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1. This refers to a unit of measurement developed by the Institute of Radio Engineers A term which is applied to an Isolation Reel It is also an abbreviation for the International Organization for Standardization This is standard definition component digital video standard created by the International Telecommunications Union 1 JPEG Compression K Kelvin Key frames L Leader Letterbox Lossless compression Lossy Compression Lousy Compression Me LUT M Macro Mask Matte Moire Monochrome This refers to a lossy compression algorithm method JPEG is an abbreviation for Joint Photographic Experts Group The name for a scale that measures the color of a light source A term which generally refers to events or marks within a clip or scene A section of film at the beginning of a film roll Leader can be in the form of blank film a countdown or even a clock The method of displaying the entire contents of a wide screen image on a television monitor This will show the entire image within the center of the display and there will be black borders on the too and bottom A method of file compression which performs the function without loosing any information A type of data compression that discards information In order to complete the function Unwanted compression An abbreviation for Longitudinal Time Code Otherwise known as a Lookup Table It is essentially a co
2. Stereoscopic Viewer Right Click Options STEREOSCOPIC GRADING 279 ASS STEREOSCOPIC GRADING 17 Color Screen Status Display There are four status display items for Stereoscopic grading Convergence The two modes are Opposite ana LinkZoom When in Opposite mode the convergence control will move the images left ana right to change the convergence point With Link Zoom selected the image will always fill the screen regardless of the convergence setting by zooming the left and right eye images Stereo Grade Tne two stereo sessions can be graded in Gang mode where both eyes have the same grade applied or Solo mode where the two stereo sessions are graded separately Grading change In one eye would not affect the other eye Stereo Current This indicates which eye is being displayed in the viewer and for the HD SDI output if a single eye display is selected Stereo Display If you have enabled the 3D display in the viewer options or via the panel this indication will be Stereo alternatively it will show Mono 280 STEREOSCOPIC GRADING Thumbnail Timeline Menu Options Stereo Batch Copy Stereo Batch Sync Stereo sub menu Grade Copy L R or R L Grade Swap L R Swap Output Ripple Link Gang Solo Left Right Switches to the selected eye Will copy the grading of the clips in the current session to the corresponding clips in the other eye session Clips in the current session may have dif
3. Byte E CinemaScope Cineon Clapperboaro Clip Clipped Whites Color Balance Clipping Color Bars Color Depth Color Correction Color Correction Computer Color Grading This generally refers to a color correction which is not quite a scene by scene color correction and not a one light color correction Its generally a correction which Is designed to be finished later in a tape to tape correction A name which is applied to one fragment of digital data This term refers to data storage within RAM A name which pertains to a group of eight memory bits A trademarked name for an anamorphic wide screen process originally developed in France by Professor Henri Chretien The rights to the format were later purchased by 20th Century Fox Film Corporation in 1952 The basis for the process involved shooting material with special optics that recorded a squeezed or anamorphic image on the film When the image was projected another lens was applied to the projector which un squeezed the material and displayed a wide screen image A term which is generally applied to a data file with a cin extension It is a 10 bit log file A term which is applied to a board which is shown at the beginning of each uncut film scene It is used for the purpose of identification and manual sound synchronization A term which is applied to a single file or scene within a non linear timeline A term which is a
4. Curve may be created by clicking in the Viewer using the left mouse button To complete close the curve press the middle mouse button or press the left mouse button on the first point of the curve You can adjust the curve using the control panel or the mouse Additionally the inside and outside softness may be altered on a point by point basis by dragging any of the magenta reference points to the desired position As with all of the Resolve Power Windows the axis of rotation may be changed by holding down the control key on the DaVinci Resolve keyboard and dragging the center reference point to the desired position You may change the Power Curve shape using the mouse To add points left mouse click on the curve to delete points use the center mouse button over a point To change the curvature select one of the handles attached to a curve point and adjust the curvature by keeping the left mouse button pressed while moving the pointer The curvature handles move opposite to each other in a locked fashion To move a single handle at a time you must keep the Shift key pressed while moving the handle If you want to straighten an edge double click on the corresponding curve point When the edge is straight the curvature handles for that point are collapsed To rotate a curve select the central handle of the curve similar to other windows and rotate You can also select the central handle and Pan Tilt the entire curve
5. Replace Hole with Blank Selecting Source or Target Recording Mode When Source mode is selected there are two main options to consider You can select to Record Each Clip to a Separate Directory remembering these are source clips with their timecode This is commonly used when rendering VFX shots for further post work to allow the VFX department to identify clips quickly ana distribute the work Commercial Workflow DaVinci Resolve s Use Commercial Workflow setting will dramatically simplify working with versions of grades and provide graded versions in a format that is easy for the other departments in a post house to use With the Use Commercial Workflow checked DaVinci Resolve will automatically render alternate passes pertaining to different versions of grades This is typical of TV commercial work where you have two or more versions of the grade for each scene As the source clio has one logical timecode regardless of how many graded versions are made you can t simply render this clip five times and put it in the same folder All of the timecodes and file names would be the same so you would end up with one version the last you rendered Recording Mode Use Commercial Workflow Alternate Pass Offset 00 00 00 00 Reels in Separate Folders Clips in Separate Folders Use Version Name for Folder Commercial Workflow Options RENDER 269 ASA RENDER 16 270 The Alternate Pass Offset
6. Source Size Master Default 01 10 00 18 01 10 14 22 001 DivX HD 1440 x 1080 Bit Count 10 bit Frames 340 EDL unknown Clip Info Audio Timeline While DaVinci Resolve is a color correction and enhancement system it does play back guide audio When a wav or AIFF file is selected in the Conform screen to play with an EDL the audio can be displayed on the Color screen by right clicking on the timeline and selecting Show Audio Waveform TM 1 541 x E AAA Mh niy y u N pi a es Timeline with Thumbnails and Audio The waveform for the audio track can be slipped in time to sync the audio to video by using the control key Command in Mac and the mouse to drag the clip up and down the main timeline Alternatively you can select the Audio Offset dialog box with a right click on the audio waveform and enter the offset you need Audio Offset Frame SubFrame m a Audio Offset COLOR 173 CES 174 COLOR RED r3d Clip Decoder Control DaVinci Resolve offers native RED rsd decoding In the Configuration screen Source tab you can select to use the RED Default decoder settings the camera metadata or set project based decoder parameters for DaVinci Resolve to decode and debayer the r3d files On the Color screen you also have an extra layer of control a clip by clip control If your timeline has RED files right click on the thumbnail to reveal the option Edit RED Codec Sett
7. Td Luminance qualifier sensitivity Grading style DaVinci Rank LCD brightness Red key backlighting Green key backlighting Blue key backlighting Control Panel Layout There are two options for the trackball Grading style labeled DaVinci and Rank Most users will be familiar with the standard DaVinci controls as this mimics the Vectorscope If you move the trackball to the right and lower a little the image will become more blue move to the top for more red and to the lower left for more green The Rank settings are somewhat different so this option Is for users who are familiar with color controls that the Rank control system offered There are also settings on this screen for the DaVinci Resolve Control Surface LCD brightness and the color of the key backlighting CONFIGURATION 29 ASA CONFIGURATION Autosave Tab Your project database is extremely valuable so DaVinci Resolve has an Autosave feature that will make copies of your active database while you work On the Autosave tab you will see the list of files that have been stored and you can set the interval for auto saves Simply click on the Load button to recall a oroject from this list Automatically save project Off On To backup project Every 5 minutes Auto Backup List Auto Backup Dale Modified ATS test release ATS quicktime rendering ATS auto test ATS Unicode ATS_RED ATS PanclTestine ATS_Oper ATS HD7 ATS D ATS C
8. The far left trackball is Lift control which provides RGB balance adjustment in the darker range the image The next trackball to the right is Gamma control which provides control over the mid range values of the image The third from the left is the Gain control which effects the brighter portions of the image The control ring surrounding these trackballs provides amplitude control of the associated Luminance Lift Gamma or Gain range of the image On the left side of the panel are three Luminance knobs From top to bottom they are Luminance Gain Luminance Hue and Luminance Lift DAVINCI RESOLVE CONTROL SURFACE 297 AN DAVINCI RESOLVE CONTROL SURFACE 19 298 On the right side there are three more controls from top to bottom Saturation Hue has the effect of nue rotation and Luminance Mix Above the three left most trackballs you will see these three keys RGB This key resets the RGB balance only to detent All To reset both RGB ana level Level If you wish to reset the level while maintaining RGB differential Above the right most trackball the three keys are Adjust Window Selection of this key brings up the shape cursors for the current node and allows the trackball to position the current window Modes This key allows access to a number of menus and acts as an on off toggle Shift Up Cursor This shift function changes the cursor views on the main monitor The user can select the cursor d
9. Timeline Conform Options display Examples of Reel Number Path Extractions In order to better understand how this process works there are several examples showing the various methods of reel number extractions The is used as the separator between control parameters CONFIGURATION Example 1 This example shows the reel number stored within the parent folder name of the clip Pattern R D Clip Name vol0 MyMovie Scans 004B Frame 1000 20001 dox Reel number 004B Parsing takes place from right to left so to analyze this pattern start at the right eno In this case the D matches to the file name FrameNNNN dpx where NNNN is the frame number in each file of the clio Moving left of the file name the R section of the string is next This specifies that the reel number will be the entire name of the parent directory immediately above the file Then the at the beginning of the string says match any pathname in front of the directory name that has the reel number This string would find the parent directory regardless of how many levels deep it is nested on the directory path Example 2 Here we see the reel number stored in the parent folder name of the clip along with being orefixed by reel number Pattern 2222 R D or alternatively Reel R D Clio Name volO MyMovie Scans Reell234 Frame 1000 2000 dpx Reel number 234 In this example both of these extractions patterns produce the same result T
10. button will open a dialog to show all editing history so you can quickly see changes that have been made Editing An Existing Timeline Editing and or adding a new clio to a conformed Session is simply done with the mouse How the other clips within the timeline are changed depends upon which edit mode has been selected To edit an existing EDL load the EDL and enable editing Choose edit mode Normal Ripple Roll or Slide and make your edits Soeed changes can be introduced or changed by right clicking on a clip and choosing the Change Speed option After editing the edited EDL can be saved to the disk using Save EDL which you will find in the right click list CONFORM Building Your Own Timeline It is easy to make your own timeline If the timeline was created as a Default and Empty Session then all clips selected in the Media Pool can be added to create your own EDL Dissolves may be added by overlapping the transitions from one clip to another To start building a timeline without a supplied EDL create an empty timeline by using the Create Default function check the Empty Session checkbox then enable editing Drag and drop clips from the Media Pool into the timeline as you wish If a sub selection of the clio needs to be added to the timeline the Offline Viewer can be toggled to a Source Viewer the Mark In and Mark Out buttons used to choose a sub section and the Add to timeline function chosen
11. with SD images you may want to change the resizing filter from the normal Sharper setting to a Smoother filter Remember if you have HD images and are making an SD playout to tape that this is a resize of the image to SD We advise that you review the Sharoer and Smoother filter settings to select your oreference 72 CONFIGURATION Render cache frame limit Many storage supervisors manage the impact on the shared storage so that all users have good speed and capacity for their work The Render Cache Limit setting Is normally set at 10000 and the function of this is to limit the amount of images frames cached If you need to make this setting higher be sure to leave room on your storage for these cached frames Save timeline thumbnails with project To minimize project size and maximize soeed of your project Save and Load operations you should leave this checkbox un checked If you select the checkbox all of your timeline thumbnails will be stored with every project Save and Auto Save This provides a good history of the oroject but takes much longer to complete and uses more hard disk space Dynamic Profiles Using the slide controls you can adjust the default curve for the start and end parameters of for all dynamics Individual adjustments for clios can be made in the dynamic timeline on the Color screen Dynamic Profiles Ramp start Ramp end Dynamic Profiles Timeline R
12. 120 CONFORM Timeline Displays The Master Session is located at the bottom of the Timeline display and as previously mentioned it shows the clips that are in the Media Pool in ascending timecode order A green outline on the timeline indicates the current Session and it will be displayed in the Viewer window and have the EDL listing to match If you click once with the mouse on another thumbnail timeline the green outline will move to that timeline and that version will be seen in the Viewer window It s this active timeline that is also used in the Color screen The white vertical line in the thumbnail timeline shows you the position displayed in the Viewer The mouse keyboard short cuts or the control panels may also jump from one clip to another within the Conform display On the control panels just press the Previous and Next keys to change clips You can change the timeline scale by selecting the scroll bar at the bottom of the timeline and while holding scrub to the right or left Alternatively the scroll wheel on the mouse can be used This permits you to identify a single frame with great accuracy even If the Session is hours in length Conform Timeline There are also a number of right click options for the Timeline display Most are applicable for both the Master Session and the Default and EDL sessions Timeline Management 01 00 00 00 Enable Editing Audio Options Reconform From Reels Save EDI
13. A term which is applied to the end of a roll of film A trademarked color process for motion pictures A machine which is used for transferring motion picture film to video A positive film print which is created for the express purpose of being projected in a theatre A meter that measures color temperature A name which is applied to an images color cast or even a wash which may have been applied to the image An abbreviation for Video Cassette Recorder This generally pertains for a color which has been defined for correction with a secondary color corrector A form of time code which is also known by many as VITC It is time code which is recorded in the vertical blanking area of the signal A term which is applied to a graphics display format also known as Video Graphics Array A term which is applied to a dark circular mask This term stands for Vertical Interval Time Code An abbreviation for Video Tape Recorder An offshoot of the standard Oscilloscope and is used for monitoring a video signal A format for displaying an image with wide horizontal dimensions such as CinemaScope or Panavision A videotape which has time code recorded visibly within the picture A term which is applied to a one light print that is to be used for editing A term which is short for What You See Is What You Get X axis XGA Y axis YOM YOTO This refers to the horizontal repositioning of an image or
14. ADE New Session Options start Timecode 01 00 00 00 Session Name Empty Session Check Box Locks When editing you may wish to lock the position of a clip so other editing operations will not change key clips The Lock and Unlock and Clear all Locks options are on the Timeline right click list Enable Snapping The Enable Snapping option will assist in joining two clips by snapping the clips together when the boundaries are close You can push the clip past the snap to make a dissolve with equal ease CONFORM 123 CHARER 3 124 CONFORM Deleting Clips Adding Black To delete a selected clio and leave a hole in the timeline right click and select Delete There is also the option to add black by right mouse clicking and selecting Add Black Clip from the options available If this is overlapped with another clip a fade to black will result Speed Changes DaVinci Resolve will handle soeed changes from EDLs but sometimes you may just want to add your own When you select Change Speed of Clip a dialog box will appear reporting the current speed and letting you change the frame rate for this clip Audio Conform Tools Within the Conform screen you can play an audio file and also set the audio synchronization The Audio can be on a separate audio playback device like a DAT machine or can come from the internal hard drive Right mouse click on the Timeline display and sele
15. BMD_gen_demo Demo PowerCurve Window COLOR Power Window 3D Object Tracking Whether it is a Circular Linear Polygon or even a Power Curve Window you will eventually need to change the position of the window to follow a moving object within a clip Fortunately DaVinci Resolve nas a very powerful automatic tracking tool that can be used for tracking the position of an object within a clip The Object Tracking operation is covered in detail within the Viewer screen description but here are some basics for the simple operation Place the window over the object switch to the Viewer screen and open the Tracking menu on the right If DaVinci Resolve loses the object at any point press the Stoo button make the necessary window reposition and enter a mark using the Mark button on the control panel Start the track again from that point After the tracking procedure is finished you can still move the window apply softness or change the aspect and size The tracking functions can also be selected by pressing the T key on the keyboard for forward tracking or Shift T for reverse Object Tracking COLOR 193 CES 9 194 COLOR The next tab on the Color screen is Blur which holds the controls for Blur Sharpen and Mist The algorithm for calculating this effect is a precision Gaussian filter so very high quality adjustments can be made These controls share a common set of parameters and in fact Bl
16. Bit Depth B 10 16 Timecode Camera Absolute Edge Audio Decode Clips Using Project Camera Metadata RED Default Master Red Decoder Settings Image Decode Settings If you chose to modify the decoding parameters for your RED files by Choosing the Project option in the Decode Clips Using setting the following controls become active Color Science Color Space Gamma Curve OLPF Comp Image Detail Denoise Image Decoder Settings Color Science Version 2 Color Space REDcolor Gamma Curve REDgamma OLPF Compensation Of Low Medium High Image Detail Low Medium High De noise Off Image Decoder Settings The original REDone camera builds used a different color science to the more recent builds Select here as appropriate Red offers a number of color space options when decoding the RAW images REDcolor which is default color soace Camera RGB which bypasses the matrix in the camera and uses uncorrected sensor data REDSpace which extracts a color space larger than REC 709 often used for film work SRGB which is a color space used for monitors orinters ana the Internet and REC 709 which is the standard for HDTV The Gamma selections include Linear where no gamma adjustment is applied REC 709 which is the standard HDTV gamma sRGB which has the REC 709 color space with slightly different gamma REDSpace which is a higher contrast color space than REC 70
17. Blackmagicdesign vadi Spring 2010 Manual The world s most powerful color correction now on Linux and Mac DaVinci color correctors have been the standard in post production since 1984 There are thousands of colorists worldwide who understand the performance quality and workflow of DaVinci DaVinci is the name behind more feature films television commercials documentaries television production and music videos than any other grading system When youre in a room full of demanding clients with conflicting ideas colorists know that DaVinci Resolve has the quality real time performance creative features and powerful control panel you need to work fast DaVinci Resolve is now available for both Mac OS X and the clustered super computer power of Linux CONTENTS USER MANUAL DaVinci Resolve 7 1 Introduction 11 Introdueing DaVinci Resolve 12 Whats New in DaVinci Resolve 7 1 13 System Setup 19 Media Storage Volumes 20 Video Capture Hardware 21 Control Panel Type 21 Auick Start Guide 23 Guick Start Project 31 Control Panels 33 Getting Started 37 Starting DaVinci Resolve 38 User Login Screen 38 Login To An Existing User 38 Exiting Resolve DS Creating A New User 39 Deleting An Existing User 39 Changing A User Password AO Multiple Database Support 40 Selecting the Database 40 Creating a New Database 4 Create a New Database Image AZ Remote Database Server
18. az well M A EEA E A OK AAA Scene Graph SCENE 257 ASS SCENE IS Cut List The right side of the Scene screen displays scene and frame numbers with their timecodes and represents the cut list as generated from the Scene Cut Detection This list can be saved recalled or just used to split the clio and load the files into the Media Pool 89999 00 59 59 24 90029 01 00 01 04 90054 01 00 02 04 90083 01 00 03 08 90143 01 00 05 18 80173 01 00 06 23 90200 01 00 08 00 90231 01 00 09 06 90257 01 00 10 07 80286 01 00 11 90312 01 00 12 1 90352 01 00 20355 90414 80417 90449 90485 90529 FL a 9055 80818 01 00 32 18 90856 01 00 34 06 90887 01 00 35 12 20924 01 00 36 24 80861 01 00 38 11 90984 01 00 38 0595 91012 01 00 40 12 91040 01 00 41 15 Cut List 258 SCENE Reviewing the Detected Cuts During or after the Scene Cut Detection process you can begin reviewing the Detector s analysis of the image to make sure your cut list matches the actual scene cuts While the Detector is efficient it can be confused by motion camera flashes or even the rolling up to and down from full film speed where the shutter can give multiple flashes The analysis is looking for large changes in the image The simple method and fastest way to check to see that the scene cuts are accurate is by pressing the N and P keys on the computer keyboard to view the Next and Previous scene cuts
19. button allows you to undo the last action and the Undo All button will undo all actions which have been done in Manual mode The OK button will exit the ColorTrace mode and close the display CONFORM 131 CHARER 132 CONFORM ColorTrace TM 01033121 on 01 08 31 11 10 7 ed t 0108 40 10 01034222 PETER GT ce 564702 09004222 ia 01 08 40 10 ColorTrace Manual If you decide to use Automatic mode ColorTrace will automatically search for matches between the selected Project and the current Project It will then outline the clio with a color depending on the information available ColorTrace TM arcet Session ETEA GESSEN lt a 01 08 40 10 g A 09 seso Los 03 17 os JECT m re Nm Y a 1636 57 02 0994272 1209511 B07 28 09 01144212 Copy Grades Copy Gendes A Exit ColorTrace Automatic Three color coded outlines surround clips A green outline indicates that a perfect match has been found Yellow indicates that multiple choices have been found and the user must select the appropriate one and the Red outline indicates that no match was found IF you have the Hide Matching Clips option checked this will hide all clips which have been successfully matched and only show the clips with multiple or no matches Once the desired matches have been found click on Copy Grades amp Finish to complete the ColorTrace operation CONFORM ColorTra
