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to accommodate multiple output formats and languages from a single deliverable. This is done
by wrapping a timeline’s different video and audio tracks (media essences) and subtitle tracks
(data essences) into a “composition” within the Material eXchange Format (MXF).
– JPEG 2000: DaVinci Resolve 15 introduced support for the encoding and decoding
of JPEG2000 using a library licensed from Kakadu software. This includes a complete
implementation of the JPEG2000 Part 1 standard, as well as much of Parts 2 and 3. JPEG2000
is commonly used for IMF and DCP workflows.
– MJ2: The Motion JPEG 2000 format. DaVinci Resolve 15 introduced support for the encoding
and decoding of JPEG2000 using a library licensed from Kakadu software. This includes a
complete implementation of the JPEG2000 Part 1 standard, as well as much of Parts 2 and 3.
JPEG2000 is commonly used for IMF and DCP workflows.
– MP4: Dedicated MP4 encoding lets you export H.264-encoded movies.
– MXF OP–Atom: A simple standard for the Material eXchange Format, a file-based media
format, that’s often used when delivering DNxHD. This version conforms to the SMPTE 390M
standard, and can deliver using the DNxHD, DNxHR, Kakadu JPEG 2000, NTSC and PAL Avid,
RGB Avid 10-bit, and XDCAM MPEG2 codec options.
– MXF OP1A: A version of the Material eXchange Format that conforms to the SMPTE 378M
standard, and can deliver using the 1080i Avid 8-bit, DNxHD, DNxHR, Kakadu JPEG 2000,
NTSC and PAL Avid, RGB Avid 10-bit, Sony MPEG4 422 and 444, and Sony XAVC Intra CBG and
VBR, and XDCAM MPEG2 codec options.
– QuickTime: Apple’s file-based media format, used when delivering Apple ProRes, DNxHD or
DNxHR wrapped in QuickTime, GoPro Cineform RGB 16-bit and YUV 10-bit, Grass Valley HQ
and HQX, Kakadu JPEG 2000, H.264, HEVC, H.264 (single or multi-pass), Photo JPEG, Kakadu
JPEG 2000, Uncompressed 8- and 10-bit formats with ARGB/BGRA/RGB/YUV channel orders,
and VP9 at 8-, 10-, and 12-bits.
– TIFF: “Tagged Image File Format,” an image sequence format compatible with many desktop
video applications on many platforms and is also used when delivering for DCDM mastering.
– Codec: A drop-down menu that lets you choose from a selection of codecs that are available to
the format you’ve selected above.
– Type: Different codec options may also present different bit depth and color space combinations,
as well, which are available from this menu.
– Maximum Bit Rate: (Does not appear for all codecs) Codecs such as Kakadu JPEG 2000 let you
specify a maximum bit rate, in Mbits per second, with which to encode the delivered video.
– Field rendering: If you’re processing interlaced source material, this checkbox sets
DaVinci Resolve to render each field individually before reintegrating them back into a single
frame, in order to process clips most accurately with filtering operations that would otherwise
violate field boundaries and cause problems. If you’re not rendering interlaced media, you should
leave this checkbox turned off, as it is more processing intensive.
– Export HDR10 Metadata: (Available in Single clip mode if HDR10+ is enabled in Project Settings)
Exports HDR10 metadata to the rendered file when you’re doing an HDR workflow.
– Embed HDR10 Metadata: (Available in Single clip mode if HDR10+ is enabled in Project Settings)
Exports HDR10 metadata to the rendered file when you’re doing an HDR workflow. Embeds
HDR10 metadata within the exported media of selected formats.
– Render at Source Resolution: (When rendering Individual Clips) This checkbox lets you render
each clip at the same resolution as its source media file, letting you preserve mixed frame sizes for
final delivery.
– Resolution: The output resolution for rendering. This setting defaults to the current resolution
of the project as set in the Master Settings panel of the Project Settings, modified by whatever
transforms are applied in the Sizing palette in Output mode. However you can change the
Chapter 186Rendering Media 3515
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