersive Format Configuration
3341
Exporting ADM BWF
3342
New Surround Buses in Fairlight (Studio Version Only)
3342
Object-Based Format Support (Studio Version Only)
3343
Auro-3D Support (Studio Version Only)
3343
Dolby Atmos Configuration Controls
3343
MPEG-H Authoring
3343
Track Configuration
3344
Export
3344
Quality Control
3345
B-Chain Support for Audio Monitoring (Studio Version Only)
3346
Overview of Setting Up a B-Chain Configuration
3347
Space View Channel Monitoring
3350
Using the Fairlight Desktop Console
3351
About the Fairlight Desktop Console
3352
Connecting to a Monitor via HDMI
3353
Desktop Console Functional Overview
3355
Types of Controls
3355
Desktop Console Modes
3356
Undo, Modifier and Arrow Keys
3357
Track Select Buttons
3357
Fairlight Desktop Console
3359
Control Buttons
3360
Fader Channel Strips
3369
Automation Buttons
3372
Channel Buttons
3374
Monitoring Controls
3376
Search Dial and Transport Controls
3378
Modifier and Undo Buttons
3381
Arrow Keys
3383
User Buttons
3384
Fairlight Desktop Console Configurations
3398
Performing Firmware Updates
3400
Using the Fairlight Audio Editor
3402
About the Fairlight Audio Editor
3403
Audio Editor Functional Overview
3404
Types of Controls
3405
Audio Editing Modes
3406
Transport, Modifier, and Escape Keys
3407
Latch, Long, and Momentary Key Press Functions
3408
Track Selection Keys
3410
Moving Track Selection with the Jog Wheel
3413
Switching Pages
3413
Fairlight Audio Editor
3414
Monitor Section
3414
Numeric Keypad
3416
Jog Wheel with Fixed Keys and Soft Menu Picture Keys
3419
Self-Labeling Picture Keyboard
3427
Selecting a Clip vs a Range
3428
Setup Mode Toolset
3429
Record Mode Toolset
3433
Monitor Mode Toolset
3434
Macros Mode Toolset
3435
Mix Mode Toolset
3438
Edit Mode Toolset
3440
Alternate Picture Key Toolsets
3443
Editor Screen with Soft Controls
3445
Visual Feedback between Soft Controls and the Editor Screen
3447
Macro Quick Keys
3448
Modular Fairlight Consoles
3449
About the Fairlight Console Components
3450
Fairlight Console Audio Editor
3454
Channel Control Modes
3454
Fairlight Console Channel Control
3457
Channel Control Buttons and Channel Control Knobs
3462
In-Line Channel Extension Buttons
3465
Fairlight Console Channel Fader
3467
LCD Fader Channel Display
3467
Rotary Knob
3467
Fader Channel Control Buttons
3468
Touch-Sensitive Faders
3469
Fader Bank Display Buttons
3469
Fairlight LCD Monitors
3478
Fairlight Console Configurations
3479
Additional Fairlight Hardware
3480
Performing Firmware Updates
3481
Fairlight Studio Utility
3483
Configuring the Fairlight Panels
3484
DaVinci Control Panel Setup
3485
Changing Network Settings
3487
Fairlight Studio Utility
3487
Selecting your Fairlight Console in DaVinci Resolve
3490
PART 14 – Deliver
3492
Delivery Effects Processing
3493
Delivery Effects Processing
3494
When Rendering a Single Clip or When Outputting to Tape
3494
When Rendering Individual Source Clips for Round-Trip Workflows
3494
More About Rendering Speed Effects
3495
Determining the Rendered Output Resolution of Clips in Mixed Timelines
3495
Rendering Edit and Input Sizing Adjustments
3495
Rendering Mixed Frame Rate Timelines
3496
Export Alpha Channels in Individual Clips Mode
3496
Export Alpha Channels in Single Clip Mode
3497
Using the Deliver Page
3498
Using Quick Export
3499
The Deliver Page
3500
The Interface Toolbar
3500
Rendering Files vs. Outputting to Tape
3501
The Render Settings
3501
The Deliver Page Timeline
3502
Filtering the Thumbnail Timeline
3502
The Viewer
3503
Disabling Viewer Updates While Rendering
3503
The Render Queue
3503
Rendering Media
3505
Using Presets for Fast Rendering
3506
Custom
3506
YouTube, Vimeo, and Twitter Presets
3506
ProRes Master
3508
H.264 Master
3508
H.265 Master
3508
IMF (Studio Version Only)
3508
Frame.io
3509
Final Cut Pro 7 or X XML
3510
Premiere XML
3510
Avid AAF
3510
Pro Tools
3510
Audio Only
3512
Creating and Using Your Own Presets
3512
Choosing a Location to Render
3512
Single Clip vs. Individual Clips
3513
Single Clip
3513
Individual Clips
3513
All Other Render Settings for Output
3514
Video Panel
3514
Audio Panel
3521
File
3522
Additional Outputs
3524
How to Avoid Overwriting Clips When Rendering Output Media
3525
Defining a Range of Clips and Versions to Render
3525
Choosing Which Versions to Render for Each Clip
3526
Using the Render Queue
3527
Rendering Jobs from Multiple Projects at Once
3529
Remote Rendering
3530
Using Multiple Databases in Remote Rendering
3530
Sharing Storage
3530
Setting Up and Using Remote Rendering
3530
When You’re Finished Remote Rendering
3531
Setting Up a “Headless” Remote Rendering Workstation
3531
Delivering DCP and IMF
3533
Native IMF Encoding and Decoding (Studio Version Only)