20. 4 6 idas re E g Thad 74 1 ANI Al KEY MIXER Key Mixer Node COLOR 161 CES 9 162 COLOR LUT applied within a node You can apply look up tables LUTs to nodes within the DaVinci Resolve Node Graph display Simply right mouse click on the desired node and apply either a 1D or a 3D LUT from within the options available in the menu Applying LUTs in this fashion allows you to emulate various effects and can also be used with the qualifiers The LUT list used here is the same as found on the Config screen Add Outside Node Delete Node No LUT selected blue paint dat CineSpace rgb2xyz dat CineSpace Adding a LUT to a Node COLOR External Matte Support DaVinci Resolve supports unlimited external mattes within a clip These external mattes must be linked to the associated image within the Browse screen Media Pool To recall the external matte within the Color screen right mouse click on the node within the Node Graph display and select the associated matte file or press the M key on the DaVinci Resolve control panel keyboard Once the external matte has been associated you may apply a grading inside the defined area If you select the Ext Matte node with the mouse a new series of controls will appear on the DaVinci Resolve control surface These controls allow you to adjust the matte for optimum results A second key tab in the Ul allows further adjustments to position and siz
21. Adjusting PowerWindows Windows can be selected in a number of ways On the Ul select the Window tab then select the desired window style This also selects the settings controls for that window type To see the window and adjust turn it on select to grade Inside or Outside and then choose whether to use the window as a Matte or Mask Change to a Matte or Mask to see the window on the Ul display Window Tab All Power Windows have a center point and a rotation handle Rotation or moving the window Is managed using the rotation handle or the axis point The center axis of the Power Window may be moved using the control panel or by holding down the Ctrl key on the keyboard and dragging the vertical rotation line to the area where you would like the rotation axis to be relocated to To reset the rotation axis to the image s center position simply hold down the Control key on the keyboard and mouse click on the center rotation point To alter the size parameters of the Power Window click on the cyan colored points that can be seen in the Power Window cursor lines in the Viewer display and drag them with the mouse or alter the softness of the window the aspect size and even the rotation COLOR 189 CES 9 190 COLOR Inside and Outside Window Grades It is common to grade inside a Power Window to change the image in a particular area However if you wish to adjust the grade both inside and outside the window independe
22. Copy track marks Export track marks Create Default Load AAF FDI Preconform minin import track marks Contorm EDI Export CDL ol V C ColorTrace TM FROM CLIP NAME ColorTrace TM 2k Session ColorTrace TM CDL Create Session With Handles Locate In Master Session Locate in Media Pool Stereo Left Eye Stereo Right Eye Conform Timeline Right Click Options CONFORM Editing DaVinci Resolve is a color correction and enhancement system but sometimes you just need to replace or trim a shot and it is easier to do that here than generate a new EDL When you right click on a timeline in the Conform screen other than the Master timeline a pull down menu will appear which will allow you to select the Enable Editing option amp DaVinciResolve File Edit View Session Control Nodes Dynamics Tracker 2 4 Monll35AM Q Conform With Editing Controls Exoosed The Edit mode you select via the radio buttons will manage how your editing operations are performeo Normal selects the default editing operation for moving clips Select a clio with your mouse and slide it left or right within its position on the timeline Ripple will also permit clips to be slid along the timeline but will also slip all clips on the right along with the controlled clip Under the normal Ripple function moving a clip to the right will join the out point to the next clips in point and then ripple all the clips along the timeline Moving i
23. for the Scene screen and their operation is as follows Automatic Scene Detection Start Detection Auto Cue Scene Marks Add Delete IN Out Prune Reset This will start the scene cut detection process When activatea the current frame cursor will Jump to the new scene cut when detected and the scene cut will become immediately visible within the Viewer When you click on this button it will manually add a scene cut at the position of the current frame indicator within the Scene Cut Detector graph This will delete the scene cut located at the position of the current frame indicator within the graph This will insert a red vertical line into the graph for the purposes of eventually performing a Prune function Selecting the Out button will insert a vertical blue line into the graph to indicate an out point for the purposes of eventually performing a Prune function Once you have selected the In and Out points within the Scene Cut Detector graph by clicking on the In and Out buttons the next step is to click on the Prune button to eliminate any scene cuts between these points This will clear any In and Out points Export Import List Split Save Load Save EDL Load EDL 256 SCENE Once the scene cut detection process has been completed selecting Split will split the clio into individual clips based upon the scene detection information ana load these clips in
24. has a LCD display with four variable controls and nine soft keys The lower section of the panel houses the T bar and six groups of hard keys While the soft menus keys and variable pots will be covered in a later section of this chapter here is a description of the groups of keys and the individual key function Mode Control Group The Mode Control group provides navigation to many of the Ul screens and also a few commonly used functions Config This key selects the configuration UI screen where you will set up DaVinci Resolve for each project Browse On the Browse screen you can review files on the attached storage or if you have a storage area network you can directly access the SAN You can see details of each file play the clips for verification and then associate them to the Project by putting them into the Media Pool VSR Shift Down Browse This selection is reserved for future use Conform Selects the Conform screen After placing the Projects clips into the Media Pool you will generate a default timeline and associate EDLs in this screen Deck Shift Up Revival The Deck key selects the screen for deck I O This same screen Is used to control a batch capture of clips from some film scanners Revival This key opens the DaVinci Revival screen to show the files selected to be sent to a DaVinci Revival system for Grain reduction or Dust busting Scene Shift Down Revival To select the Scene Cut Detectio
25. or a standard keyboard Below the transport controls is a scroll bar for scrolling through a clip by dragging the bar back and forth using a mouse At the bottom left of the Transport Controls there are four buttons These viewing options alter what is being displayed on the Viewer The button on the left will select and deselect the PowerWindows overlay The next button will change the cursor into the Color Picker mode for selecting a specific color from the viewer image When the third button is activated the Gallery Wipe will be visible to show Stills The right button is used to activate the interactive Dirt and Dust tool COLOR Interactive Dirt amp Dust Removal Tool DaVinci Resolve provides an interactive Dirt and Dust Removal tool which may be accessed from either the Viewer or Color screens by clicking on the Dirt Removal Tool icon located at the left of the Viewer display A right mouse click on the button will open the setup window Dirt ROI Settings Dirt Settings Algorithm Dirt and dust set up widget Within the Dirt Settings section you can adjust the Algorithm section to select the filtration being used for the correction and also the Aggression and Blend sliders depending on the degree of correction to be applied The ROI Settings allows you to select the correction method If you choose the Click and Clean mode this will apply the correction once you click on the object If you select the Draw and Clean
26. record format are the same for example HD in and HD out you may use Resolve in its native frame based configuration even for projects that have 100 interlace material If however you use the image resizing engine to change the image size including resize a HD to SD image or to make significant image sharpening or blur processing you may wish to Enable video field processing Resolves interlace image processing consumes significantly more GPU power to maintain the high picture quality so enabling this checkbox will result in a slower playback speed or a reduced number of nodes at real time PROJECT Timeline Format JA gt ARO a o 1920 1 i Ar A Set timeline resolution to 19201060 For 1920 x 1080 processing Pixel aspect ratio is Square pixel Cinemascope Playback framerate 25 frames per second m image processing is 32 bit floating point Color science is DaVinci YRGB Enable video field processing Project Tab CONFIGURATION 53 CHARER 54 CONFIGURATION Image Format Scaling You can set Input and Output Format Presets that can be used with session clips or for a complete timeline These presets may be applied as Global presets from the Configuration screen or a Clip oreset within the Media Pool which you will find on the Browse screen Presets may also be applied from within the Format screen or even by right mouse clicking on a thumbnall within the Color or Format screens There are mo
27. the resolution Is recommended for maximum speed ANA Proxy Manager Proxy Status Selected Clip Name 6602 00271552 00271 805 dpx Current Proxy Size 960 x 540 Proxy Generation Speed Max Task Monitor Cip Name o Ty Timo Glapsod Time Left Check Proxies Generate Proxies Cancel Tasks Homove Tasks Proxy Manager Display The Proxy mode may be activated by checking the Use Real Time Proxies option that is located in the Configuration screen or by pressing the Proxy button on the Resolve control panel The use of proxies is generally required when a highly complex color correction causes the system to run slightly slower than real time If there are pre generated proxies DaVinci Resolve will use them automatically otherwise DaVinci Resolve will generate them on the fly The Proxy Manager display has five buttons to manage the generation of proxies Check Proxies looks for the existence of the generated proxies Check Selected Proxies will check for the existence of only the selected files Generate All Proxies will generate proxies for all files within the Task Manager window and Generate Proxies will generate proxies for the files within the Task Manager that have been highlighted The Cancel Tasks button will cancel all proxy generating processes and Cancel Selected Tasks will cancel only the selected proxy generation Remove Tasks will clear all clios
28. 42 Configuration 45 The User List 47 The Configuration List A8 Modifying and Saving an Existing Configuration A8 Creating a Facility Default Configuration 49 Projects List 49 Shared Database And Locked Projects 5 Configuration Screen Tabs 52 Project Tab 55 Timeline Format 53 Image Format Scaling 54 Common use of Input Format Preset 99 Deck Capture and Playback 55 PowerMastering Grading and Formatting Directly To Tape 57 Input Scaling 57 Low Resolution Proxies 58 Timeline Conform Options 59 Conforming by Reel Number 60 DAVINCI RESOLVE USER MANUAL Reel Number Support from Final Cut Pro EDLs Changing the Conform Frame Rates 62 Video Monitoring 03 LUTs Tab 65 Timeline Lookup Tables 65 Generate Soft Clio LUT 66 Generate LUT from Current Grade 66 Apply LUT to Waveform 68 Printer Light Step Calibration 68 Settings Tab 69 Project Settings 70 Dynamic Profiles 75 Timeline Ripple Mode 15 Working Folders 74 Control Panel 75 Autosave Tab 76 Source Tab 77 Master Decode Settings 78 Image Decode Settings 79 Project Image Decoder Settings 80 Browse 83 Media Storage 85 Splitting Clips Based on an EDL 86 Add Material into the Media Pool Based on an EDL 87 Offsetting the Source Timecode from a Clio 88 Copy and Paste Function For Clips 88 Disk Speed Benchmarking 89 Clip Details 90 Add as an Offline Clio 9 Ada into Proxy Manager 9 Scene Cut Detector 9 Changing the Source Timecode In Header 92 Converting a Clip
29. 90110 0 8 15 CONFORM 133 ASA CONFORM 3 Example CCC file lt ColorCorrectionCollection xmins urmASC CDL ivO 5 gt lt InputDescription gt test corrections for ref_input_imagel920 lt InputDescription gt lt ViewingDescription gt for mathematical analysis only lt ViewingDescription gt lt ColorCorrection la test_cc100 gt lt SOPNode gt lt Description gt for ref output image 0100 lt Description gt lt Slope gt 1 0 1 0 10 lt Slope gt lt Offset gt 00 0 0 0 0 lt Offset gt lt Power gt 10 10 10 lt Power gt lt SOPNode gt lt ColorCorrection gt lt ColorCorrection Id test_cc101 gt lt SOPNode gt lt Description gt for ref output image 0101 lt Description gt lt Slope gt 1 0 1 5 0 6 lt Slope gt lt Offset gt 0 0 01 0 01 lt Offset gt lt Power gt 10 15 0 5 lt Power gt lt SOPNode gt lt ColorCorrection gt lt ColorCorrectionCollection gt Example CDL file lt ColorDecisionList xmins lt 94 gt urm ASC CDL vO0 5 lt 94 gt gt lt InputDescription gt GeneralProducts MI std thru GP MI LUT4 lt InputDescription gt lt ViewingDescription gt GP Pl DCI P3 Pathe color emul lt ViewingDescription gt lt ColorDecision gt lt MediaRef ref lt 94 gt some Project frame 250900 0954 5B dpx lt 94 gt gt lt ColorCorrection Id cc03340 gt lt SOPNode gt lt Description gt change 1 red contrast boost lt Description gt lt Slope gt 1 2 13 1 4 lt Slo
30. A simple way to make sure your project uses the correct settings To refresh the display simply right click and select Refresh Project List Name Peter Date Modified B BMD gen demo Ana 20 2010 15 12 45 New Master Session CONFIGURATION Load Load in Read Only Mode Save Save As Rename Import Export Load config to current project Refresh Project List Options Right Click Shared Database and Locked Projects If you are using a shared database with other DaVinci Resolve systems some of the projects will have a lock icon to the left of the project name A locked project is loaded in read only mode and changes must be saved to a new file name Once a shared project is loaded it is automatically locked in order to prevent multiole users from accessing the project at the same time To unlock the project login as Admin and then click on the Unlock button For large projects that are being worked on in parallel often the project is split into logical segments so Users can work simultaneously in different suites For example a feature film may be split into reels or the film separated from the trailer and video press kit Each segment can use grades from the other segments as required to keep the shots in balance To change this project it or the Admin to clear the lock Read Only Read Only Confirmation Dialog CONFIGURATION 51 CHARER 52 CONFIGURATION
31. DaVinci Resolve version of software must be the same on both systems e The system resolution must be the same on both systems e The timeline must be setup prior to the start of the remote grading session e The number of clips and the duration of each clip must be identical During the session the active session and versions on the client system are updated Creating deleting a session or switching a session on the colorist s DaVinci Resolve is not allowed Doing so would terminate the remote grading session e On the clients DaVinci Resolve you cannot adjust anything until the remote grading session has ended Setup To start a remote grading session the client DaVinci Resolve should be able to connect to the colorist s system using TCP IP e On the client s DaVinci Resolve you need to press Ctrl G on the keyboard A window is displayed with text fields to enter the IP address and port number of the colorist s system e Set the IP address field to the IP of the colorist s DaVinci Resolve If the colorist s system is on a public IP the port number can be left at the default value 15000 If the colorist s system is on a private network the port number should be set to the port on the public IP that is internally routed to port 15000 of the colorists DaVinci Resolve e Once the client clicks on the Connect button the client DaVinci Resolve will try to establish a connection with the colorist system e Wh
32. Edit Mode This selection will toggle between Insert Assemble ana Crash modes depending on record operation DECK 237 AS DECK 1 238 Ingest Using the settings on the Ingest tab you can ingest material for color enhancement or as an offline reference to check the EDL conform of the hi res material DaVinci Resolve stores these ingested images as dpx files To ingest material into DaVinci Resolve first verify that the deck I O settings within the Configuration screen match the standard for the deck and videotape that has been connected You should also verify that the conform rate set on the Config screen is also set to match the incoming video rate Next on the Deck screen select the Ingest tab and then click on the Connect button found just under the Deck viewer Audio Options Mark In as a 00 00 00 00 Enable Audio Input Mark Out 00 00 00 00 Source Set filename to input T C on Crash Record Channels Set filename to LTC Audio Bit Depth Clip Name Save Audio As Reel Name Apply Reel Name to Folder Folder Options File Name Save In Folder Header Browse Apply Prefix Folder File Name Capture Progress No of Digits in Frame Number Batch List Settings Handles 0 A Apply Handles Batches 0 A Add Batches Gaps Between Clips Copy to Batch List Ingest Tab If you are using the DeckLink HD Extreme 3 or 3D you should also make sure the deck you connect to has the Reference Sync operat
33. From vol0 Quicktime_samples HD 10Bit mov Audio Extraction from QT files The Media Pool Media Pool Folders As previously noted all clips that are destined for color grading must be in the Media Pool so all grading metadata can be associated to the clips with clio timecode on the frame reference The Media Pool display is in two parts Folders which actually is the top level of the Media Pool structure and Clips The Media Pool Folders display allows you to place clips into the Media Pool in one or many layers of virtual folders These virtual folders could be associated with the clip s reel names or numbers segmented by images for the trailer feature or video press kit used to manage the workflow transition from VFX wireframes to VFX shaded and then fully rendered VFX images or in the case of a Stereoscopic project separated into left and right eyes Adding folders is easy Right mouse click within the display and select Add New Folder or Rename Folder to change the name of an existing folder When you have your folders set up just select the specific folder to which you wish to add clips Another key benefit of separating source files into virtual folders within the Media Pool will be seen later when we are on the Conform screen We can apply an EDL to all clips in the Media Pool to create a new timeline Session or to only those clips in one of the virtual folders Media Pool Folders Reel Fol
34. IMAGE BLUR GAUSSIAN IMAGE BLUR IMAGE H V QUALIFIER BLUR RATIO BLUR VECTORS NODES SIZING PRIMARIES VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE HUE HUE HUE CENTRE WIDTH SOFTNESS SYMMETRY SAT SAT SAT SAT LOW CLIP LOWSOFT _ HISOFT HI CLIP COLOR IMAGE MASTER PRESETS PICKER MODE COLOR VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LUM LUM LUM LOW CLIP LOW SOFT HI SOFT HI CLIP S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT EET MODE J0 CIT 0 007 O U O A VECTORS IMAGE MODE OR QUALIFIER MODE IMAGE BLUR COLOR IMAGE BLUR RED GREEN BLUE BLUR BLUR BLUR RED GREEN ae H V RATIO H V RATIO RATIO NODES SIZING PRIMARIES VECTORS VECTOR QUALIFIER KIEOVECTOR HSL QUALIFIERS HUE HUE HUE HUE CENTRE WIDTH SOFTNESS SYMMETRY SAT SAT SAT SAT LOW CLIP LOW SOFT HISOFT HI CLIP SIX COLOR IMAGE MASTER VECTOR PICKER MODE COLOR VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LUM LUM LUM LOW CLIP LOW SOFT HISOFT HI CLIP S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT INVERT MODE DJ U U OUUU Ww OO VECTORS IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING CORING SHARP AMOUNT SCALING SOFTNESS LEVEL NODES SIZING PRIMARIES VECTORS VECTOR QUALIFIER KILOVECT
35. Look for the left image to be different from the center and right image If they are this is likely to be a scene cut As each correct cut point is confirmed select N to jump to the next prediction If the spikes on the graph are very close together or no cuts are detected you may need to modify the position of the horizontal green sensitivity bar and start the cut review again If the material which is being scene cut detected contained certain tyoes of motion which confused the Scene Cut Detector you might encounter a group of spikes within the graph that may contain numerous false positive scene cuts To delete this information use Prune to trim out scene cuts which are grouped between the marked In Cursor point and the marked Out Cursor point Once the marked In and Out points are marked and the Prune button is selected these scene cuts will be deleted Automatic Scene Detection Start Detection AutoGue Scene Marks Delete Out Pruna Reset Import and Export List Split Load 7 Save Load EDL Save EDL Scene Cut Detection Controls SCENE 259 CHARTER IS 260 SCENE Splitting and Saving Cut Lists Once you are satisfied that the scene cut information Is correct the next step is to press the Split button This will create separate clips based upon the Scene Cut Detection information the cut list and will load these clips into the Media Pool From there you can be
36. Master Session all corrections are automatically applied to the other conformed versions This means that the Master Session is Batch Linked to all the other conformed versions If you wish to create a different version of the color correction in another timeline simply select the desired version right mouse click on a thumbnail and select Batch Unlink This conformed version will not share the same color corrections as the Master Session or any of the other conformed versions If you select Batch Link the corrections within this conformed version will revert to the corrections seen in the other conformed versions Batches may also be copied using this right click option Display Node Graph Just as you selected to display the Node Graph from Stills or PowerMaster Stills you can do so from the timeline Thumbnail Wipe Timeline The thumbnail will disolay an orange border indicating it is the active reference When you deselect the clip the Gallery becomes the reference 07 05 26 15 Orange outline indicates the clip used for reference wipe Update All VSRs To update the thumbnail images select Update All VSR Edit PAR Value Pixel Aspect Ratio The PAR Pixel Aspect Ratio setting in the Media Poo will always have an indication either square or one of the other many PAR formats offered To change the PAR for any clip select the Thumbnail with the right click option then select Edit PAR Value and then
37. Memories or save directly to the tab POWERGRADE E Te h ASS E y i a t l lk my mes er no whys F LH g G p BE sii ME ni j kl PowerGrade COLOR Memories Within DaVinci Resolve every scene has a grade that is stored in an active Memory Colorists consistently refer to this current Memory and compare it to the stills to match grades You can always clear this Memory to get to a default Memory by using the Base Mem control Comparison of the current Memory and Memories that are used very often is easily done using the A to Z Memories which you will find at the bottom of the Still section These stills are in most respects the same as the others in the Stills or PowerGrade tab with the exception that you can save and recall the stills from the control panel with great speed On the DaVinci Resolve control surface simply select Current and then one of the A to Z Memory keys to save the current scenes grade to that Memory The Current and A to Z keys are on the fader and also the Transport panel In each case the Memory is seen in the Memory display with a small letter that identifies to which Memory it was saved To recall a grade from the Memory simply select that Memory with a one button selection A key feature for the stills is the capture and display of the Node Graph which will show you how the grades were constructed This also applies to the Memories Right mouse click on an image within
38. Mormally scaled legal video Unscaled full range data Video bit depth Video output sync source Internal if monitoring is scaled use Basic quality filtering Add 3 2 pulldown Video Monitoring With some video I O and monitoring cards there is an option for 12 bit monitoring If applicable to your system you may select the 12 bit option This is often used when monitoring through a projector capable of accepting a 12 bit HD SDI input The output video sync source control is used with some video I O cards but not required with all It will select between internal and external bi level or tri level synchronization This is particularly relevant when two NVidia SDI optional cards are installed for Stereoscopic 3D grading as they both must have the same physical input sync as the 3D processor and display device CONFIGURATION 63 AS CONFIGURATION O The filter selection for monitor scaling is usually set to basic and only enabled to smooth edges when viewing with a video projector and a very large screen These settings minimize any high frequency artifacts that may be seen This may also be noticeable if you have a 2K or HD project but are monitoring on a SD monitor Normally this should be in the basic mode The other options Bilinear Bicubic and Bspline will have different impact depending on your display device so you may need to test each to verify which is best for your facility The 3 2 Pull down switch can be utilized fo
39. PRINTER MONITOR MODE LIGHTS PRIMARIES CHANNEL OFFSET CUSTOM CURVES MASTER RED GREEN BLUE OFFSET OFFSET OFFSET OFFSET LUM RED GREEN BLUE CURVE CURVE CURVE CURVE NODES SIZING PRIMARIES VECTORS WINDOWS LPW POWER WINDOW LINEAR ZOOM SOFTNESS ROTATE PAN TILT RESET CPW LPW PPW PCW PRIMARIES HSL PARAMETERS QUALIFIER BLUR HUE SAT LUM LUM SHIFT GAIN LIFT GAIN QUALIFIER H V BLUR OFFSET CURVE KEY PRINTER crs MONITOR MODE LIGHTS I u U HOO Ooo Oo POWER WINDOW CIRCULAR ZOOM ASPECT SOFTNESS ROTATE PPW U O 0 0 CPW LPW MATTE KEY INVERT MASK INVERT MIX INVERT i LJ 01 POWER WINDOW CIRCULAR PAN TILT SOFTNESS ROTATE LPW PPW PCW LJ CJ YU MATTE KEY MASK INVERT INVERT MIX me J CJ 4 MORE MORE L DAVINCI RESOLVE CONTROL SURFACE AS GLOSSARY 20 Glossary 10 Bit The identification for 1023 levels within the digital signal ZA This is a 24 frame progressive format 16 X 9 This is a term that describes a wide screen television format that has the measurements of 16 X 9 2K A color correction system developed by DaVinci Systems It is also a data file with the resolution of 2048 X 1556 2K Plus A color correction system developed by DaVinci Systems AK An abbreviation for a cata file with the resolution of 4096 KS
40. The next two check boxes are for Horizontal Flip and Vertical Flip of the image Input Transform Presets inputr Save As Input Preset Selection Source Blanking The Source Blanking selection will allow you to either switch the source blanking to On Off or Auto This control will add anti aliasing to the image blanking Select Off if you prefer no anti aliasing or On if you wish to force It on at all times Convergence for Stereoscopic 3D If you have a stereoscopic SD session active the Convergence control will also be enabled to permit the relative horizontal position of the left and right eye to be adjusted The check box is to enable the Convergence With Zoom option This ensures that when you pan the images to change the convergence the picture area will always be filled and there will not be black frames to the left and right edge The mirror rigs used for Stereoscopic 3D production may introduce geometric distortion to the image that can be trimmed using the Pitch and Yaw controls Rotational adjustments are made around the horizontal and vertical axis respectively The controls are active for 2D projects so that they can be used for creative looks Reference Still Resize and Reposition To reposition images that have been stored within the Gallery on the DaVinci Resolve control surface select Modes Wipe Mode and then Ref Sizing The Gallery image reposition functions will be reve
41. a whole timeline that may be recorded to tape while simultaneously applying the color grading metadata In this mode you do not have to first render the material to a dpx file before recording to tape You save time and disk space with Power Mastering and all the images are at full quality Source Selection POWER MASTER Output Source Timecode 01 00 00 00 01 00 05 00 01 00 12 00 01 00 18 00 01 00 24 00 01 00 30 00 1 00 36 00 01 00 42 00 01 00 48 00 01 00 54 00 Record Progress Clip Name Record materials on the track Source Selection from Timeline for PowerMastering DECK Recording Once you have located the file to record and set up the other configurations select the Record button to start the recording A Record Progress bar will show the amount of the total clip transferred If you wish to stop the recording process click on the Abort button To check the recording operation prior to actually recording use the Preview button as this will preview the recording process without actually recording any material Batch Output The Batch Output button is used to record multiple files to tape Use the batch list on the left hand side of the screen along with the amount of handles applied as set by the Batch Outout Handle controls To make a Batch Recording of multiple clios to tape select the clios in the From Disk browser and right mouse click on them From the pop up list select th
42. and exporting are dpx cin tiff jpeg ONG ppm bmp and xom ANA Export Stills Save As Untitled dpx 4 41 224 a0 N ResolveQA Q DEVICES amp BMDPanelD ResolveQA s Ma el Desktop Za Macintosh HD ua Documents FA iDisk 1 Downloads Library 1 3x2TB raidO gt A E A E Movies EI Music A SHARED E Pictures I E dvt pc 5 Public A y Format DPX Files dpx B New Folder Cancel gt cc O Finder Window to Name File and Location for Exporting Stills Still Properties Properties of the still image can be sourced from the right click Properties option These parameters are used by DaVinci Resolve for sorting the stills Properties Created 2010 Aug 02 19 05 07 Grabbed from Demo Grab date 2010 Aug 20 10 10 50 Record Timecode 01 00 5412 m Source Timecode 07 05 20 24 Close Stills Properties Adding Gallery Pages You can add more Gallery pages to the Gallery stills section by right mouse clicking and selecting Add Still Page Additionally if you wish to see a LUT applied to a stored image this option may also be selected with a right mouse click GALLERY 223 ASA FORMAT 12 Format The Format screen is split into a number of sections The top half shows the Source image on the left and the Output image on the right which will also display the resizing adjustments you make Under these viewers you will see the Transport Contro
43. button or Cancel Remove or Move items within the display by using the editing tools on the right hand side of the display If changes are made in the folder structure or files and folders are added to the storage you may need to right click on the Media Storage display to Refresh the list AFA Clip Task Manager Clip Task Manager Dialog BROWSE Disk Speed Benchmarking On Linux systems If you right click within the Media Storage display you can select the Benchmark Folder tool that will benchmark the speed of the storage SAN for either new or existing clips This tool may be used to ascertain whether fragmentation may be causing playback problems or if the storage is fast enough The Use Direct I O check box should be checked for CXES XES NES file systems and should not be checked for ADIC file systems 10 Benchmark Dialog The I O Benchmark Dialog Display BROWSE 89 AS BROWSE 7 90 Clip Details When you select any folder within the Media Storage window the folders and clips within that folder will be visible in the Clip Details window Clips will be identified by the film icon on the left hand side of the file name When an individual clip is displayed in the Clip window you will also see metadata extracted from the clip relating to timecode the starting frame number and count resolution bit depth and the date the file was modified The file name will also include the post fix Identif
44. by simply selecting your User Icon to make it active and then the Change Password button In the Changed User Password window enter your old and new passwords and confirm Changed User Password Change Password User Login Name Peter Old Password New Password Confirm Password Change User Password Multiple Database Support DaVinci Resolve works from an internal database server so it s possible to have multiple databases for maximum flexibility in organizing your projects You can create a database for each year or whatever timeframe you desire Keeping the database size small makes loading and saving faster Facilities with multiole systems can implement a shared Remote Database Server Selecting the Database You dont need to do or know anything about databases to use DaVinci Resolve It s all set up for you when you install the software To make a database your active working database click the Database Manager button on the Login screen Select a database from the list and confirm with the Select button This database will now be used for saving all new projects The other databases that are connected the internal and also remote databases will continue to appear in the list and you can import projects from those databases However when you save a project regardless of its origin it will save into the active working database you selected GETTING STARTED Database Manager Database Host Schema Upda
45. click on the Guest icon The Configuration screen will automatically open after the login Select the Add button on the bottom left of the screen in the Project List display In the window enter the new project name Sample Project and Save Using the navigation buttons select the Browse screen and look for your media storage at the top left Expand the folder view if necessary and select the folder Sample Images that you copied from the DVD Now right click on the folder and select the second item in the options list Add Folder Into Media Pool You will see the Media Pool populated with a few files Select the Conform navigation button and on the left in the Timeline Management display select Create Default ana confirm OK At the bottom you will see the EDL display list the events which will show as clips on the Master Session timeline You are ready to switch to the Color screen The timeline will be populated and the Viewer will show the first frame of the first clio You can jump to clips by selecting them on the Thumbnail Timeline or use the transport controls under the Viewer Within the Primary tab click ana drag the red green or blue slider within the Lift Gamma or Gain display To the left of these is the Luminance Gain Click and drag the Luminance Lift a little lower and the Luminance Gain a little higher To add a PowerWindow click on the Windows tab and select the circular window turn
46. different size or aspect ratio to the grading timeline you need to select how DaVinci Resolve will scale the images so they all match Input Sealing Mismatched resolution files Center crop with no resizing Scale full frame with crop Scale entire image to fit Stretch frame to all comers Input Scaling CONFIGURATION 57 CHARER 58 CONFIGURATION The options available are Centre crop with no resizing This option makes no attempt to resize the image to fit the aspect ratio selected A simple crop is used from the center of the source image if its larger than the timeline format Scale to full frame with crop Automatically inserts blanking within the image area to compensate for a difference in the source to timeline aspect ratio Scale entire image to fit The image will be resized in order to completely fill the frame In some cases a part of the image will be cut from the left and right sides of the source image or the top and bottom You can reposition the image using the Input Format sizing controls within the Format screen Stretch frame to all corners When you select this option DaVinci Resolve will fit the frame to the output aspect ratio In this mode the frame edges will be stretched to the corners and no information will be lost However this option can also result in squeezing or stretching of the image in order to fit the output format Low Resolution Proxies The proxy mode can be enabled fro
47. established or is dropped This Event Log may be saved using the Save button under the Log window or cleared by using the Clear button Connect Eject i Non auto edit timing i AutoEdit Auto z Deck HDW 500 F500 Deck preroll s Edit Mode insert E Deck Connection and Edit Controls Once connected you can utilize the transport controls to Shuttle Play Step or Stop the videotape Directly below the transport controls on the panel with the Connect button and the Deck ID label you will also see a number of other adjustments all relate to the deck control Eject Will eject the tape that is in the deck Non Auto Edit Timing As also set on the Config screen Project tab some video I O cards perform automatic edit timing and in this case the slider will be grayed out For other video cards adjust this control to ensure accurate edit timing Once set for a particular deck it should not need to be changed Deck Preroll The Preroll selection allows the user to change the deck preroll 1 e the position on the tape prior to the edit point where the deck will start playing This control mirrors the setting on the Config screen The default is five seconds which is usually long enough for most decks to lock Auto Edit This selection is the same as on the Config screen System tab Use auto edit if possible allows the user to activate the non auto mode for older decks that do not support auto edit
48. feature is used to apply the same LUT to the still when it is used for a reference comparison and it is automatically added only during this display so the actual still is not affected Sorting Stills To sort stills there are a number of options that are selectable with right click pop ups When stills are added they are placed next to other stills from the same scene and generally in record timecode order You can also select the stills to be sorted and displayed in the order of the source timecode or the creation date and time or by the clio order with the creation date and time If you have multiple sessions in your project you can also select to display stills from just this session or stills from all the sessions switch Wipe Mode Trace Timeline One Still Per Scene Apply Display Lut Source TimeCode Create Time Clip And Greate Time Import Export Export with 3D Lut select All select Current gt Last E LES Select First gt Gurrent se L Me Show All Stills show Current Session Only Add Still Page Remove Current Still Page Current Project Stills CRight Click gt Sort Stills Options GALLERY Stills Import and Export You can import and export images in a number of formats simply by selecting the still and right clicking the Import Export or Export with Display LUT option The Display LUT used in this case is the one selected on the Configuration screen The supported file formats for importing
49. field in the header of the DPX file It is important to note that the reel numbers retrieved from the header should match the reel numbers within the EDL If you use the source clip file pathname for extracting the reel number be sure to define the search pattern that enables DaVinci Resolve to extract the reel name This pattern consists of a series of text characters and wild cards that are unique to your facility The extraction pattern is interoreted from right to left Here are a series of search characters that may be used This will look for matches of any single character This wildcard will create matches for any seguence of zero or more characters R Use this option in order to specify the reel number s location It is important to note that reel numbers may contain any character but should not contain any directory separators The real number extraction pattern _R is used to extract reel numbers and strip out the rsd file name underscore for FCP EDLs D This will match any directory name or file name It will not include a forward slash To test the extraction path select the pulldown arrow next to the current path and a dialog will open Enter your test patten using the search characters and then the path to a clio you wish to extract Press the Test button to view the result of the extraction test If the reel number information extracted proves correct select the apply button to place the pattern into the
50. for quick selection and are used for color matching during the grading session As described in the Viewer section you may compare the stored images to those being graded by using a Wipe or Mix This provides a simple and fast method of matching grades between scenes There can be multiple Stills and PowerGrade tabs The Memories are shown in the lower section of this window Shen PA E ee 45 Ue oa T Window amp Vector t simple Vector interactweirk Multi track les 2K Skin Mist 7 1 m FT i 10 1 ya clip LUT day 4 night 15 1 A L rain j mE m E ij wi j _ pai mxr iili PAL_DV50 PAL_uncomp f 2K Par scope 16 stills Stills PowerGrade and Memories COLOR Stills By selecting the Grab Still button on the Control Panel or right clicking Grab Still on the Viewer you are capturing a high resolution still image of the frame currently displayed on the timeline and at the same time capturing the grading metadata information relating to that grade This means the still can be used for both visual reference and also for direct grade Copy and Paste operations The still will be added to the current Still tab on the Color screen and also the Gallery screen You can also Delete stills using the right click option One or a number of stills can be deleted at once Right click and use the Select Current gt Last or First gt Current selection or hold the Shift key while selecting multiple stills fo
51. in the PowerMastering mode which is selected in the Settings tab PowerMastering can be enabled at the beginning of a new project or for existing projects You will see a message alerting you that the output sizing will be disabled in this mode Resizing requires significant GPU processing and for a system with just a single GPU its common to inhibit output sizing to PowerMaster If you have a number of GPUs or If you need output sizing and PowerMastering first preselect the option to use the high quality GPU for output sizing on the Settings tab Then apply to save the configuration After enabling Power Mastering some thumbnails on the Color screen timeline will have a small red Square icon to the left hand side of the timecode indicating that this clio may need caching prior to PowerMastering This is because the clio has a complex grade or a high resolution or both and your hardware configuration is not likely to be able to process the clip in real time for the tape output You should check the playback of each of these clios and select the clio for render cache right click option if it needs caching A key feature of PowerMastering Is the ability to work on 2K files or mixed resolution and then output an HD and SD master without the need to render saving not only valuable time but also a lot of disk space There is more information about PowerMastering in the Deck screen section of this guide Input Scaling When your source images are of a
52. in the clio header you can insert the timecode of your choice or you can alter the existing timecode to whatever number may be required First select the file then right mouse click and choose the Change Timecode option In the Change Timecode window select the new timecode for the first frame of the clio and also the frame rate then click Update Change Timecode Clip Name 7373_ 00637893 00638155 dpx Clip timecode shown in viewer 07 05 15 18 New Timecode 7 A Frame Rate 25 UPDATE Change Timecode In Header BROWSE Converting a Clip to another File Format You may find that clips come in a file format that DaVinci Resolve does not play natively in the timeline The Format Conversion pop up allows you to change the file type Simply select the clio within the Clip Details display right mouse click and select Format Conversion In the new window select the Target format for the clip and Start Conversion Format Conversion START CONVERSION CLOSE Format Conversion Add as Matte If you have a clip from a VFX system there is occasionally an associated matte file By using the Add as Matte you place the file in the Media Pool with the correct identification shown as a Mask icon so that DaVinci Resolve can use the file as a Matte After you have placed the main image clip into the Media Pool highlight the clip Then find the matte in the Clip Details display right click on that
53. is applied to effects which can be utilized without rendering A positive film print which is created for the express purpose of being projected in a theatre An abbreviation for Radio Frequency An abbreviation for the three primary colors Red Green and Blue A film stock which is either Polyester or Acetate base A term which refers the amount of chroma information A 625 line system which is short for Sequential Couleur Avec Memoire The method of adjusting a one particular color within the image without changing the images overall color A term which is generally applied to a brown wash that is applied to a black and white image It is generally associated with old images An abreviation for the Society of Motion Picture and Television Engineers organization A term which is applied to an image which Is not in focus or un sharp A name that is generally applied to the anamorphic squeezing of an image such as with CinemaScope or Panavision A series of drawings which depict each scene within a project GLOSSARY gt 25 GLOSSARY y TAF Tail Technicolor Telecine Theatrical Release Print Three Color Meter Tint V VCR Vector Vertical Interval Time Code VGA Vignette VITE VIR W Waveform Monitor Widescreen Window Dub Work Print WYSIWYG GLOSSARY An abbreviation for Telecine Analysis Film It is a test film used widely in telecine suites
54. it on and note the window cursors on the Viewer Select a cyan anchor point and click and drag to change the size or aspect Now adjust the primary controls or curves and note that the grade you apply is inside the window Follow the rest of this User Manual to learn the full power of DaVinci Resolve QUICK START GUIDE 31 Cn el A 34 CONTROL PANELS Control Panels While DaVinci Resolve can be operated with a mouse and keyboard the full creative power of the system is unleashed when used with the DaVinci Resolve Control Surface The DaVinci Resolve Control Surface consists of three panels The center Trackball panel is used for most grading operations and includes a slide out keyboard and trackballs The two side panels are interchangeable for left and right handed operation The Transport panel includes a jog shuttle control and is often placed on the right for right handed colorists with the T bar panel on the left The panels are usually located some distance from the Resolve workstation however it is very simple to connect them together with a USB2 0 cable Details of the panel operation and menus are found later in this guide DaVinci Resolve also supports the Tangent Devices Wave and the JL Cooper Eclipse CX panels These panels offer significantly improved creative control compared to using a mouse however there are a number of features offered with the DaVinci Resolve Control Surface that are not pos
55. mode you can highlight the dirty area with the mouse and then the correction will be applied If you are unhappy with your correction select undo to return to the original image Dirt ROI Settings Dirt Settings Dirt and dust set up widget COLOR 141 A COLOR 9 Viewer Window Options There are a number of center and right click mouse options for the viewer You may Zoom In and Out of the image within the Viewer by using a rotary control within the center mouse button You may also Zoom In and Out of the image within the Viewer display by using the and keys on the computer keyboard If you hold down the center mouse button and drag the mouse it will move the image position within the Viewer display To reset the Viewer display to the original size and position right mouse click within the Viewer window and select Reset from the menu that appears A right click on the mouse while It s over the Viewer will pop up an options window BMD gen deme HDconform 01 14 38 22 Grab Still Grab All Stills from First Frame Grab All Stills from Middle Frame Toggle Wipe Toggle Wipe Mode Togale Wipe Shape Togale Invert Wipe Reset Original Size PlayHeads Waveform options 01 00 32 13 Color screen right click options 142 COLOR Viewer Stills Display The first few of the pop up options relates to stills Grab Still will simply grab the current frame to make a still and place it in the Galler
56. of an ASC CDL and will have an impact on all your grades If you have used the Lum Mix control High quality GPU output resizing when grading With this deselected the graphics card is used for output sizing during the grade preview with occasionally noticeable artifacts However when the images are rendered high quality GPU processing is used to maintain maximum quality When this option is selected the GPU Is used during grading preview and also rendering for outout processing Show offline clips through conform gaps Normally if there is a missing clip in a conformed timeline the position of the clip is shown on the thumbnail and viewer as black This option permits the offline clip with the appropriate timecode synchronization to be displayed in place of the black or to shine through the hole made by the missing clip Extract reel names from EDL comments Some file formats have reel names longer than eight Characters and also complex file name structures The RED rsd file is an example This option allows DaVinci Resolve to extract the reel names from the EDL comments as often used in an FCP EDL CONFIGURATION 71 AS CONFIGURATION O Automatically cue number of frames into timeline clips Use this control to change from the default cue point operation the first frame of the clip to some number of frames after the first This is handy if the source material has black or camera rollup flashes at the begin
57. of the screen Selecting View toggles to the alternate screen with a wide Node Graph view and Stills but no Viewer Select View again to toggle back to the normal mode Select Current prior to selecting a Mem key A B C to X and the current grade on the active timeline clip will be stored in the memory selected The Shift Up key permits the operator to select the upper secondary function of keys on the control panel This operation does not require you to hold the shift up key just select it prior to the second key The Shift Down key permits the operator to select the lower secondary function of keys on the control panel This operation does not require you to hold the shift up key just select it orior to the second key This key is not yet implemented The A B C to X keys selected directly or with the appropriate shift up or shift down pre selection will recall the grade stored in this memory and will apply it automatically to the clip that is active on the timeline DAVINCI RESOLVE CONTROL SURFACE 293 AS DAVINCI RESOLVE CONTROL SURFACE 19 294 Menu Navigation and Node Control DaVinci Resolve is a nodal based color enhancement system All grades are not stored in layers but in nodes In operation they can appear to be in layers If you select the serial nodes but greater grading flexibility is available by using the parallel and layer nodes This group also gives you quick access to the main operat