3534
Native Unencrypted DCP Encoding and Decoding (Studio Version Only)
3536
Native DCP Encoding Parameters
3536
Rendering IMF Segments and DCP Reels
3538
Creating DCP/IMF Supplemental Packages
3539
Importing a DCP or IMF Into a Timeline
3539
Editing the Resulting Timeline
3540
Dolby Vision Metadata
3540
Exporting
3541
Photon Validation of IMF Packages
3542
Validating in the Media Pool
3542
Validating on Export
3542
Using and Licensing EasyDCP
3543
Requesting Your Server Certificate Set
3543
Importing Your Server Certificate Set
3544
Switching Between Native DCP and EasyDCP Encoding
3544
EasyDCP Color Management
3545
EasyDCP Output in the Deliver Page
3545
KDM Generation and Management
3546
Publishing Your Encrypted Digital Cinema Package
3546
Playing Your Digital Cinema Package
3546
Playing Third-Party Digital Cinema Packages
3546
Delivering to Tape
3547
The Tape Output Interface
3548
Gang Timecode to Tape
3548
Insert/Assemble Drop-down Menu
3549
Start Record Button
3549
Setting Up for Tape Output
3549
General Options
3549
Capture and Playout Settings
3549
Capture
3550
Playout Settings
3551
Edit to Tape Queue Option Menu Settings
3551
Tape Output Procedures
3552
Power Mastering
3552
Outputting a Program From the Timeline
3552
Batch Outputting Multiple Clips
3553
Exporting Timelines and Metadata
3554
Exporting to AAF/XML
3555
More About Exporting to AAF
3556
Exporting an EDL
3556
Exporting a Missing Clips EDL
3557
Exporting Timeline Markers to EDL
3557
Exporting to CDL
3558
Exporting the Edit Index as a CSV or TXT File
3559
Exporting to ALE
3559
Exporting to ALE with CDL
3561
Exporting Timeline Markers to EDL
3562
Exporting and Importing Media Pool Metadata
3562
PART 15 – Advanced Workflows
3564
Workflow Integrations
3565
Workflow Integrations in DaVinci Resolve (Studio Version Only)
3566
Creating Workflow Integration Plugins
3566
Workflow Integration Plugins
3566
EditShare
3566
Studio Network Solutions (SNS)
3567
Codec Plug-ins (Studio Version Only)
3567
MainConcept
3567
Creating DCTL LUTs
3569
About DCTL
3570
DCTL Syntax
3570
A Simple DCT LUT Example
3572
A Matrix DCT LUT Example
3572
A More Complex DCT LUT Example
3573
TCP Protocol for DaVinci Resolve Transport Control
3574
About the TCP Protocol Version 1.2
3575
Data Types
3575
Command Format
3575
Response Format
3575
Communication Delays
3575
Status Response Values
3576
TCP Protocol Stream
3576
connect
3576
goto
3576
play
3576
gettc
3576
getframerate
3576
PART 16 – Project Databases, Collaborative, and Remote Workflows
3578
Managing Databases and Project Servers
3579
Why Use a Project Server?
3580
Multiple Users Sharing Projects
3580
Using Collaborative Workflow
3580
Using the DaVinci Resolve Project Server Application
3580
The DaVinci Resolve Project Server Interface
3580
Using the Project Server Application to Manage Databases
3582
Creating New PostgreSQL Databases
3582
Backing Up and Restoring Databases
3582
Upgrading Databases
3583
Reconnecting Databases You Previously Disconnected
3583
Viewing Database Contents
3583
Optimizing Databases
3583
Sharing Databases to Create a Project Server
3583
Collaborative Workflow
3586
Introduction to Collaborative Workflow
3587
Collaborative Render Cache Support
3587
Collaborative Support for Individual Monitoring
3587
Collaborative Marker, Flag, and Clip Color Support
3587
Read Only Mode
3587
Collaborative Support for HDR
3587
Requirements for Collaboration
3588
Enabling Project Collaboration
3588
Opening Projects to Collaborate
3589
Customizing Your Collaborator Identification
3589
How Collaboration Works
3590
Automatic Bin and Timeline Locking
3590
Managing Bin Locks Manually
3591
Manually Unlocking Timelines
3592
Automatic Clip Locking
3592
Receiving Changes Made by Collaborators
3593
Examples of Collaborators Working Together
3595
Multiple Editors Working Together
3595
Editors and Assistant Editors Working Together
3596
Editors and Compositing Artists Working Together
3596
Multiple Compositing Artists Working Together
3596
Editors and Colorists Working Together
3597
Multiple Colorists Working Together
3597
Managing Notes Among Collaborators
3598
Collaboration Chat
3598
Remote Grading
3599
Introduction to Remote Grading
3600
Requirements for Remote Grading
3600
Setting Up for Remote Grading
3600
Remote Grading Restrictions
3601
PART 17 – Menu Descriptions
3602
Menu Descriptions
3603
DaVinci Resolve
3604
File
3605
Edit
3606
Trim
3607
Timeline
3608
Clip
3609
Mark
3610
View
3611
Playback
3613
Fusion
3614
Color
3615
Fairlight
3616
Workspace
3617
Help
3618
PART 18 – Other Information
3619
Regulatory Notices
3621
Safety Information
3623
Warranty
3624
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