58. or a Key or Alpha control More on this later when we look at green screen keying and display Toggle Invert Wipe will swap the reference and current images in the Wipe display so you can see the other side of the images 01 00 32 13 gt Wioe between the current clio and the still COLOR 143 CES 9 144 COLOR The Reset option will set the image to the normal display for the viewer The original setting will display the image pixel for pixel so it is usually used for getting quick zooms to the source image size to look for imperfections in the original image PlayHeads The PlayHeads selection is most commonly used to compare a reference clip with others playheads and allow you to play up to four clips and display them at the same time ADO Resolve PlayHeads VTA TimeCode Gang Show Select Bookmark PLACE VIRB 01 00 13 12 PLACE VTR C 01 00 20 08 PLACE CLOSE Playheads control Once the PlayHeads window appears you may establish which playhead is attached to which clip Selecting the clips and Place will link the clip to the appropriate playhead Gang them together for synced playback The Show checkbox will turn the display of the clip Off and On On the DaVinci Resolve control surface playhead and VTR linking is performed directly on the panels Use the Modes button and then select PlayHeads to display the VTRs or use the VTR buttons on the Transport panel COLOR
59. other conformed sessions other EDLs but are listed as Remote Versions in those EDLs This allows you to keep a Master Session grade which is valid for most sessions but also have one that is just for a specific session e g for the Trailer If you are on a session other than the Master Session you can make Local Versions that will be available only for that session or Remote Versions that will be available for all the other sessions except for the Master Session where it will listed it as another Local Version Every Remote Version of a grade made on every session relates to the Master Session so if you render each Master Session grade you will have the graded versions for all the various sessions COLOR a Wr Yo EX 06 L FP Local versions Version 1 Remote versions Default Version Delete All Versions Batch Copy Batch Unlink Batch Link Display Node Graph Wipe Timeline Edit PAR Value Update All VSR Change Input Format Preset for Clips d d Switch Parent Directory Mark Clip for Render Cache l Timeline right click option When you access the New Local Version option from the timeline thumbnail pull down menu it will first prompt you for a name for this version Versions of grades can be loaded deleted named and selected using the right click pull down menus You can create additional versions of corrections that have been made for a particular clip Each version will be available by ri
60. output formatting Paste Grading Selection CONFORM 127 CHARER 3 128 CONFORM Export CDL The industry standard Color Decision List CDL permits grading information like EDLs to be passed from one system to another DaVinci Resolve saves standard CDLs for export and can also import sessions with CDLs Grades to be saved for Export into other tools supporting ASC CDLs must conform to the industry standard There are a few things to note while using this feature Only the primary grades on the first node of every clip are exported If marks are present only the parameter values at the beginning of the clio are used Track nodes are not used during the export If there Is a qualifier or window in the first node the grade Is exported as if the window or qualifier was not present The Make LUM parameter should be set to O or the export will not be accurate For convenience there is a Luminance Mixer defaults to zero option in the Configuration screen settings tab which can be enabled when creating the Project The CDL is exported in the format of an EDL with embedded SOPS values An example of this is shown here 220 001 0sS024915 III EEE II OO ASC_SOP 1109563 1 717648 0 866061X 0 238880 0 390357 0 393743 0 672948 1 584022 0 889876 ASC_SAT 1000000 To export CDL new projects are recommended to start with the setting Default Make Lum To Zero from User Options on Conf
61. provides automatic up or down sampling of the source images on the grading display When you render the files the render resolution can be set to any other parameter so this system resolution is just to set the working specification for the system while grading and it does not limit the settings for deliverables You can customize the timeline format settings or use the templates orovided The controls are Timeline Resolution selects from a preset list and then displays the resolution selected for image orocessing while grading You can change the setting for resolutions not found in the presets The Pixel Aspect Ratio Is used to select other than the normal square pixel format You can apply a 16 9 anamorphic pixel aspect a 4 3 for SD images or Cinemascope ratio Playback framerate is often based on the setting of the grading monitor so a 50Hz monitor will need a 25 fos playback speed for a synchronous display without dropping frames If you want to see the playback at a slower rate set it here and DaVinci Resolve will make the appropriate calculations and drop or repeat frames as necessary This can be handy to see how images look in slow motion DaVinci Resolve uses 32 bit floating point processing for all grading calculations and this currently is the only option available as is the legendary and unique DaVinci YRGB color science Resolve is a frame based system but it can process interlace video material If your source format and
62. respectively By default DaVinci Resolve draws the Node Graph with a single Correction node from the Processing Input box and the nodes output connected to the Processing Output box Sa A PA FA LLE Node Graph 156 COLOR The nodes have a yellow dot for the image Input and Output hooks and a yellow triangle for the Key or Matte Input and Output hooks It is important that the connecting line from the processing input on the left through the various nodes via the image hooks is connected to the output on the right If the connection path is not complete the nodes will not display images but instead will show an icon and the correction will not be visible on the Viewer or Grading monitor With the path complete the image shown in each node within the graph will give you a visual indication of the correction that is taking place within that node The Node Graph display may be zoomed by using the rotary center mouse button and moved by dragging the mouse while holding down the center mouse button Managing Nodes The current node will be highlighted with a border Select nodes with a double click of the mouse or on the control panels On the DaVinci Resolve control surface select the node number e g 3 then Select Node on the Job Shuttle panel or use the Previous Node or Next Node keys to toggle through the nodes To add a node right click on the Node Graph and select Add node Or use the con
63. select the appropriate PAR from the pop up DOX COLOR Change Input Format Preset for Clips To set Input and Output Format Presets that can be used with Session clips and apply as global presets make the changes from the Configuration screen or for Clip presets within the Media Pool Presets can also be applied from within the Format screen or as identified here by right mouse clicking on a thumbnail within the Color or Format screen These are pre defined settings for various image scans ana are useful for example when a film has been over scanned Instead of having to resize every clip independently the user can resize a clio and use the preset to apply to all IF you select None this will indicate that no settings have been applied Switch Parent Directory With a pre conform workflow there are often different versions of conform available on the SAN In separate folders DaVinci Resolve allows easy toggling between different versions of conform using switchable Parent Directories The function can be accessed using Switch Parent Directory from right click menus in the Media Pool and the Conform Panel and also from the Color screen timeline DaVinci Revival DaVinci Resolve image storage and its database can be shared with a DaVinci Revival system In this configuration the Resolve operator can select a clio for action by the Revival operator The options are Add selected clios for Grain processing Add sele
64. settings which can then be modified by the individual users and saved on a per project or configuration basis Projects List The logged in user has a Project List to show all projects associated with that user Clicking on the located to the left of the User ID will reveal the projects associated with that user It also shows the cate on which the project was modified and the project resolution By selecting the that is located to the left of the project name the project file and any associated sessions EDLs are also revealed There are a number of user controls in this window Add Delete Load Save Save As Create new project When you select a project then delete that project will be deleted from the database Please be sure you wish to delete the project The selected project in the project list will be loaded Any changes that have been made into the selected project file are saveo To save a project with an alternate name and thus create a new project file use Save As Project List Name Date Modified 3 Potor Rocket Test Aug 21 2010 13 57 27 BE emD_gon_domo Aug 21 2010 10 47 39 Master Session i E Add Delete Load Save Save As Project List CONFIGURATION 49 CHARER 50 CONFIGURATION There are also a number of features available via a right mouse click within the Project window If you select a project ana right click the pop up display will provide th
65. shape An abbreviation for Extended Graphics Array A term which is applied to the vertical adjustment of an image or shape An abbreviation for the colors Yellow Cyan and Magenta This is also known as YUV The Y is the luminance information and the Cr and Cb are the chrominance information GLOSSARY 327
66. source of images for future nodes Secondaries are adjustments to a section of the image as qualified by various parameters where Primary grades are for the whole image In effect you are making a live key control to cut out the old image and replace it with new In this case the old and new image are the same but with a different grade To make a secondary grade first select the Qualifier tao on the user interface COLOR Hue Saturation and Luminance Qualification To change tne grade on a specific section of an image you must first select the portion you want to change One selection type is the Hue Saturation and Luminance HSL qualifier Select the HSL sub tab place the cursor over the area of the image you wish to qualify and select with the left mouse button You can adjust the qualification for the secondary color correction isolation immediately but a simpler way to view the selected area is by pressing the Highlight button on the secondary tab The image on the Viewer and Grading monitor will now only display the image that Is qualified everything else will be replaced with gray There is a high contrast mode set in the Config settings tab to make this a black and white rather than gray contrast Under the Highlight button on the Ul the Invert button will invert the Image and Qualifier controls so instead of using the Qualifier controls to select the area to make a change you are in fact selecting the areas you wil
67. tab is for Luminance qualification Its adjustments are the same as the Luminance parameters on the HSL tab and have the same function however in the LUM tab only Luminance values are used to qualify the image Qualifier Blur Within the Qualifier tabs there are a number of other controls including the Qualifier Blur parameters At the bottom left of the Qualifier tab the first control is for Blur and there are two parameters Radius and Offset The blur range Is quite large and the radius of the elements and their horizontal and vertical offset range Is equally large The second set of sliders is for Shrink and Grow The qualifier once set can be shrunk a little or grown a little and again you have a Range and Offset control Color Picker Mode The Color Picker in DaVinci Resolve has a number of trim adjustments to assist in getting the right selection of pixel values to use for the qualification The controls are at the bottom right of the Qualifier tab The standard picker mode has the Color Picker icon selected The other options change the Picker s selection of pixel values to modify the qualifier When selected will change the Picker mode to add new values to the qualifier range The is used to remove some values from the qualified range If you select a Hue for example and remove a similar but different hue the width range will decrease as fewer hues qualify The S can add values with softness and the S can remo
68. the Controls dialog for panel control sensitivity Within the Panel Control window the user may set the sensitivity for the Lift Gamma and Gain trackballs on the DaVinci Resolve control panel as well as the sensitivity of the Qualifier controls for the secondaries When the desired amount is applied click on Save and then close the window COLOR Curves Tab Curves DaVinci Resolve s Curves tab is in the lower center section of the Color screen and resides with a number of other tabs used for grading quite often for every clip Select a tab with your mouse or via the control panels Within each primary or secondary color correction node you can add a custom curve or even invert the curve to create an effect comparable to the YSFX feature on the DaVinci 2K Plus There are also Hi Clip and Lo Clio control tabs available CURVES CURVES Luminance Custom Curves DaVinci s famous Custom Curves are very simple to use and provide clean adjustment of the Y R G and B levels within each clip The slider bar at the bottom of each curve is a control to mix in the full influence of the curve the highest level to a lower influence All curves can be adjusted separately but you can also copy a curve from one to another Center mouse click on the Source Curve hold the center button down move the mouse over the other curve the destination and then release The Reset buttons below each curve will completely
69. the bottom of the Su Current All Color PTZR Select Node Backspace O to 9 Comma Colon Clear Minus Plus Take Enter 304 DAVINCI RESOLVE CONTROL SURFACE To store a new grade in any memory first select the Current key ana then the memory of your choice This key is a toggle that selects the parameters that will be copied when updating a grade Generally all aspects of the grade are copied including PTRZ but on occasion you may wish to copy only the grade and not the sizing parameters In this case use the Copy Mode to select grade no PTRZ or grade with PTRZ You can see the clip timeline toggle between the node selected and the input PTRZ parameters Use this key in conjunction with the numerical keys to select any node on the current Node Graph First select the node number and then Select Node The current node will change to the selected node The backspace key moves you one item left in the numerical scratch pad display This permits correction of your numerical entries You guessed it These are the numbers The comma is used just prior to the frame count If you wish to indicate a drop frame timecode When typing in timecode the convention is to type the hours followed by a colon then the minutes a colon the seconds a colon and finally the frames DaVinci Resolve does not need to have leading numbers entered where they offer no value and the defaul
70. the selected clip into the Scene Cut Detector and switch to this screen Select Start Detection to begin processing Clip Details Real Ho Timec 00 AMA AAA A ss Add into Media Pool 373100 Split and Add into Media Pool 73 00 Add Clips Based on EDLs into Media Pool Add as Offline Clip Add into Proxy Manager Add into Media Pool With Offset Scene Cut Detection Change Source Timecode In Header Convert Format Benchmark Clip Add as Matte Copy Move to deleted Delete Permanently Delete Permanently in Background Browse Screen Clip Window Right Click 254 SCENE Scene Cut Viewers The top of the screen displays three images The left image is the last frame of a detected clip The center image is the first frame of the next clio and the right image should be the following frame Logically the last frame of a clip will be different from the first frame of the next and so this timecode represents the scene cut The second frame of a clip is very likely unless they are one frame edits to be similar to the first frame If the left and center image look similar the Scene Cut Detector has mistakenly identified this as a cut point See the description below for guidance to resolve these false positive points ok BEE DER Scene Window SCENE 259 ASA SCENE IS Scene Cut Detector Controls Below the left image are the controls for the Scene Cut Detector There are three main groups of controls
71. this filter behave like an Aperture Correction control The Coring control will sharoen the image when adjusted counter clockwise or at the low end of the scale If the control is adjusted in the opposite direction the image will not be sharpened at all Mist Mist makes a mix between sharoness and blur based on the luminance value within an image This control can be used to create Pro Mist effects Key The Key Tab on the Color screen provides controls for adjusting the behavior of the key signals used within the current node These controls are also available from the keyboard control panel accessed by hitting the More key on the menu and choose the Key Mode option One of the common uses of this node Is used to tone down the color correction effect applied in this node by tweaking the Gain control in the Post Mixing Input Cutput Qualifier Post Mixing Gain 0 Offse 0 0 Gain a TS milli Inwert External Key Blur Radius 0 0 Blur HW Ratio ne ae Key Tab COLOR 195 A COLOR 9 Dynamics Timeline On the bottom right of the Color screen is the Dynamics Timeline This timeline displays and offers control of keframed events such as dissolves or transitions of grades during a clip or for the whole timeline This display has also been referred to as the List Timeline or the Events Timeline Principally this graphical display shows the all the events for every grade change for every clip one clip or one
72. to select the conformed frame rate of the clips and how the header or file metadata will be used These parameters must be set PRIOR to selecting source clips in the Browse screen as they impact speed ana frame rate calculations usea in DaVinci Resolve when establishing metadata for the grades SMPTE standard DPX files contain both image and metadata for every frame independent to every other frame This permits DaVinci Resolve to generate complex metadata and reference the source clips via the timecode in the DPX header Many other formats have options for timecode and other metadata to be recorded with each frame and DaVinci Resolve uses these on a number of Occasions Use timecode embedded in the source clio for most projects especially those that have DPX files so that conforming and applying grades to the material will be automatic You can re conform shots or even completely change the image material and as long as DaVinci Resolve can reference the header metadata i e the timecode for that clip the grading metadata will automatically re align to the new and correct position in the timeline If the source clips frame count is all that is available select the From the source clip frame count option The conform partial clios with black gaps option will allow you to conform a clio that may not contain all the required frames When this option is selected you will be alerted in the Conform screen by seeing
73. to the current scene are rippled to the additional scene s by the same number of units of change For example if the current scene has a Master Gain level of eighty units and is increased to ninety units each rippled scenes master gain level increases by ten units The current scene grade is rippled or copied to other events No comparison is made with the original scene memory and all memory parameters are rippled These controls are used to change the file path for Proxy Cache and Gallery storage data It is important that these settings are not set to the computer s system disk as it will quickly fill up with oroxies cache If this happens it s likely your computer will not boot the next time you start Resolve Working Folders Proxy files stored at Cache files stored at MVolumes Media CacheGlip Gallery stills stored at Volumes Media f gallery 74 CONFIGURATION Resolve Working Folders Control Panel These controls set the sensitivity of the primary grading controls for Lift Gamma and Gain balance and master the Cursor trackball offset and master and also the Hue Saturation and Luminance qualifiers Control Panel Lift RGB balance sensitivity Lift master Sensitivity Gamma RGB balance sensitivity Gamma master sensitivity Gain RGB balance sensitivity Gain master sensitivity Cursor offset sensitivity Cursor master sensitivity Hue qualifier sensitivity saturation qualifier sensitivity
74. window will open showing the values to be saved When the Format Preset window pops up you should enter a name for your preset and if you like trim any adjustments Choose Save to close close without saving or select Default to reset the values You will then see in the Output Transform Presets list the new preset name FORMAT 229 CHARER 12 230 FORMAT Format Preset Mame zoom output Pan Tilt i Zoom 2 47667 Rotate 0 Width Height HFlip 0 VFlip 0 Left Top i Bottom 1080 Right 1920 Default Output Format Presets Output Transtorm zoom output Save As Output Format Preset Selection Transform Controls Like the Input Transform controls the first eight Output Transform controls are Pan Tilt Zoom and Rotate adjustments followed by Width Height HFlip and VFlip These controls are available on the DaVinci Resolve control surface and on the Output tab on the Format screen Unlike the Inout Controls they do not appear on the Color primary tab display Output Blanking The Output Blanking controls are automatically set by the format of the timeline to match the resolution selected You can trim the Left Right Top and Bottom blanking These controls can be selected on the DaVinci Resolve control panel There are preset blanking adjustments for various aspect ratios and you can also store custom blanking settings for the logged in user One page will allow you to
75. with full color correction capabilities The second is a Parallel Mixer node This mixer accepts the image from the original Serial node and from the new Serial node and the output is a mix of these two If the current node is one of these Serial nodes immediately preceding the Parallel Mixer node and you select Add Parallel again another input to the mixer will be created as will another preceding Serial node In each case the input to these Serial nodes will be common effectively making them in parallel to each other The key advantage here is that the source image is available to many nodes whereas in a straight Serial Node Graph each time you restrict a color in a node the following nodes Nave little ability or limited range to use that color The Layer node is similar to the Parallel node in that it accepts the image inputs from more than one node The key difference to a parallel is that the mixing of the inputs is prioritized towards the latest additions to the input list of the Layer node As an example select Add Layer and DaVinci Resolve will add a node in parallel to the current node and link the output of the current and the newly made Parallel node to the two inputs of the Layer node The orevious current node will have the lowest priority in the mix and the newly made Parallel node the highest priority Add one more Layer node a third input node will be created with a higher mix priority than the first two nodes Often when nav
76. you can always make further adjustments during your grading session To create an Image Format Preset simply make a size change with the formatter on the Format screen click on the Save As button enter a preset name and save Deck Capture and Playback The deck window is used to select the format of video that will be either imported or exported from the system when using a video tape recorder You should set these parameters before selecting the Deck screen and once set select the Apply button at the bottom of the Config screen Deck Capture and Playback Video capture and playback HD 1080psF 24 Video connection operates as YUV 4 2 2 SDI RGB 4 4 4 Dual Link RGB 4 4 4 Single Link 3 Gb s e conversion uses lormally scaled legal video Unscaled full range datz When outputing to tape uses yon auto edit timing Deck preroll Add E Auto Deck Capture and Playback CONFIGURATION 59 CHARER 56 CONFIGURATION The Deck Capture and Playback controls are as follows Video capture amp playback Video connection Colorspace Conversion Video Bit Depth Edit mode for recording Auto Edit Non Auto Edit timing Deck Preroll Add and remove 3 2 pulldown Video output sync source CONFIGURATION Selects video standard from the pulldown list Selects between the available connections YUV 422 SDI RGB 444 Dual Link and 444 single link using 3 Gb s Note these option
77. you the ability to create very unusual shapes with LPW these are often used for masks over circular windows Polygon Power Window The Polygon Power Window PPW is a window with a maximum of 128 points As with the other two forms of Power Windows you may apply softness to the shape and even apply auto tracking The Polygon Power Window also has individual softness for inside and outside the shape as well as overall Softness controls To add more points move the mouse to the desired part of the shape and left mouse click on the window line at the position where you need the point Move the point by selecting the point and dragging it with the mouse To delete a point select the point then center mouse click To change the center of rotation for the shape press the Control key on the pull out keyboard and drag the cyan colored center graphic to the desired location Apply separate inside and outside softness to the shape by accessing the Isoft or Osoft controls with the mouse on the Window tab BMD_gen_demo Demo 01 00 12 02 P Polygon Power Window COLOR 191 CES 9 192 COLOR Power Curve Windows To add a Power Curve Window PCW or Bezier window as some colorists call it selection of the window style is no different to others for the UI or the DaVinci Resolve control panel Unlike the other available windows there is no default points or shape for the Power Curve Window Once the PCW is enabled the
78. 0 Thu Jul 29 13 18 54 2010 1920x1080 10b Thu Jul 29 13 19 Thu Jul 29 13 19 Th Tue Sep 22 14 09 16 2009 Wed Aug 412 06 29 2010 Wed Aug 412 22 Media Pool BROWSE Media Pool Clips Clip Name Start TC I TC 4 l Date Modified Resolution 638155 dpx 07 05 15 1418 07 05 26 06 637893 638 263 Thu Jul 29 13 18 43 2010 192010801 0b 31158 dpx 08 07 17 14 08 07 26 09 730935 73 B 220 Thu Jul 29 13 18 54 2010 1920x1080 10b 0101157 dpx 01 07 12 18 11 07 26 Remove Selected Clips 9 03 2010 1920x1080 10b 196610 dpx 02 10 52 09 02 11 04 Remove Selected Clips from Master Session 9 17 2010 1920x1080 10b 112061 dpx Remove All Clips 3 09 2010 2048x1556 10b 189235L dpx 02 06 00 24 02 06 02 Change Timecode 9 30 2010 1920x1080 10b 109041435 dpr 12 08 30 01 2 08 37 Offset Source Timecode 2010 192010801 0b 85 001 R3D 15 36 41 13 36 57 Change Pixel Aspect Ratio 2048x1024 10b Change Input Format Preset for Clips d T0465 dipx 03 00 09 11 03 00ri Hs s A 2010 1920x1080 10b 271805 dpx 03 01 02 02 Change Parent Directory 9 48 2010 1920x1080 10b Switch Parent Directory 2275 dpa 4 00 00 00 TO 9 2005 1828x1556 10b Add into Proxy Manager 20 2009 50481 556 106 005571 dpa 103009 dpx 01 08 31 11 01 08 10 Update Information 54 2009 204801 556 10b View Clip Details File Administration ni_DVpalmov 00 00 00 00 00 00 30 Thumbnail Mode 16 29 2 720x576 8b EA mxf 01 00 57 12 01 01 54 49 2 720x576 8b select for
79. 1 el E po E E e I 3 Render Timeline Right Click RENDER 265 ASA RENDER 16 02 1 2 Version 1 i A Mark In Mark Out gt 01 04 17 Record This Clip E 105 01 00 00 00 86400 ngat 01000000 Use Prefix Suffix No of DJ 07 1 01 08 06 16 Local versions Version 1 hi con Remote versions Default Version Delete All Versions Add into current group Add into a new group Remove from group Batch Copy Batch Unlink Batch Link Edit PAR Value Update All VSR Render Thumbnail Right Click i 01 08 35 14 01 02 14 04 Record Load Rename Absolute Relative Static There are a number of options in this thumbnail right click menu and almost all are the duplicates of options in the Color display One noticeable difference is the Render this Clip selection 266 RENDER Render Properties All the settings in the Render Properties section of the Render screen are important when configuring DaVinci Resolve to render files They provide great flexibility and workflow efficiencies so they will be described in detail below Render Properties Render Properties Start recording at indicates the timecode that will be recorded into the dpx file header and this number is also used to label the file as a frame count When rendering a timeline there is a logical count of the frame numbers permitting simple clio playback on other devices While typically set to hour
80. 188 Qualifier Blur 188 Color Picker Mode 188 Power Windows 189 Adjusting PowerWindows 189 Inside and Outside Window Grades 190 Circular Power Window 190 Linear Power Window 19 Polygon Power Window 191 Power Curve Windows 192 Power Window 3D Object Tracking 193 Blur 194 Sharpen 195 Mist 195 Key 195 Dynamics Timeline 196 Dynamics Indicators 197 Adding Dynamics 198 Render Cache Options 199 Other Color Screen Features 200 Switening Between Conforms within the Color Page 200 Scroll Mode 200 Scroll Controls 200 Viewer 203 Full Screen Viewer 205 Interactive Dirt 8 Dust Removal Tool 206 Viewer Window Options 207 Viewer Stills Display 208 PlayHeads 209 Waveform displays 210 Object Tracking Screen View 211 Interactive Tracking Controls 213 Single Tracking Points 213 Interpolation Between Keyframes 215 Gallery 215 Gallery Database Browser 217 Gallery Database Tabs 218 Stills 218 Memories 218 PowerGrades 219 Orphan Stills 220 Current Project Stills 221 Switch Wipe Mode 22l Trace Timeline 221 One Still Per Scene 222 Apple Display LUT 222 Sorting Stills 222 Stills Import and Export 225 Sull Properties 228 Adding Gallery Pages 225 Format 225 Input 227 Inout Transform 227 Presets 221 Inout Transform Controls 228 Convergence for Stereoscopic 3D 228 Source Blanking 228 Reference Still Resize and Reposition 228 Output 229 Output Transform 229 Presets 229 Transform Controls 250 Output Blanking 250 Output Format 251 Sl
81. 210 Waveform displays DaVinci Resolve offers a number of built in waveform displays all of which work at the native resolution of the system rather than at the video standard selected for clip playout This means you can see the full data range of the source image with the correction applied regardless of which video standard in which you master The display option are Waveform Parade Vectorscope and Histogram They allow you to monitor the levels of the correction that are being applied to the image and within each display there are the controls to vary the brightness of the scale and information displayed ANO PARADE HISTOGRAM 0 Height an 0 0 Width 1 0 Height a Su WEM VECTORSCOPE Width 1 0 Height ol VIEWER Object Tracking Screen View The secona mode for the Viewer screen includes the Viewer but on the right there is a control panel for the Object Tracking controls Whether it is a Circular Linear Polygon or even a Power Curve Window you will eventually need to change the position of the window to follow a moving object within a clip In the past you were required to create dissolve corrections to gradually change a window s position or to mark every keyframe with a reposition of the window Fortunately DaVinci Resolve has a very powerful automatic tracking tool that can be used for tracking the position of an object within a clip DaVinci Resolve File Eda View Session Control Nodes O
82. 32 13 FA Viewer with Play Still enabled You can select another clip to wipe against by selecting the still on the Still Memory or PowerGrade tab Toggle Wipe Shape switches between vertical wipe horizontal wipe mix or a key or Alpha control Toggle Invert Wipe will swap the reference and current images in the Wipe display so you can see the other side of the images The next section of the pop up menu includes the Reset and Original Size options Reset will set the image to the normal display for the Viewer Original Setting will display the image pixel for pixel so It is usually for getting quick zooms to the source image size to look for imperfections in the original image VIEWER PlayHeads The next section of the pop up menu is the PlayHeads selection Most commonly used to compare a reference clio with others playheads allow you to select and play up to four clips and display them at the same time Within the PlayHeads window you can set which playhead is attached to which clip Selecting the clips and Place will link the clip to the appropriate playnead Gang them together for synced playback The Show checkbox will turn the display of the clip off and on ADO Resolve PlayHeads VTA TimeCode Gang Show Select Bookmark PLACE PLACE PLACE CLOSE Playheads Refer to the PlayHeads section of the Color chapter for more details on PlayHeads 01 00 59 19 UF VIEWER 209 ASA VIEWER 10
83. 58 11 E i A Fr a i 02 142 ike ie ae Fe 03 i on E i 05 1 2 Default Version Derm Version i F Default Ver rsiong Default Version m vr 8 ZH miil Mark In roe 4 02 10 52 09 uy 02 06 Mark Out 3 36 00 08 07 17 14 A Render This Clip d Local versions H SS Soe Version 1 Mark In 01 00 00 00 _ _ 01 01 54 16 Remote versions F 41 Default Version Rename Delete Batch Copy Render Disabled Batch Unlink Enable Flat Pass Batch Link Copy to Local Edit PAR Value Update All VSR Render Rropertiss Delete All Versions start Recording at 01 00 00 00 Use Prefix Suffix No c Prefix Selecting Versions to Render or Disable Stereoscopic Render DaVinci Resolve offers stereoscopic 3D operation with all systems and with the appropriate hardware real time grading and playback of two streams of images the left and right eye When it comes to rendering these projects there are two options For the highest quality render each timeline separately i e each eye Alternatively use the checkbox Enable Stereo Render and DaVinci Resolve will render a side by side image with the left eye on the left hand side and the right eye on the right Or alternatively select the line by line mode for the render RENDER Other Render Properties Settings Some storage systems are shared by multiple applications in a facility and often these storage area network SAN based systems have suffic
84. 9 REDlog which maps the native 12 bit RAW image data into a standard 10 bit Log curve and Custom PDLog which offers users an alternative LOG curve similar to Cineon and also provides for custom adjustments as described below The PDLog 685 and 985 offer alternative white points for the gamma curve The default is REDgamma which is a log gamma with a smooth highlight roll off The OLPF compensation sets a low pass filter to reduce color moire There are four options with Off being the default Select from the low medium or high sensor detail extraction options There are seven settings from mild to maximum to adjust for the best noise reduction without image degradation CONFIGURATION 79 CHARER 80 CONFIGURATION Project Image Decoder Settings If you have set the Decode Clips Using parameter to decode clips using Project settings the following controls become active The RED default values are shown on the right hand column for your reference and each control is adjustable to establish the project based decoder values Just like the other project settings these can be set for each clip in the Color screen and also in the Media Pool Project RED Image Decoder Settings Project Default DAX shadow Exposure Brightness Contrast Color Temp 5600 Tint Saturation ee er eT Be Custom PD Log Black Point White Point Gamma Files 7 Project Image Decoder S
85. CLIP CLIP MASTER RED GREEN BLUE SOFT SOFT SOFT SOFT TRACK BALL POTS PRIMARIES HSL PARAMETERS QUALIFIER BLUR HUE SAT LUM LUM SHIFT GAIN LIFT GAIN BLUR OFFSET CURVE KEY PRINTER CLIPS MONITOR MODE LIGHTS LJ LI CITI to WJ tw OUOU 308 DAVINCI RESOLVE CONTROL SURFACE PRIMARIES CHANNEL OFFSET CUSTOM CURVES MASTER RED GREEN BLUE OFFSET OFFSET OFFSET OFFSET LUM RED GREEN BLUE CURVE CURVE CURVE CURVE NODES SIZING PRIMARIES VECTORS O O O U PRIMARIES NODES SIZING VECTORS LJ LI CI I PRIMARY KEY MODE KEY PROCESSING KEY PARAMETERS POST MIX POST MIX GAIN OFFSET QUALIFIER QUALIFIER EXT KEY EXT KEY GAIN OFFSET GAIN OFFSET MATTE MATTE MASK INVERT MASK INVERT O O O UU PRIMARY KEY MODE EXTERNAL MATTE SIZING PAN TILT ZOOM ROTATE X SIZE Y SIZE H FLIP V FLIP LOCK LJ LJ O 00 PRIMARY PRINTER LIGHTS OUTPUT SIZING STANDARD PRESETS MASTER RED GREEN BLUE MASTER RED GREEN BLUE J CJ PRIMARIES HSL PARAMETERS QUALIFIER BLUR HUE SAT LUM LUM SHIFT GAIN LIFT GAIN BLUR OFFSET POST MIX PRINTER INVERT LIGHTS CJ CJ O U oonn MORE O CO 0 DAVINCI RESOLVE CONTROL SURFACE 309 CHARTER 19 DAVINCI RESOLVE CONTROL SURFACE VECTORS IMAGE MODE OR QUALIFIER MODE
86. COLOR 199 CES 9 200 COLOR Other Color Screen Features Switching Between Conforms within the Color Page To switch between sessions i e EDLs within the Color page simply press the Mode button on the DaVinci Resolve control surface and then Switch Session On the Legacy 2K panel use the Orange diamond button and then A C Mode button on the DaVinci Resolve Keyboard control panel The timeline will immediately change to the new session Scroll Mode In the Color screen there are various ways of copying grades into the current clip by recalling from Memory Gallery Stills timeline thumbnail clio numbers or scrolling through the clips The Thumbnail Timeline display provides one mechanism to allow the copying of grades into the current clio by traversing reference clios and frames through the timeline The enhanced Scroll Mode is controlled on the trackball panel of the DaVinci Resolve control surface by selecting the Modes button above the RHS trackball and then Scroll Mode The mode also provides backward panel support for the legacy 2K panels with deck control and soft knobs In addition to allowing you to select a reference clip via Scene Number Prev Scene Next Scene and the Jog wheel On the Legacy 2K panels the Red Diamond Scroll Deck toggles the option to use the transport controls to traverse the reference clips in the thumbnail timeline in addition to the soft buttons Default O
87. CONFIGURATION 65 CHARER 66 CONFIGURATION Generate Soft Clip LUT To edit an existing LUT by adding soft clipping to it select either the ID LUT or 3D LUT option then the original LUT from the pulldown list You can then scale the new LUT to a clipping range i e 940 for the maximum 10 bit video level as well as the minimum clipping level The clipping softness controls allow you to apply soft ramps to the high and low clip level Type in a name for the new LUT and generate by click on the Generate LUT button The new LUT will be available the next time you update the LUT list Generate Soft Clip LUT Generate as a 1D lookup table 3D lookup table Generates LUT basedon NoLUT selected Scaled to clipping range Setto 940 for maximum 10 bit video level Clipping softness O Sa setto 64 for minimum 10 bit video level Clipping softness 0 Sa save LUT as linear soft Generate LUT Generate Soft Clip LUT Generate LUT from Current Grade DaVinci Resolve offers a LUT generation and trimmer tool that you can use to tweak existing LUTs or build new LUTs These LUTs can be used internally or for other LUT management products as Looks The 3D LUT generated is in the cube format which is readable by the Blackmagic Design HDLinkPro The 3D LUTs you generate are stored at Library Application Support Blackmagic Design DaVinci Resolve LUT CineSpace Before you can use this feature you need access to a un
88. Clip Replacement oResHG mow 01 00 00 15 08 16 2009 1920x1080 10b 00 05 30 00 Media Pool right click options Remove selected Clips This action will remove these clips from the Media Pool The Master Session Timeline will display the clip position and duration but with a blue cross over the clip indicating that the clip is no longer in the Media Pool This can be helpful when changing source images with the same timecode Remove from Master Session This operation will remove the clips from the Media Pool and also remove them from the Master Session Remove all Clips This operation will remove all of the clips from the Media Pool but not from the Master Session BROWSE 97 ASA BROWSE 98 Change Pixel Aspect Ratio You can change this for any clip with the right click option then select the appropriate PAR Pixel Aspect Ratio Source Flip 00 03 05 00 Pixel Aspect Ratio Square Square NTSC NTSC 16x9 PAL PAL 16x9 Cinemascope somm Full Aperture AD Anamorphic Superi6 HD Anamorphic 0 03 1 16mm HO Anamorphic Change Pixel Aspect Ratio DaVinci Resolve supports the horizontal and vertical image flio camera metadata for r3d clips which is very helpful for stereoscopic 3D projects to flip the eye that is shot through the mirror rig This technical flio can be manually set or overridden using the Source Flip option in the Media Pool and is different to the creative HF lio and VFlip
89. Configuration Screen Tabs Using the five tabs on the Config screen you can make changes to the configuration to suit your project or files In each case the Apply and Cancel buttons located at the bottom of the tabs save or cancel any changes made AUTOS AVE The tabs are Project LUT s Settings Autosave Source CONFIGURATION Config page tabs Provides the main configuration settings for DaVinci Resolve to process your images The first step in setting up the configuration for any project is to determine which resolution you will use You may also choose to change the standard for monitoring as well as Deck standards for importing and exporting material Select trim and generate look up tables and define where they are used Selections for many user and project variables including the default dynamic profile and automatic dynamic ripple features are made in the Settings tab Displays the auto project backup information While DaVinci Resolve s default file format is the SMPTE standard dpx file many other formats are processed natively within Resolve This tab provides system based configuration and adjustments for the RED camera rgd files Other formats will be added in the future Project Tab Timeline Format The Timeline Format section defines the parameters used for image processing during grading For example if you use a HD grading monitor setting the system resolution to 1920x1080
90. DAVINCI RESOLVE USER MANUAL Shift Key Convention 288 T Bar Panel 289 Mode Control Group 289 Session Management 29 Marking Dynamics 292 Memory Access 292 Menu Navigation and Node Control 294 Reference Configuration 296 Trackball Panel 297 Transport Panel 299 Reference Configuration 299 Transport Control Keys 30 Memory Access Keys 505 Numerical Entry Key Group 304 List Marking gt 05 Menus Soft Keys and Soft Pot Controls 306 Soft Key and Soft Pot Control Conventions 306 Menu Layouts 307 Glossary 317 DAVINCI RESOLVE USER MANUAL ASA INTRODUCTION 12 Introducing DaVinci Resolve Welcome to the DaVinci Resolve user manual DaVinci Resolve carries the tradition of DaVinci color correction into the next generation of color enhancement DaVinci Resolve carries the 25 year tradition of DaVinci color correction combined with DaVincr s Emmy award winning image enhancement expertise and the latest GPU technology DaVinci Resolve provides the most efficient workflow for television long form TV commercials and feature film digital intermediate color grading and finishing applications Color enhancement in DaVinci Resolve centers around clip based color correction and real time conforming process Within each clip nodes are used to create and control the color correction and to enhance the image by simply adding a series of nodes together Within each node a primary and or secondary YRGB correction may be applied and
91. E COLOR VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS BLUE BLUE BLUE BLUE LOW CLIP LOW SOFT HI SOFT HI CLIP S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT NET MODE I U U HOO A Oo VECTORS IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING CORING SHARP AMOUNT SOFTNESS LEVEL NODES SIZING PRIMARIES VECTORS LJ OU OU O HIGH LOW HIGH amp LOW LUM LUM LUM O OU OU O VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LUM LUM LUM LOW CLIP LOW SOFT HI SOFT HI CLIP SIX COLOR IMAGE MASTER VECTOR PICKER MODE COLOR O LJ OU UI VECTORS PRESET YELLOW BACK GREEN O LJ OU O 12 DAVINCI RESOLVE CONTROL SURFACE VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT INVERT MODE LJ LJ CI I RED MAGENTA BLUE CYAN O LJ CI O VECTOR COLOR PICKER SSS M SS LJ EJ EY 00 HSL HSL SOFTNESS SOFTNESS 00 00 II A nn gg 1 UU NODES SIZING PRIMARIES VECTORS O LJ 00 O O O O 0000 NODES SIZING PRIMARIES VECTORS LJ LJ OU O OODOO SIZING REFERENCE WIPE SIZING PAN TILT ZOOM ROTATE H V SI
92. FT HI SOFT HI CLIP SIX COLOR IMAGE MASTER VECTOR PICKER MODE COLOR VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LUM LUM LUM LOW CLIP LOW SOFT HI SOFT HI CLIP S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT ver MODE LJ LI CITI to WU tw U U A VECTORS IMAGE MODE OR QUALIFIER MODE MIST EFFECT COLOR MIST H V RADIUS RATIO SCALING MIX RED GREEN BLUE 5 RADIUS RADIUS RADIUS ETER NODES SIZING PRIMARIES VECTORS VECTOR GUALIFIER KILOVECTOR HSL QUALIFIERS HUE HUE HUE HUE CENTRE WIDTH SOFTNESS SYMMETRY SAT SAT SAT SAT LOW CLIP LOW SOFT HI SOFT HI CLIP SIX COLOR IMAGE MASTER VECTOR PICKER MODE COLOR VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LUM LUM LUM LOW CLIP LOW SOFT HI SOFT HI CLIP S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT IET MODE LJ LI CITI to WU tw OUOU DAVINCI RESOLVE CONTROL SURFACE 11 CHARTER 19 DAVINCI RESOLVE CONTROL SURFACE VECTORS IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING COINNLE SHARP AMOUNT SOFTNESS LEVEL NODES SIZING PRIMARIES VECTORS VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS RED RED RED RED LOW CLIP LOW SOFT HI SOFT HI CLIP GREEN GREEN GREEN GREEN LOW CLIP LOW SOFT HI SOFT HI CLIP SIX COLOR IMAGE MASTER VECTOR PICKER MOD
93. Fina Thu Aug 5 11 51 49 2010 Batch and Render Managers If you select and highlight an event within the Batch Request list you will notice that the properties on the left side of the screen the Render Properties will all update to those saved in that batch request If you have selected an item in the Batch list you can then start a render using the Render button or use Add to Render Queue to put this configuration into the Render Queue just below the Batch Requests list This will remove the item from the Batch list RENDER 213 ASA RENDER 16 274 Render Queue The Render Queue allows you to create of a queue of configurations to be rendered Clicking on will ada the information into the queue from the Render Properties display and will remove it from the queue As described above using the Add to Render Queue button will move a Batch Request items into the Render Queue All items added to the queue are placed at the bottom of the list Use the up and down arrows to move the priority of the event in the list You can select queued items which update the Render Properties display and then select the Render button or you can initiate the Render Queue Selecting Start All will begin rendering of all the items one at a time in the Render Queue The status display on the right of the Render Queue window will show you the status of each event The Start Pending button will initia
94. I 422 This refers to a digital signal with half chrominance resolution ana full luminance resolution AAA This refers to a digital signal with full levels of luminance and chrominance information A Access Time ACE Anamorphic This term refers to the amount of time that is needed to load information from a data storage device This is an abbreviation for the American Cinema Editors A term which refers to a squeezed or anamorphic image which is either unsqueezed with a lens during projection or by using a special video monitor In regards to motion picture applications the term is generally applied to wide screen formats such as CinemaScope Panavision or SuperScope Archive This generally refers to the storage of information This can apply to either film or data storage ASA A measurement of film sensitivity developed by the American National Standards Institution ASC An abbreviation which is short for the American Society of Assemble Edit Aspect Ratio ANS B Background Processing GLOSSARY Cinematographers This refers to a video edit which picks up after the completion of previously recorded material on the tape A term that refers to the height to width of an image An abbreviation for the Advanced Television Systems Committee A term that is applied to a computer operation which is performed at the same time when another operation is being carried out Best Light BIE Buffer
95. M Q amp DaVinci Resolve file Edit View Session Control Nodes Dynamics Tracker Conform CONFORM Reel Folders Media Pool Folders and Clip Displays The top left of the Conform screen displays the Media Pool Folders tree and the list of Clips as per the Media Pool Clip folder The display ana functionality found on this screen including right click menus are the same as for the Media Pool on the Browse screen You can also select a clip to preview in the viewer One additional operation of the Media Pool Clio Folder is a fast way to add new clips or replacement clips to a session Simply select a clio by highlighting it and drag it to the Conform timeline This operation can only be performed when Editing is enabled for the timeline You can also create virtual folders in the Reel Folders section and add new clips there to make finding the new clips easy Media Pool Real Folders FW Root Clip Name Start TG End TG Media CANNON Td MYI 0890 Mov 00 00 00 00 00 01 24407 A DP3 Bala OPX 0 00 00 00 00 00 00 07 00 4_ DPX Bele DPX_ 00000 00167 dpa 03 6602 00270236 00270465 dpx 0036602 _ 00271552 00271805dpx 03 01 02 02 03 01 12 16 The Media Pool Reel and Clip Folder CONFORM 109 CHARER 3 110 CONFORM Timeline Management Session Selection Directly below the Media Pool display you will see the Timeline Management display which includes four buttons and a list o
96. OR HSL QUALIFIERS HUE HUE HUE HUE CENTRE WIDTH SOFTNESS SYMMETRY SAT SAT SAT SAT LOW CLIP LOW SOFT HI SOFT HI CLIP SIX COLOR IMAGE MASTER VECTOR PICKER MODE COLOR VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LUM LUM LUM LOW CLIP LOW SOFT HI SOFT HI CLIP S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT INVERT MODE 60 CITI tot 07 0 O U A 310 DAVINCI RESOLVE CONTROL SURFACE VECTORS IMAGE MODE OR QUALIFIER MODE IMAGE SHARPENING IMAGE SHARPENING CORING RED GREEN BLUE SHARPEN SHARPEN SHARPEN SOFTNESS RED GREEN BLUE RATIO RATIO RATIO LEVEL NODES SIZING PRIMARIES VECTORS VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE HUE HUE HUE CENTRE WIDTH SOFTNESS SYMMETRY SAT SAT SAT SAT LOW CLIP LOW SOFT HI SOFT HI CLIP SIX COLOR IMAGE MASTER VECTOR PICKER MODE COLOR VECTORS QUALIFIER KILOVECTOR HSL QUALIFIERS LUM LUM LUM LUM LOW CLIP LOW SOFT HI SOFT HI CLIP S amp G S amp G QUALIFIER H V OFFSET RADIUS BLUR OFFSET QUALIFIER HIGH KEY MODE LIGHT NeT MODE Joo Oo 0 Oo OO Ooo Oo VECTORS IMAGE MODE OR QUALIFIER MODE MIST EFFECT MASTERSIMISTE H V RATIO 0000 00 00 VECTORS MASTER SCALING MIX NODES SIZING PRIMARIES VECTOR QUALIFIER KILOVECTOR HSL QUALIFIERS HUE HUE HUE HUE CENTRE WIDTH SOFTNESS SYMMETRY SAT SAT SAT SAT LOW CLIP LOW SO
97. Remove Selected Clips Remove Selected Clips from Master Session Remove All Clips Change Timecode Offset Source Timecode Change Pixel Aspect Ratio Change Input Format Preset for Clips None eb 4deg 1 5zo00m Change Parent Directory Switch Parent Directory no format Add into Proxy Manager Update Information View Clip Details File Administration Thumbnail Mode Select for Clip Replacement Change Input Format Preset BROWSE 99 AS BROWSE 100 Change Parent Directory When the location of the source clips has changed use the Change Parent Directory option to relink to the new clip location This will automatically search for the new parent location of the clips that have been placed into the Media Pool Highlight one or more clips within the Media Pool and right click to select Change Parent Directory of Clips A window will display the original path for the material and let you enter or browse to the new path Select the Change button to start the relink If there is no match found no change will occur Parent Directory File Folders Options E Storage i Parent Folder F Name Pattern 5 Nolumes 3x2TB raid0 Usage 57 Volumes 3x2T 7373_ HHHHHE px MM DEMO m HO M EN blue My 18C2010 7373 Niko_HD 7501 MOM HDscans 7620 Ponds Krytonite 2kscans Audio MM CineSpace gt E3DCreative Me FandN selects fm IBC EDLS A ICI soloects Ba LRO34 gt Pal ForSceneDetect Bu Qatar selects
98. Session to which handles should be added Cit can be the Master Session tool From the list of options select Create Session with Handles Select the length of handles to be added enter a value for the Pre and Post Handle size frames and click OK to confirm Within this window you may also select Source Mode to apply handles to the clips and then sort them in source timecode order You can also Force Black Handles rather than use the clips images Session with Handles Setup Pre Handle Value Frames 0 E Post Handle Value Frames 0 Source Mode Force Black Handles Session with Handles Setup display CONFORM After you confirm the hanole size a Conform Settings window will ask you to confirm the conform settings are correct If so select OK to proceed or Cancel to abort Conform Settings Are you sure you want to use these parameters Frame Rate 24 Use Timecode in DPX Header Yes Enable Reel Number Support No Conform Settings Confirmation Dialog CONFORM 1 CHARER 116 CONFORM EDL Display The EDL display located at the bottom left of the Conform screen displays the conformed EDL in a simple column separated format The columns are Event Number Source Reel Number Video Audio designator where Y indicates video transition Event Type Cut Dissolve etc the Dissolve Length if there is a Dissolve SRC In is the source image In point timecode and SRC Out is the source i
99. Source Offset Add Folder and SubFolders with Source Offset Benchmark Folder Add Folder into Proxy Manager Add Folder and Subfolders into Proxy Manager Copy Create New Folder Rename Folder Move to deleted Delete Folder Permanently Delete Folder Permanently in Background Close up view of Browse screen right mouse click over the folder window BROWSE 87 ASA BROWSE 7 88 Offsetting the Source Timecode from a Clip Sometimes source clips have an offset timecode due to a mistake made prior to introducing the images to DaVinci Resolve You can select Add Folder with Source Offset and then used the pop up dialog to enter the required frame count timecode to offset the clips prior to loading into the Medial Pool Highlight the desired clip within the Media Pool and right mouse click Select Offset Source Timecode and then the desired offset timecode value within the display Click on Apply to confirm Copy and Paste Function For Clips You can create new folders rename them move folders and their clips to the deleted bin or permanently delete the files with the Browse screen using the Clip Task Manager To Copy a clip right mouse click on the clip or folder and select the Copy function Locate the destination folder right mouse click select Paste The Clip Task Manager will open and allow you to start or prioritize the Copy procedure You may start the process by clicking on the Start Processing
100. Split key will split one clip into two on the frame selected Each can therefore have their own grade When marking a transport virtual or deck In point you can use the GUI or this key Join is the reverse of the Split key Place the Viewer on the first frame of a clip and select Join to merge the preceding clip The Out key is used to select an out point on the transport To define a duration first select the time using the numerical keypad the colon separates the hours minutes seconds and frames and then select Duration The Gang control permits the user to gang multiple clips so they will play back from the first frame in synchronization This is particularly helpful for checking the impact of a grade on a couple of key shots when using the PlayHeads feature of DaVinci Resolve The Colorist s friend DaVinci Resolve has virtually unlimited undo steps available If you want to redo a step use Redo Ideal when used with undo to compare two grades quickly This key selects the source When using playheads this key selects deck R When using playheads this key selects deck A This key is not implemented When using playheads this key selects the location for the playhead on the Ul When using playheaos this key selects deck B This key is not implemented When using playheads this key selects the location for the playhead on the GUI When using playheads this key selects deck C This key is not implemented DA
101. There are also various Pan modes that can be used for image adjustment as explained below Opposite Link Zoom When selected the convergence control will move the images left ana right to change the convergence point With Link Zoom selected the image will always fill the screen regardless of the convergence setting by zooming the left and right eye images Color Screen Viewer Stereo Display Options To Display both eyes for Stereoscopic 3D projects you first need to have the Enable 3D Display check box selected on the Configuration screen Then on the Color screen viewer the Stereo Display options are available Display Both Eyes for 3D will turn on and off the dual eye display and then you can select from the mesh options Side by side Line mesh Checkerboard and Difference The Side by side and Line Mesh are designed for your 3D display and the Checkerboard and difference for your 2D display You can also set the Checkerboard size to assist in match grading each eye Waveform Options gt 17 14 30 18 Grab Still Grab All Stills from First Frame Grab All Stills from Middle Frame Toggle Wipe toggle Wipe Mode Toggle Wipe Shape Toggle Invert Wipe Reset Original Sizc PlayHeads Display Both Eyes For 3D splay Mesh Options 4 Side by side Change 3D Display Checkerboard Size Line mesh Checkerboard Difference B W Show timecode at 30 fps Difference Color 01 03 14 13 gt
102. VINCI RESOLVE CONTROL SURFACE 299 A DAVINCI RESOLVE CONTROL SURFACE 19 300 li E J Shift Up Preroll Cue Previous Still Next Still Play Still Save Grab Still DAVINCI RESOLVE CONTROL SURFACE When using playheads this key selects deck D This key is not implemented When using playheads this key selects deck E This key is not implemented Use the Shift Up key as a pre selector for the keys with an upper option Select the keys sequentially and do not hold the Shift Uo key while selecting the second key The Preroll key us used in conjunction with the numerical keypad to select a preroll time Selecting Cue will force the transport to the preroll position If you have a still selected the Previous Still key will select the one preceding The next still is selected if this key is used When the user selects this key DaVinci Resolve will automatically display on the Viewer a wipe between the current scene and the current still You can use the fader T bar to move the wide position and in the reference wipe menus change the reference image as required by moving or resizing Selecting Play Still a second time will toggle this mode off The most important key on the panel Besides having an auto save feature you can and should consistently save your project with this key It only takes a few seconds and can save you hours At any time when you are grading selecting the Grab Still key w
103. When zero O there is no temporal or frame to frame processing This value represents the number of frames plus ana minus of the processed frame in which averaging will take place This too is a temporal control and a value of zero O turns off temporal processing Since It is a plus and minus value setting to 3 typical will process and average 7 frames ES 3 and the current frame This control reoresents the size of the grain or noise pattern to be processed A setting of zero or one would indicate pixels or grains and should be used as such Higher settings like 40 50 could be used for a lower frequency type of noise A typical use for this would be some light form of flicker in the dark areas Note High settings of Noise Level and Low settings of Patch Size can cause motion artifacts with some images so use caution with extreme values for these controls This is normally set to RGB to process noise and or grain in RGB space It s the recommended mode especially if the grain or noise has color This is the highest quality setting but takes slightly longer to process Processing In YUV mode will process faster than RGB however a color space conversion is performed with this mode The Lum mode is for luminance only processing andis recommended only for black and white material A color space conversion is also performed for this process The checkbox Enable for slower and better quality processing is normall
104. ZE SIZE REF ADJUST REFADJUST REF ADJUST ENABLE H FLIP V FLIP JE 00 OUTPUT SIZING OUTPUT OUTPUT BLANKING LEFT RIGHT TOP BOTTOM OUTPUT H V PRESET FLIP FLIP O LJ 0 INPUT INPUT SIZING PAN TILT ZOOM ROTATE INPUT H V PRESET SIZE SIZE SOURCE MODIFY H V BLANKING PAR FLIP FLIP O OU 00 OUTPUT SIZING PAN TILT ZOOM ROTATE H V SIZE SIZE USE ASPECT PVW DEFAULT MATCH BLANKING MODE O OU OU I DAVINCI RESOLVE CONTROL SURFACE 513 CHARTER DAVINCI RESOLVE CONTROL SURFACE 19 SIZING OUTPUT BLANKING OUTPUT SIZING STANDARD PRESETS G TT E 1 33 1 66 1 78 1 85 USER SIZING OUTPUT BLANKING OUTPUT SIZING USER PRESETS ooood PRIMARIES CHANNEL OFFSET CUSTOM CURVES MASTER RED GREEN BLUE OFFSET OFFSET OFFSET OFFSET LUM RED GREEN BLUE CURVE CURVE CURVE CURVE NODES SIZING PRIMARIES VECTORS 314 USER 1 USER 2 USER 3 USER 4 USER 5 SAVE BACK WINDOWS CPW POWER WINDOW CIRCULAR ZOOM ASPECT SOFTNESS ROTATE PAN TILT CPW LPW PPW PCW DAVINCI RESOLVE CONTROL SURFACE MORE PRIMARIES HSL PARAMETERS QUALIFIER BLUR HUE SAT LUM LUM SHIFT GAIN LIFT GAIN QUALIFIER H V BLUR OFFSET CLIPS CURVE KEY
105. _ character The at the beginning of the pattern will match a file path any number of directories deep in front of the file name CONFIGURATION 61 CHARER 62 CONFIGURATION Reel Number Support from Final Cut Pro EDLs To be able to handle larger than 8 character reel numbers from Final Cut Pro EDLs DaVinci Resolve supports extraction of the reel name using the comments On the settings tab of the config screen select the option called Extract Reel Names from EDL comments e g Consider the following event in the CMX EDL GOMREELOZ TV COl02 5222 9 0250 274 0100 32227 FROM CLIP NAME REELOZ TESTMOY DaVinci Resolve will read the reel name as REELO2 TEST This option is especially useful for conforming CMX EDLs generated with reference to RED r3d clips which have longer than 8 character reel numbers Changing the Conform Frame Rates As mentioned it is important that you apply the correct frame rate for the material within the Conform Options display orior to adding material into the Media Pool or creating a Master Session within the Conform page If you enter an incorrect frame rate in the Timeline Conform Options display the resulting source timecodes that are calculated will be incorrect Once information is added into the Media Pool or a Master Session is created this control within the Configuration screen will become Unavailable To change the value within the Timeline Conform Options display you must delete
106. a P reoresenting a partial clip within the thumbnail of the clip that it is lacking frames Timeline Conform Options i vie m um JA m JA Timecode calculated at 30 frames per second Use drop frame timecode Use Timecode Embedded in the source clip From the source clip frame count Conform partial clips with black gaps Assist using reel numbers from the m Timeline Conform Options Sometimes you will also need assistance In conforming using reel numbers When this checkbox Is enabled DaVinci Resolve offers anumber of options To obtain reel number information from the Clips Path name Media pool Folder Name or from the DPX Header select the appropriate option This is particularly helpful when working with projects that have a large number of source reels or when the source clip file path is complex CONFIGURATION 59 CHARER 60 CONFIGURATION Conforming by Reel Number DaVinci Resolve can conform clips by reel identification There are three options for this operation 1 Use reel number from the source clip file pathname The reel number is derived from the information in the directory path or the name of the file 2 Use reel number from the Media Pool s folder name The conform operation will use the folder identification within the Media Pool 3 Use reel number embedded in source clip file When this option is selected the system will search for the reel number in the Input Device Name
107. a Circular PowerWindows on the Fader panel The Transport panel soft menus are used to control inout or output sizina which provides a way to set sizing without changing the main work surface These menus can also be used simultaneously with SIZING menus on the Trackball panel offering a full suite of controls at your fingertips Soft menus use full color LCDs that allow users to set the brightness and color of the displays to suit their taste and working environment The panels offer feedback to let you know at a glance the relative settings of these controls and also highlight the last control touched For example if a control is out of Base Mem the panels show this with a selectable color highlight In the image shown above Aspect and Rotate are in Base Mem while Softness is the last control touched signified by the yellow setting indicator and Zoom is not at Base Mem signified by the cyan color of the setting indicator The panel LCD and key brightness and color settings are adjusted in the Resolve Configuration screen on the Panel Tab Menu Layouts The DaVinci Resolve Control surface has a number of menus and many are selectable via different paths to match the operational workflow of colorists Selection of a key on one panel may update the menu and soft keys and soft pots on one or more panels Often the update is to a section of the panel display so you can quickly switch back and forward to different modes as you grade T
108. a Otimes Iingest_HDCAM LEMAC CAR 3D RED 18 3 10 Paters Images A 3d stuff Bu 4KFIRE fe 4905 Fedex 2kscans Me EDLs Me Rod filos from jim copnyall slo de de logi An om En Al Ba CulverCity_Statue m Dog 1 Ge Golf 4 Ball at Cam MN Ge Golf 2 Ball awayfrom Can Customize Parent Directories Dialog BROWSE Switch Parent Directory With a pre conform workflow there are often different versions of edits that are in separate folders DaVinci Resolve allows easy toggling of different versions of conform using switchable parent directories from the right click menu in the Media Pool In the Parent Directory window browse to the pre conform directory folder and click the right arrow button to add the selected directory into the Parent Directory List Click the left arrow button to remove the selected directories from the directory list Confirm your selection with the OK button The deleted Folder To move a clip to the deleted folder right mouse click on the file and select the option Move to deleted from the File Administration menu A prompt will ask you to confirm or to Cancel the operation If you wish to remove a file or files from the deleted folder open the deleted folder and highlight the clio Right mouse click and select Restore Clip To permanently delete a clio or folder select Delete Permanently when right mouse clicki
109. aVinci Resolve always makes SMPTE standard dpx files on ingest At this point you may click on the Capture button to start the ingest If you have manually entered an In and Out point the deck will cue to the In point plus the defined preroll and begin ingesting material Once the Out point has been reached the process will stoo and the clio can be seen within the directory where it is to be stored There are two check box options in the Source Timecode section When Set filename to inout T C on Crash Record is checked the timecode from the tape when performing a crash record will be used to update the filename If you check the Set filename to LTC option with some video O cards this will use an external LTC timecode source connected to DaVinci Resolve as the initiator for the filename Clip Name The clio that you ingest to DaVinci Resolve can have a number of different metadata fields attached that can assist in workflow and file management during your project You can apply a Reel Name to a Folder File Name or the dox header of the recorded file depending on which options are checked There is a field to enter a Reel Name that will also add the text when transferring the ingest settings to the Batch List You may apply a prefix to a File Name or a Folder Simply checking the boxes next to each prompt and adding the desired information will activate both items There is also a setting for the number of digits i
110. ables or enables the grade on the current node To delete the current node Remember Undo if you had the wrong node selected Adding a serial node is a one button selection Add Serial however to also add a window requires a number of extra key selections The Node CPW key adds a node after the current node on the node graph and also adds a circular Power Window at the same time thus reducing the number of keystrokes As above adds a serial node after the current node with a linear Power Window The Polygon Power Window is alSo selected when adding the serial node This key like the others above adds a serial node after the current node and also sets up the PowerCurve Window to permit the marking of freeform shape points and Bezier spline curves on the Viewer to construct a freeform window The most common node to use on the Node Graph is a serial node A Serial node is a full featured color correction system offering primaries secondaries DAVINCI RESOLVE CONTROL SURFACE Add Parallel Add Layer Append Node windows tracking image sharpening and blur matte blur etc Serial nodes are added one after the other in a cascade mode similar to adding one layer of correction on top of the last All grades in a preceding node s will impact the source image and therefore the grades in following nodes Unlike adding serial node adding a parallel node actually adds two nodes One behaves like a Serial node
111. ading Stereoscopic 3D On the Color screen you can easily switch between viewing mono and stereo grading at any time by right mouse clicking within either the Viewer area or the Thumbnail Timeline A right mouse click within the Viewer area allows you to switch between mono and stereo A right mouse click within the thumbnail display area gives you the added flexibility of selecting either the left or right eye to be viewed Within the Thumbnail Timeline a right mouse click will also reveal the Ripple Link function When the you select Solo mode via the Ripple Link option the selected eye may be graded separately When Gang Is selected the grading Is automatically applied to both eyes There is also the ability to Copy and Swap corrections between eyes Additionally Local Versions created with one eye are automatically copied to the other eye There are various Batch modes that are used for stereoscopic grading that are available when you right mouse click within the Thumbnail Timeline Stereo Batch Copy This function will copy all grades from one timeline to the other Stereo Batch Sync This will copy grades when the Node Graphs match STEREOSCOPIC GRADING Repositioning the image can be in elther Solo or Gang mode When adjustments are made in Solo mode they will be applied to only the selected eye Alternatively when an adjustment is made in Gang mode the adjustment is automatically applied to the other eye
112. aled You can flip and resize the gallery still the reference image and also pan and tilt it to position in the best location for grading comparison FORMAT Output If you switch the Dynamics Timeline display to Track mode this will display the Output tab By selecting the Output Tab you will also see the Dynamics Timeline switeh to the Track tab as these two are relateo The Output Track section is designed to create an overall format change for the entire project Within the Output tab there are two sections Output Transform and Output Format LITPLT Output Transform Output Format Presets Non Output Format Tab Output Transform When you adjust the image format using the Output Transform controls these changes may also be orogrammed within the Track tab of the Dynamic Timeline as Output Transform settings are all on a overall timeline basis and are keyframable Presets Just as with input presets you can create and save custom output sizing presets that can be selected and recalled on the Config screen and also the Browse screen These presets may be applied as global presets from the Configuration screen When the Track tab is selected the presets may also be applied from within the Output tab on the Format screen or even by right mouse clicking on a thumbnail within the Color or Format screens To create a Format Preset simply make a size change with the formatter and then click the Save As button A
113. all panel Used to toggle the highlight mode from grey to high contrast Timeline Select the Timeline key when you wish to compare the current to the Timeline image Offline Select the Offline key when you wish to compare the current to the Reference On Off DAVINCI RESOLVE CONTROL SURFACE offline image This toggle key will turn the reference view on or off When On you can see the current clip in comparison to a reference Trackball Panel The center panel has the traditional four trackballs each with a surrounding control ring and no end stop in either direction Three variable controls are on each side of the panel three keys above the trackballs three below the left and right most trackballs and on the LCD panel three LCD displays each with eight variable controls and four keys The LCD screens are menu driven and thus the controls soft keys and the display itself deoends on the current mode The menu structure will be covered later in this User Manual DaVinci Resolve Control Surface The center panel also offers a slide out keyboard for naming files as well as for a number of other operations The shortcut keys are covered later in this User Manual The right most trackball operates similar to a mouse and can also double as an Offset Control The other three trackballs are in the traditional DaVinci format from left to right Lift Gamma and Gain configuration Lowlights Mid tones and Highlights
114. ames or 15 or 30 and Confirm to split the clips You will now see them in the Media Pool BROWSE Add Material into the Media Pool Based on an EDL Similar to the Split and Add function above you can automatic based upon an EDL however with this selection you can use mul ally ada material into the Media Pool tiple EDLs ana many source folders Click on the directory where the required material is located and right click to select Add Folder and SubFolders Based on EDLs Specify one or more EDLs DaVinci Resolve searches the entire directory tree starting from the selected directory for any clips referenced by source timecode and the reel ID in the EDLs Reel number sourcing Is controlled in the same manner as Reel number conforming This automation does away with having to manually find and add clips to the Media Pool a laborious task for large conforms Tne EDLs will reference clips via their timecode and sometimes Reel name and path It is these settings and the conform frame rate that you made in the Configuration s to place images correctly into the Media Pool Refresh Add Folder into Media Pool Add Folder and SubFolders into Media Pool Split and Add Folder into Media Pool creen previously that are now utilized Split and Add Folder and SubFolders into Media Pool Add Folder Based on EDLs into Media Pool Add Folder and SubFolders Based on EDLs into Media Pool Add Folder with
115. and save custom sizing presets that can be selected and recalled on the Config screen and also the Browse screen These presets may be applied as global presets from the Configuration screen or a Clip preset within the Media Pool When the Clip tab is selected the presets may also be applied from within the Input tab on the Format screen or even by right mouse clicking on a thumbnail within the Color or Format screens To create a Format preset simply make a size change with the formatter and then click on the Save As button A window will open showing the values to be saved Enter a name for your preset and if you like trim any adjustments Save to close close without saving or select Default to reset the values You will then see in the Inout Transform Presets list the new preset name Formar Preser Detanit Input Format Preset Values You can edit or delete an existing preset by selecting the Edit button and editing the popup FORMAT 227 ASA FORMAT 12 228 Input Transform Controls The first four Input Transform controls mirror the display on the primary tab of the Color screen Pan Tilt Zoom and Rotate adjustments made on the control panel on the Color screen or on this tab will be reflected in the Settings display Under this group is the input image Width and Height controls While typically set at Default they are sometimes heloful for resizing images that are not correctly scanned
116. arger number of corrections you will reach the real time limit of the GPU and DaVinci Resolve will then play back at a slower than selected playback speed You can continue with the slower than real time operation select On the Fly Proxy so DaVinci Resolve can generate proxy source images in real time or you can select Render Cache to cache the clip In cache mode once the clip has been played once it will be cached for real time playback More information on Render Cache options appears later in this chapter On the bottom right of the Viewer window is the primary timecode display for the clio being played Just like with the top display you can change the information shown in the timecode section of the Viewer area by clicking on the timecode display with the mouse to toggle the display between the five options as described above To the right of the primary timecode display is the Clio Loop selection button Enable this for looped clip playback Click again to disable You can also select Loop from the DaVinci Resolve control surface COLOR 139 CES 9 140 COLOR 01 00 00 15 01 00 00 00 FF Viewer Located at the bottom of the Viewer display are controls for playing the clip Forward Reverse Fast Forward Fast Reverse Step Forward and Step Reverse These are accessed by clicking on the appropriate control with the mouse or by using the Transport Controls on the DaVinci Resolve control surface
117. ate 232 Custom Text 285 Deck 235 Deck Viewer 237 Ingest 238 Source Timecode 239 Clio Name 259 Batch List Settings 259 Audio Options 240 Folder Options 240 Capture 240 Disconnect 249 EDL Ingest 241 Scan list export 24 Record 242 Clio Information 242 Timecode on Tape 245 Audio Options 245 Batch Output Handles 245 DAVINCI RESOLVE USER MANUAL CONIANES USER MANUAL DaVinci Resolve 7 1 Source Selection 243 Recording 245 Batch Output 245 Revival 247 Marking clios for Revival restoration 249 Revival Grain Settings 249 Scene 253 Scene Cut Detector 254 Loading Clips for Scene Cut Detection 254 Scene Cut Viewers 259 Scene Cut Detector Controls 256 Automatic Scene Detection 256 Scene Marks 250 Export Import List 256 Scene Cut Detector Graph 257 Cut List 258 Reviewing the Detected Cuts 259 Splitting and Saving Cut Lists 260 Render 263 Render Timeline 265 Render Properties 267 Output File Formats 268 Recording Mode 268 Commercial Workflow 269 Stereoscopic Render 210 Other Render Properties Settings 271 Render Path Settings 272 Batch Render 275 Render Queue 274 Stereoscopic Grading 277 Creating a Stereoscopic Project 218 Grading Stereoscopic 3D 278 Color Screen Viewer Stereo Display Options 279 Color Screen Status Display 280 Thumbnail Timeline Menu Options 281 Remote Grading 283 Requirements 284 Setup 284 Restrictions 285 DaVinci Resolve Control Surface 287
118. ate accordingly At the bottom of each thumbnail DaVinci Resolve displays the timecode for that frame of the clip This timecode updates as you scrub over the clip Below the timecode there may be a white box This is displayed if the colorist selects the Render Cache mode and it indicates the progression of the render cache for this clio You may also see a colored rainbow line at the bottom of the thumbnail This line indicates that the clip has had some alteration from the raw default settings The rainbow is a quick and clear indication of those clios not at default and will therefore need attention The clio thumbnails may also have a red outline This indicates that these clips are in a group and grading changes to one are automatically made to the others oe Lh 02 iaaa cede thes to ather Version Fr vr ES ogetn a Red outline indicates grouped clips Normally Colorists compare the current shot to a Gallery Still or to the offline video but you can select any clip on the timeline to be the reference Orange outline indicates the clip used for reference wipe When you are working on material that has been conformed based on an EDL certain clips may be re used within the EDL For example part of the whole clio may contain material which is needed for one part of the EDL conform however another part of the same clip may contain material that is required for later parts of the EDL conform When this o
119. ation select the DaVinci Resolve menu and choose Preferences The three items to establish are the location of your media images the video capture card if any and the type of control panel that will be connected to your system if any DaVinci Resolve Preferences Media Storage Volumes AVolumes SoftRAID s The first volume in the above list will be used to store gallery stills and cache files Video Capture Hardware For capture and playbackuse DeckLink HD Extreme 3D e Gontrol Panel Type Use this panel for grading Mone DaVinci Resolve Control Surface Tangent Devices Wave JLGooper Eclipse CX DaVinci Resolve Preferences Media Storage Volumes In the Media Storage Volumes window select the add button to add a volume folder or mount point to the list of disk storage for your media The first location in the storage list will become the default location for images all proxies cached files and gallery stills This location should have plenty of storage capacity and be permanently connected to your Mac Often this is the internal RAID you have established but it can be an external drive too Click on the remove button to remove a volume folder or mount point from the list of disk storage SYSTEM SETUP Video Capture Hardware If you have a video capture and playback card select it from the pulldown list The options include supported cards so If you do not see your card on this list it ha
120. atively The two stereo sessions are graded separately Grading change in one eye would not affect the other eye The two stereo sessions are graded separately Grading change in one eye would not affect the other eye The viewer image and timelines would be updated for the new session Grading changes are made to this eye only when in solo mode STEREOSCOPIC GRADING 281 ASA REMOTE GRADING 13 284 Remote Grading To enable colorists to work interactively with their clients across the globe DaVinci Resolve offers a remote grading option It allows two matching DaVinci Resolve systems to be synchronized via an Internet connection such that changes made on the colorist s system are immediately sent across and applied on the client DaVinci Resolve Cue commands are also synchronized to ensure that both systems are always on the same frame in the timeline Starting stopping playback on the colorist s DaVinci Resolve would do the same on the client system While a remote grading session is in progress inputs from the user at the client DaVinci Resolve will be ignored Currently the remote grading feature supports only color correction and does not allow editing or conforming during a session The two DaVinci Resolve systems must have matching sessions and the number of clips clio durations and system resolutions must match The requirements and limitations of a remote grading session are summarized below Requirements e The
121. ault FLUT The Floating Point Look Up Table controls operate within the new color space to give cleaner and finer ISO and mid grey variation without introducing clipping DRX DRX Is a dynamic range control that takes into account Color Temp Degrees Kelvin and Tint Shadow Provides adjustments at the toe of the FLUT Exposure Calibrated to replicate industry standard f stops Exposure increases or decreases the image lightness and clips the data levels at each end Brightness This also adjusts the image brightness by changing the black level but unlike Exposure this control will compress the image at each end of its range Contrast With the mid tones maintained the Contrast control adjusts the number of discreet steps in the grey scale by changing the slope of the response curve Color Temp Sometimes referred to as Kelvin the Color Temperature adjusts the RGB matrix to consider the blue red ratio Common values are 3200 for Tungsten lighting and 5600 for daylight Tint Use the Tint control to adjust the yellow parameters of the RGB matrix Ideal to correct fluorescent or sodium vapor lamo problems Saturation The color saturation is varied from monochrome at O value to the default or Custom PDLog unity of 1 up to very over saturated at 5 The Custom PDLog parameter Black Point White Point and Gamma are user adjustable from their respective default values of 95 685 and 0 6 gamma Gain The Red Green and Blu
122. ay to display a Stereoscopic 3D project without the exoense of a full 3D system In this mode there are no wipes or Cursors available on the grading monitor nor can you use output resizing Dont update interface icons in playback Selecting this option forces a priority to update the playback image at the selected frame rate by reducing Ul updates This mode is helpful when complex grades are used on low processing power systems or when working with higher resolutions 70 CONFIGURATION Wipe wrap when viewing reference stills With this option the stills wipe mode will wrap around rather than stop at each side of the screen Split source clips for Pre conform Select to split the source clip in the Media Pool and the master session when using the Preconform operation Master reset maintains RGB Balance This control defines how the panel reset buttons reset the primary color correction Normally a reset will return the primary correction values to their default values When this option is selected reset will function as follows D Clicking the master reset key will reset the YRGB values so that the overall values are kept and the ratio of YRGB to each other is maintained 2 Clicking the RGB reset button will find the average value of RGB and set the RGB to that value Luminance mixer defaults to zero Selecting this option sets the Y of the YRGB value for all grades to zero This is needed for export
123. blue Printer Light Step Calibration CONFIGURATION Settings Tab The Settings tab displays a number of checkboxes used to customize the operations within DaVinci Resolve for the current project Project Settings Automatically cue Use color picker Switching clips Resizing scaling Render cache Allow power mastering RT processing to tape Resize image in viewer for correct aspect ratio Output fields when paused Mattes display high contrast black and white Enable 3D monitoring Don t update interface icons in playback Wipe wraps when viewing reference stills Split source clips fo onform Master reset maintains RGB balance Luminance mixer defaults to zero High quality GPU output resizing when grading Show offline clips through conform gaps Extract reel names from EDL comments frames into timeline clips Always highlight current clip in the media pool Show the current frame in the master session Davinci Resolve DaVinei 2K Selects last adjusted node Uses smoother filter 10000 frame limit on maximum size Save timeline thumbnails with project Project Settings CONFIGURATION 69 AS CONFIGURATION O Project Settings The first section within the Settings tab is for Project options Allow power mastering for RT processing to tape DaVinci Resolve is unique because of its PowerMastering feature offering real time play out and recording to tape of grading material without
124. but wish to render in 2K no problem DaVinci Resolve will use the source clio and apply the metadata for that clip as directed by the color correction list with a single resize of the image You can open the Render display from within the Color or the Format screens by pressing the Command and R key on the Mac keyboard or using the menu bar pull down On the DaVinci Resolve control Surface you can also select the Render button which is found near the jog and shuttle control or use Control R on the pullout keyboard Render Window RENDER Render Timeline The Render Timeline displays the same clips as shown on the Color screen If you have different versions of clips to render make sure they are selected on the Color screen timeline Render Timeline with Mark In and Out Controls Using your mouse you can select a position on the timeline with the cursor and then select Mark In or Mark Out via a right click or the buttons below the thumbnails The timeline will display a green marker at the selected In point and red at the Out Point You can also select Record All from the timeline right click option In each case the in and out times and the total frame count will be updated 01 00 00 00 01 00 39 1 2 01 01 18 24 Mark In Mark Out show Audio Info E ul pa T A n 5 P i Y at 01 2 2 ry 02 1 2 02 Ode Record All 12 Qs Version Default Version Def fault Version Version AAA
125. ccurs you will see a small red box located at the upper center of the clip thumbnail Whichever clips contain this red block will share the same correction as it is the same clip COLOR Local versions of this clip can be made at any time by the right click selection Local Version See Versions later in this section for a description of adding new and switching versions 01 07 16 04 01 07 12 18 AA Common Source Clip Indicator Just to the left of the timecode you may also see a red or green box This identifies clips selected for restoration by a DaVinci Revival system The red box is shown when the clip is selected at the same time the Revival screen lists the actions requesteo The green box indicates that the Revival repair has been completed You can check and verify the repair or return the image to the Revival operator for further work Details of this operation and interaction with DaVinci Revival are found later in this guide 04 L 04 i j EIK a I ET u a hala 02 44 01 Red marker indicates clips frames sent to the Revival repair list If you have selected a clip for render cache a disc icon will be placed on the top left of the thumbnail 04 EE 04 ME n ee ALA iti rae a Vai re Render Cache Indicator COLOR 167 CES 9 168 COLOR On the right of the thumbnail you will occasionally see the Tracker indication This identifies that this clip ha
126. ce CDL When you right mouse click within the Conform timeline three ColorTrace options will appear The ColorTrace CDL option will allow the importation of ASC CDL file formats Here are the supported file formats CMX EDL This has comments with CCC CDL XML files or even Slope Power and Offset information within the comment area CCC and CDL XML A file that can contain various color correction looks or even references In order to use this option select ColorTrace CDL from the menu which will appear when right mouse clicking within the Conform timeline display ColorTrace will operate as mentioned in the previous ColorTrace section except that the user will be orompted for an EDL and then to select the corresponding CDL and CCC files If there are no CDL or CCC files as may be the case if there are comments inline within the EDL this prompt may be cancelled In order to import the CDL CCC XML correction looks select the Import Stills option when right mouse clicking within the Gallery section of the Color page Then import the CDL CCC files When these are Imported into the Gallery an ASC logo will appear along with them For formatting reference here are examples of CMX CCC and CDL files Example CMX EDL file TITLE Final EDL FCM NON DROP FRAME 010 001 V C 0119 2816 01 19 28 16 01 00 4118 01 00 42 18 ASC CC XML test cc102 OI SD C OO 00 0000 06192816 01 900 42 18 01004518 ASC SOP OS 120570 4 0 5
127. ck timeline display Selects the first frame of the previous scene Selects the first frame of the next scene The rewind key places the transport or timeline in rewind To play the clip timeline in reverse select this key You guessed it This stops the current transport operation The forward key will play the clip timeline forwaro The inverse of the Rewind key fast forward shuttles along the timeline transport Memory Access Keys For fast and direct access to memories the A to Z Memories or Mems use this section of the Transport panel This is an extremely powerful feature With any clio selected on the timeline with a single key press for example A the grading parameters stored in memory A including the node structure sizing etc will be automatically applied to the current clip O Shift Up A A CShift Down A R Shift Up B B J Shift Down B All Shift Up Base Mem Base Mem Reset Shift Down Base Mem Crnt Preview Mem Original Mem Scroll Selects memory O Selects memory A Selects Memory Selects memory R Selects memory B Selects Memory J And so forth This function will return all grades for all nodes on the clio to the default grade settings and clears dynamic marks Note There is an exception to the rule If a Preset Size has been set for the clio the Base Mem sizing will default to this oreset size The Base Mem key clears the current node of all
128. colorists set in the Format screen BROWSE Media Pool Clips Clip Name Ort clips2 0090 Start TG End TG Start Frames 10 00 10 00 10 00 20 10 900250 TALE 250 10 00 30 00 10 00 40 10 900750 900999 250 Mon Ort olips2 00901 250 0001 495 dpx i 10 01 00 10 001250 901499 250 Mon 4 ort clips2 00901750 009019991 dox 10 01 10 00 10 01 20 10 901750 901999 Mon A Remove Selected Clips Mon Remove Selected Clips from Master Session i 29 Remove All Clips 75 254 Mon Mon Ghange Timecode Offset Source Timecode 1750 003999 250 Mon Ghange Pixel Aspect Ratio Source Flip d Enable Horizontal Flip Change Input Format Preset for Clips d 004499 250 Mon A TON TA JH SGP Mon Disable Horizontal Flip Enable Vertical Flip Change Parent Directory Disable Vertical Flip Switch Parent Directory Add into Proxy Manager Update Information View Clip Details File Administration Select for Clip Replacement Change Inout Format Preset Change Input Format Preset The Media Pool right click allows the selection of the Input Format Preset to be changed On the Config screen tab you can set the default Input and Output format presets Within the Media Pool you can set the Inout format for each specific clio Place your mouse over the clio and right click to show the options and then select Change Input Format Preset for Clips and select from the preset formats you made In the Format Screen
129. combined with a Circular Linear Polygon or Power Curve Window Each node can also have image and matte defocus as well as custom curves DaVinci Resolve also includes an automatic image tracking tool for PowerWindows native file support for a number of camera and image formats powerful EDL and conforming tools and real time SD and HD tape ingest ana playout You can use internal external direct attached or even Open File System LAN or SAN storage with DaVinci Resolve ana connection to the control panels is as simple as plugging in the USB connection We invite you to read on and discover all the features of this exciting new system You ll soon learn that it s the most powerful and easy to operate color enhancement system that has ever been introduced Shown with Blackmagic UltraScope INTRODUCTION What s New in DaVinci Resolve 7 1 For Mac OS X Clustered GPU support for Resolve on Mac e Smashing the single GPU limit for Mac OS X DaVinci Resolve now supports clustered GPUs for image processing e Using a PCle expander colorists can double or triple grading performance PCle Expander support By connecting a x16 PCle expander to the second slot in the MacPro colorists can now install the Ul GPU one or more image processing GPUs as well as the DeckLink HD Extreme HDMI oreakout Red Rocket and a drive controller Two Red Rockets can be installed for stereoscopic r3d grading JL Cooper Eclipse CX control panel suppor
130. ct Audio Options When working with external devices such as a DAT machine select the LTC tab and enter the timecode into the Start Timecode box Then select any Synchronization Delay and the proper frame rate Check the Enable box when you are done and confirm the settings with OK LTC is available from the video I O card to lock and synchronize the external machine Be careful that the audio frame rate is set correctly or there will be a video audio sync slippage DaVinci Resolve file fdk View Session Cortrol Nades Dynamics Teacher 2 4 Mllitam Q Audio Sync Setting Popup CONFORM If you are using On Disk Audio select the On Disk Audio tab and load an audio file with which to sync The file types supported are 24 bit 48 KHz AIF AIFF and WAV Once the file or Start Timecode selection is completed check the Enable box select OK to apply and close the window Audio ON DISK AUDIO Start Timecode Enable n Synchronization Delay Frame Aate ine a is AA A Li i in A Selected Audio File CHOOSE AUDIO FILE Audio Synchronizing Popup CONFORM 125 A CONFORM 3 Re conform from Reels If you have been grading a project with changing source shots one of the ways to manage which shots are used is to place them in different folders Re conform from Folders is another right click selection that will open a dialog allowing you to select and deselect different sourc
131. cted clips for Dirt processing Add current clips for Dirt processing Switch selected to DaVinci Revival processed clips and Switch selected to original clips Revival will only process DPX images so to send images to DaVinci Revival for processing you need to render non DPX images first Default Group Edit PAR Value Update All VSR Change Input Format Preset for Clips gt Switch Parent Directory gt i 0 0 25 25 25 y Revival Add selected clips for Grain processina Add selected clips for Dirt processing eW W Whm Add CUNEN frame for Dirt processing View Clip Detalls Switch selected to Revival processed Clips Switch selected to Original Clips Render Cache Clip Timeline Right Click Revival Options When the DaVinci Resolve operator sends a clio to DaVinci Revival for Grain or Dirt processing a red Indication on the thumbnail to the left of the timecode will indicate the request has been sent The DaVinci Revival screen on DaVinci Resolve will list this and all other requests When the DaVinci Revival operator has fixed the images and marked them as repaired a green indication is shown on the thumbnail You can select Revival Processed Clips or switch back to the original clips if you are not happy with the repair Further information on DaVinci Revival operation Is available from the DaVinci Revival User Guide and there is more information on the interface with DaVinci Resolve in the DaVinci Revival chapt
132. ders a Root My Lett li Right VFX Wireframe a VFX Shaded La VFX Complete Media Pool Folder Display BROWSE 95 ASA BROWSE 96 Media Pool Clips The Media Pool Clips display shows each clip with its name start and end timecode start and end frame number actual number of frames the date the file was modified its resolution and bit depth and the file name itself identifies the type of file The last two columns are PAR Pixel Aspect Ratio and Start KeyKode Not all files are from film scans and even then not all have KeyKode so this column may be blank You will also notice a column labeled Usage This column will display how many times a clip Is used within the EDL After you have loaded the EDL on the Conform screen you must right click over this window and select Update Information for the Usage information to be valid While this may seem redundant it does allow you to verify that all the clips in the Media Pool and thus the master Session timeline actually need to be there and can therefore reduce the render and playout time if you are rendering all the source clips Just as there are right click pop ups on the other windows the Media Pool has its own shown on the next page Media Pool Folders Media Pool Clips Ruul Folders Clip Nuut Siluri TC 1 Daule Mucified Resutu blur u ROOT 638155 dpx 07 05 15 18 07 05 26 06 637893 638155 263 Jul 29 13 18 43 2010 1920x1080 1
133. dio first select the Enable Audio Ingest checkbox Then using the pull down menu select the Source of the audio and then the number of audio Channels You should also select the audio file Bit Depth and then a file name and location to record the wav file Use the Browse button to select a location Folder Options To select the location for storage of the images to be ingested use the Browse button In the Folder Options section or just type in the path The individual frames of video will be labeled with their source timecode or the code you select with the appropriate metadata as you selected in the other sections of this tab Capture By selecting Capture DaVinci Resolve will start the ingest procedure You can monitor the progress on the viewer and the Capture Progress bar and abort the operation by selecting the Abort button For simple limited settings and no preroll recording the Crash Record button will record material without a preroll Once the ingest process is complete the clips will be available in the folder you set within your media storage You can quickly check these within the Browse screen Disconnect To leave the Deck screen you should disconnect the deck by once again selecting the Connect button You must disconnect from the Deck to leave this screen DECK EDL Ingest When you have an EDL you can use the Load EDL button located at the bottom of the Batch List display Selec
134. e Add Outside Node Delete Node LUT EXT HATTE External Matte Support COLOR 163 CES 9 164 COLOR Timeline Directly below the Viewer Stills and Node Graph display is the timeline which shows all the clips in timecode ascending order The timeline can be sorted in Source C Mode or Record A Mode order In Source mode no EDL is considered as all clios are placed one after the other in timecode ascending order complete with holes in the continuity of the timecode Timeline with clip thumbnails In Record timecode order A Mode the EDL defines which clip is placed first and the following clip order Each clio is not only sorted for order but the in and out points of each clip are use to define the clio length If there is a dissolve between two clios this is also displayed in the timeline Change the sort mode of the timeline by selecting the Command Page Down button on the keyboard to select the Record or A Mode Select the Command Page Up button on the keyboard to display a source or C Mode order of clips If Source mode is selected the word Source will be displayed on the right hand end of the timeline The white vertical line shows the current position along the timeline and this matches the frame displayed in the Viewer When you select Play on the control panel or mouse on the Ul or use the space bar on the keyboard you can then play the various clips one after anothe
135. e The standard setting will show the two images side by side however If you right click within the Viewer you can select one of the options Most times the Offline comparisons are shown in Side by Side mode with the Online on the left and Offline on the right Additional modes are Horizontal Wipe Vertical Wipe Mixed Wipe with Align by width height or automatic alignment for the best comparison You can find these selections by placing your mouse over the Viewer display and right clicking Sometimes the other wipe comparison modes show errors more apparently CONFORM 117 ASA CONFORM 3 Note If the Offline does not display it could be because the timecode is completely unmatched to the EDL Refer to the instructions later in this section as to how to fix Offline mismatches 01 00 05 18 Side by side comparison Horizontal Wipe Comparison 118 CONFORM Fixing Offline and Online Offsets Occasionally you may receive an Offline recording which may have a timecode offset This traditionally nappens when the Offline clio is recorded to tape and the tape operator did not accurately set the VTR timecode When this occurs first play the conformed material to find an easy scene change then inch forward to the first frame of that scene change Adjusting the frame slip indicator below the Offline display will compensate for the timecode offset to get to the same scene change You can use the arrow up and down buttons below the o
136. e so you can bring in an EDL later and move all the clips and DaVinci Resolve will move all the grades to match If you have one long clip but do not have an EDL you can manually split the clio or send it to the Scene Cut Detector This operation is covered in the Scene chapter later in this manual It is common however to have an EDL for your project and the Load AAF EDL button lets you use the EDL to sort the clips to Conform the source clips duration and position on the timeline to the EDL Conform Settings Are you sure you want to use these parameters Frame Rate 24 Use Timecode in DPX Header Yes Enable Reel Number Support No Conform Settings Dialog When you select the Load AAF EDL button within the Timeline Management display a dialog will ask for confirmation that the conform parameters are as you expect If the parameters are not as you need go back and change the settings on the Config screen before proceeding If you respond OK the next prompt is to locate an edit decision list CEDL or alternatively an AAF file Select the appropriate file by using the Browse button to search your computer When you find the EDL confirm the frame rate for that EDL and select Import CONFORM 111 CHARER 3 112 CONFORM When loading an EDL you can convert the EDL frame rate from 30 to 24fps if you have set the system frame rate to 24fps and if the EDL frame rate is chosen as 30 This is u
137. e Fat Yew Serion Cosimi Nodes D s Tracee i e millolam Q Viewer QUICK START GUIDE 27 AA QUICK START GUIDE When you capture or import stills they are all displayed in the Gallery screen Here you can move them between different folders and name them as you like DaVinci Reroive file Fat vew Session Conmi Nodes D s Track De HLILOSAM Q A A O _ 17 KE IT v id A snd Gallery The DaVinci Resolve Format screen interface makes it simple to format an image You can adjust input and output image formats ana size pan and tilt the image even zoom and rotate all while seeing your changes in the viewer in real time DaVinci terore file fat vew Session Cosimi Nodes s Tracker gt 6 fn iiceam Q Format 28 QUICK START GUIDE Ingest from or record to videotape all your SD and HD images using the Deck screen There is also a batch capture option to speed up those otherwise cumbersome ingests from a long list of clips Deck If your DaVinci Resolve is connected to a DaVinci Revival image restoration system you can use the Revival screen shown below to manage interaction between the systems DaVinci Rerohe file Fat Yew Serion Cosimi Nodes Dynamics Tracee 4 4 m sam Q Revival QUICK START GUIDE AS QUICK START GUIDE Sometimes you have images to grade but no EDL to split them into clips No problem just use the Scene Cut Detector to find those scene cut points automatically and split the
138. e Gain controls adjust each color channels gain with O being the reference point One is unity gain and the maximum ten Is ten times greater amplitude than unity COLOR Red Settings Master Red Decoder Settinas Clip Decoder Settings Decode Quality Apply Changes Color screen Thumbnail Right Click to select Edit RED codec settings RED clips can be ganged together and adjustments to the decode settings applied to all the ganged clips Simply select the clips in the Media Pool or Color screen timeline select Edit Red Codec Settings Now adjust the decode parameters and watch the changes in real time The decode parameter that you adjust will now display its title in cyan rather than normal grey indicating that you have modified that particular setting You can select Apply Changes to apply just the changed decode parameters to the selected clips or Apply All to apply all the settings to the selected clips or reset to return the settings to the status when you opened the window This new feature is ideal for making ISO or Gamma or Color Space changes to all the clios while maintaining the camera metadata or project metadata settings for all the other parameters COLOR 179 CES 9 180 COLOR Primary Tab The Primary tab is located at the bottom left of the Color screen This area displays the settings for the Lift Gamma and Gain controls Offsets Saturation and the Pan Tilt Zoom and Rotate contr
139. e LUT as window Clicking on the Generate LUT button will create the new LUT that is an offset grade It s the grade you made to the original image This LUT can now be selected like any other Update the LUT list that s at the too of the LUT tab and select as an input output or display LUT as required You can also use the LUT on the color page in any node The new LUT will appear in the SD LUT options and can be used in any of the places DaVinci Resolve normally uses 3D LUTs It is also possible to capture an external Trim LUT or generate one with the Resolve LUT configuration and resolution by placing this Trim LUT Clip into an external device that applies a LUT Trim LUT Clip One Frame CONFIGURATION 67 CHARER 68 CONFIGURATION Workflow B 1 Load the trim_lutO dpx file located at Library Application Support Blackmagic Design DaVinci Resolve trim_lutO dpx into the external device or feed the external device the image via an HD SDI connection 2 Make sure the external device is outputting HD in Full data levels mode Connect the output video from the external device to the input video of DaVinci Resolve Using the deck Input interface on DaVinci Resolve crash record or capture a few frames You only need a few 5 Use the captured frames as the test pattern in Workflow A above to generate the new LUT Apply LUT to Waveform Often when grading feature films you will use a LUT
140. e Tracker window This will add the tracking point at the point selected Press the Exit Interactive Mode button to revert to normal operation Interpolation Between Keyframes Sometimes you may want to interoolate a PowerWindow between two points within a clip To do this first mark the upper and lower frames within the clio by pressing the Mark button These points will be represented as white lines within the user interface timeline Once these points are established you have three interpolation options Interpolate Forward sets the position from the current window then performs linear interpolation forward to the upper mark e Interpolate Reverse sets the position from the current window then performs a linear interpolation in a reverse direction to the lower mark e Interpolate Between performs a linear interpolation from lower to upper marks You may also adjust the PowerWindow position manually while in Object Tracking using either the Global or Keyframe modes When in the Global mode adjustments will affect the window position throughout the whole clip In Keyframe mode changes will only affect the window position for the current frame VIEWER 213 EZ est N 216 GALLERY Gallery DaVinci Resolve has a database for projects and also for stills or scene grabs that you can use to compare with the current scene This way reference or Important shots can have their grades replicated i
141. e clip folders If the VFX shots were Just wireframes to begin and you used these shots to keep the timeline in context you can simply put the new shaded shots into a new folder Then when the finished VFX shots are ready put them in another folder each time re conforming with the appropriate selection to automatically change the source images Of course the timecodes need to match for the replacement to drop right in but otherwise this is a very fast and simple way to update shots Reel Folders L ROOT Conform_example Reel Selection 126 CONFORM Saving EDLs Once your editing is completed a right mouse click will reveal the menu option Save EDL If selected a prompt will appear asking you to assign a name for the EDL This EDL can be exported to other systems so If you trimmed the edit in the grading suite you can now supply this to the editors and VFX guys so they too can conform and see the new timeline Track Marks Sometimes there are Track grades that you need to copy from one Session to another See the Track section in the Color chapter for a detailed explanation of Track Marks and their use To copy track grades use the right click Copy Track and then select the new Session to make it current Simply right click on the new Session timeline and the Paste Grading dialog will appear Select the active components you need and the Paste button Paste grading Paste color correction Paste
142. e following options depending on the status of the current project New Load Load in Read Only Mode Save As Delete Rename Import Export Load config to current project Refresh Opens a window to create a new project name for the new project Will recall the project configuration and sessions but only after checking if the current project has been saved If it has not been saved it will give you that option Like Load this will recall the project and load it into the system This feature is used for loading a locked project when in a shared database environment You are not permitted to save any changes to the project in this mode You can save a project with a new name Often ideal for creating multiple versions of projects or versions for export Allows you to delete a project Use this to rename an existing project DaVinci Resolve allows you to Import and Export projects and will package all the project metadata EDLs LUTs and audio material into a compressed file which may be easily imported or exported between systems If the project images are not on a shared SAN you must manually manage the required images Use Import to bring projects into this database If you wish to create a backup of this project with the grading metadata or export it for use elsewhere use Export Uses the configuration selected in the configuration list to replace the current projects configuration
143. e mouse to scroll through the clip area This slider will display the relative position of the frame within the full clip The clip s timecode is also displayed If you right mouse click on the image you can superimpose KeyKode information if it is in the file amp DaVinciResolve File Edit View Session Control Nodes Oynamics Tracker 2 4 Monll 26AM Q Viewer Window BROWSE 103 CHARER 7 104 BROWSE Browse Screen Buttons Located at the top of the Browse display are two buttons used to select either the Clip Task Manager or the Proxy Manager Clip Task Manager Proxy Manager Clip Task Manager The Clip Task Manager can be selected from the Browse screen buttons or via the Proxy generation config or if a clip Copy and Paste operation is initiated To close the Clip Task Manager display simply click on the Close Dialog button A A Clip Task Manager Remove Finished Clip task manager BROWSE Proxy Manager The Proxy Manager lets you control the proxy generation process To send a clip to the Proxy Manager right click on the selection from the Folder and Clio Windows or Media Pool then select Add Into Proxy Manager To add the entire contents of a folder into the Proxy Manager right click within the Media storage section and select Add Folder Into Proxy Manager from the options If you prefer proxies may be pre generated before a session If generating proxies a half or quarter of
144. e option Add For Batch Record A Batch Record of all the clips in the Batch List can be started by clicking the Batch Outout button DaVinci Resolve will make a crash record of the clips to tape with the timecode from the source clip being recorded to tape DECK 245 ASA REVIVAL 14 248 DaVinci Revival As the leading color correction and image ennancement system DaVinci Resolve also works with the DaVinci Revival the leading system for film restoration DaVinci Revival has been used to repair thousands of films over the last ten years and remains the backbone of many film restoration facilities DaVinci Resolve and DaVinci Revival are operated in very different ways because the end product is quite different Grading is very creative and flowing whereas restoration work is often detailed on one frame for some time Within DaVinci Resolve the colorist can make simple Dirt and Dust touchups using the repair brush but more complex repairs major dust busting grain reduction deWarp deF licker stabilization deStain etc tasks are better performed in DaVinci Revival which is a purpose built restoration system Other than the manual Dirt correction DaVinci Resolve does not perform image restoration but it does provide details to a DaVinci Revival system for that repair The Revival screen provides a list of clips and frames marked by the colorist that the Revival operator can review There are three buttons i
145. e still or from this window you can select all Exit to close the window when you Nave finished COLOR 151 ASA COLOR 9 Stills Import and Export To import and export images in a number of formats simply select the still and right click for the Import Export or Export with Display LUT option The Display LUT used in this case is the one selected on the Configuration screen The supported file formats for importing and exporting are dex cin tiff joeg png pom bmp and xom Save As Untitled dpx la ResolveOA DEVICES BMDPanelDaemon _ ResolveQA s Ma El Desktop 3 Documents 3 Downloads M Library M Movies km EIPRE Music 2 Macintosh HD El iDisk 4 3x2 TB raidO SHARED Ss Pictures ala ial dvt pe m Puhlir Format DPX Files dpx HH FA i fa New Folder Cancel Save Export Still Pop up window with file options displayed Sorting Stills These parameters are used by DaVinci Resolve for sorting the stills using the options that are selectable with a right mouse click Properties Created 2010 Aug 02 19 05 07 Grabbed from Demo Grab date 2011 Record Timecode Cr nm mamma Source Timecode Stills Properties 152 COLOR When stills are added to the Still tab they are placed next to other stills from the same scene and generally in record timecode order You can also select the stills to be sorted and displayed in the order of
146. ed in real time If you select the Cache D mode and play through the clip transition once the frame rate will play slower than normal the first time Afterwards the Cache file will be created and then the clio will play at full speed There are four Render Cache Options Cache A This will cache all material Cache D This will cache only the dissolves Cache This will enable the background render cache process Cache U This will cache a clip that has been flagged by the user in the Resolve Color page Thumbnail display You may also pre render all dissolves within a project by pressing Cntrl R when in the Cache D mode This feature is very useful when you are playing a project for a client and don t want to see any slow downs in the system during image dissolves The function will stop at the end of the timeline or when you press Stop DaVinci Resolve can also automatically perform a Background Render Cache whenever the system is idle IF you touch any controls or play a clip the caching process will automatically stop Background Render Cache is automatically enabled and will commence in the vicinity of the current clip in the timeline It will then search for user selected Render Cache clips and finally for image dissolves within the Project If there are marks within a clip and only new changes occur within that area DaVinci Resolve will then regenerate the cache information for only that section of the clip
147. ed rendered file Just like the Frame Rate described above the width and height as defined within the Config screen are automatically displayed but are still editable This setting is also guided by the Output Type set in the pull down just below the Output Size Some file formats require specification of the resolution by file type and in this case the Output Size settings will revert to the fixed format as defined by the standards Output File Formats This list defines all file formats and resolutions currently available on your system What is shown will depend on whether you have the Final Cut Pro QT and ProRes libraries and the Avid File Support License Other render file formats will be added over time so be sure to check each new version for the latest supported formats Recording Mode The next section of the Render Properties display manages the selection of the Clips Versions and Timecodes There are two recording modes Source mode will render the clios in ascending source timecode order with the timecode of the source clip not the timeline timecode Target mode will render the clios in the order of the Default or Master Timeline or of the session selected The timecode recorded in each frame will be the timeline timecode RENDER The one check box option in Target mode is to Replace Holes in the timeline with blank frames rather than to render with the clips rippled along to close the gap Recording Mode Source Target
148. en the connection is established a popup appears on the colorist s screen asking for permission to accept the Remote Grading connection e To accept click OK minimize the popup and continue grading normally The Remote Grading session will remain active until one of the users Chooses to disconnect or when an error occurs causing DaVinci Resolve to automatically terminate the session REMOTE GRADING Restrictions To allow operation over low banawidth and potential long latency Internet connection there are some restrictions to remote operation e Grabbing stills on the colorists DaVinci Resolve will not have any effect on the client system so no stills will be grabbed on the client system e Wipes on the colorist s system will have no effect on the client DaVinci Resolve At any time the client system will display the same frame as the colorists but without the wipe or with whatever wipe was enabled before the remote grading session was started e When playback is started the playback speeds on the two DaVinci Resolves may differ The frame positions will only be synchronized when playback is stooped e Input output display LUTs applied from the config page on the colorist DaVinci Resolve will not have any effect on the client system LUTs selected on the client DaVinci Resolve will be applied instead e Presets applied from the config color pages on the colorists system will not have any effect on the clients Preset
149. er later in this guide COLOR 171 A COLOR 9 Render Cache Clip DaVinci Resolve has a number of Background Render Cache options and one of these options is where the user selects to render cache a clip The user may flag clips that should be render cached within a Project This can be done by right mouse clicking on the clip and selecting the Mark for Render Cache U option from the menu The hard disk icon will appear on the top left hand side of the thumbnail when the clip is selected by the user to be cached When the cache process is started by the user a status Indicator at the bottom of each thumbnail will show the progress of the cache generation process The bar will first appear in white and the length of the bar represents the amount completed Clips marked for Render Cache U will render if Cache U or Cache or Cache All is selected 04 gt 04 si E l ae A ka i kj nr o s PR Bi a E fa 1 E a ao 1 Aa es i na En PL n IL F F a 11 00 02 44 01 A clio that has been flagged to be Render Cached 172 COLOR View Clip Details DaVinci Resolve maintains metadata relating to all clips in the Media Pool This info is accessible using the View Clip Details option ADO Clip Info e A MT Mai Eai 08 Clip Name 7501_ 00102589 0056 dpx File Path Volumes Raid 0 HD 7501_MOM_HDscans 001 7501_ 0010289 0056 dpx Session Version Duration Reel ID Codec
150. ession Management When making a grade to clips colorists often try different looks This group of keys offers a quick way to navigate through these versions and also to split and join clips on the timeline Split Shift Up Undo This key will split the clip at the position of the cursor on the timeline Undo Undo is one of the favorite keys of colorists Try any grade and if you dont like it simply Undo In fact you have an almost endless tree of undo operations by using this key Join Shift Up Redo The reverse of split Place the timeline cursor on the junction of two clips and select Join to make just one clip Redo Sometimes you hit Undo once too many times Redo will out back into effect the last item you undid Like Undo there are multiple levels Restore Point This selection is reserved for future use Save Remember this key Its your friend Save often and consider the autosave function as well found in the config screen Add Version When you make a grade on any clio DaVinci Resolve stores the parameters for that clip If you want to try different grades dont loose your good grades just Add Version Use this key to make a second third or more version of the grade for that Clip Default Version If you have multiple versions of grades for a clip this key is used to select the default version regardless of which version is currently displayed Previous Version This will select the grade one version lo
151. ettings for RE CONFIGURATION ISO PEEL DRX Shadow Exposure Brightness Contrast Color Temp Tint Saturation Custom PDLog Gain Similar to exposure this control adjusts gain from the black point to white in a linear manner 320 is the default The Floating Point Look Up Table controls operate within the new color space to give cleaner and finer ISO and mid grey variation without Introducing clipping Use in conjunction with ISO DRX is a dynamic range control that takes into account Color Temp degrees Kelvin and Tint Provides adjustments at the toe of the FLUT Calibrated to replicate industry standard f stops Exposure increases or decreases the image lightness and clips the data levels at each end This also adjusts the image brightness by changing the black level but unlike Exposure this control will compress the image at each end of its range With the midtones maintained the Contrast control adjusts the number of discreet steps in the grey scale by changing the slope of the response curve Sometimes referred to as Kelvin the color temperature adjusts the RGB matrix to consider the blue red ratio Common values are 3200 for Tungsten lighting and 5600 for daylight Use the tint control to adjust the yellow parameters of the RGB matrix Ideal to correct fluorescent or sodium vapor lamp problems Color Saturation is varied from monochrome at O value to the default Cor unity
152. evious node key will select the node one lower in numerical order Next Node Similar to the Previous Node key this selects the node adjacent to the current node in this case the next higher numerical position Highlight When in the Vector menus making secondary qualifiers it s common to select the Highlight key to show a high contrast separation of the qualified color and all other parts of the image Toggle this key to turn off Highlight is used so often it s also on the fader panel and when in vectors on the Trackball panel Mode Shift Down Highlight Used to toggle the highlight mode from grey to high contrast Shift Down This is the pre selection key for functions indicated on the lower portion of the second keys legend First Frame Selects the first frame of the current clip Last Frame This key selects the last frame of the current clip Step Reverse Step Reverse Keyframe Step Forward To step the viewer one frame in reverse along the timeline Shift Down Step Reverse This key steps backwards one keyframe on the clip Track timeline display A single frame step forward for each key press DAVINCI RESOLVE CONTROL SURFACE 301 CES 19 302 DAVINCI RESOLVE CONTROL SURFACE Step Forward Keyframe Previous Scene Next Scene Rewind Reverse Stop Forward Fast Forward DAVINCI RESOLVE CONTROL SURFACE Shift Down Step Forward For keyframe steps forward on the clip Tra
153. f the Sessions that are open and active for the current project DaVinci Resolve s operation is based on saving clio metadata into a database The hierarchy for information is Database at the top then the User login Project Name Session Clip Timecode Version and then metadata relating to the PTZR and color correction You have already connected to the Database logged in as a User and opened or started a Project You will now use this window to create a Master Session Subsequently you can load EDLs to create any number of new Sessions Timeline Management Session Start Timecode Frames Duration Offline Clip 01 00 00 00 2500 00 01 44 04 01 00 00 00 2500 00 01 44 04 Create Default Load AAF EDL Preconform Delete Timeline Management Ane New Session Options Start Timecode 01 00 00 00 Session Name New Session Dialog After creating a Master Session the Viewer window will display the first clip in the timeline More details on this window later in this manual when we review the Viewer operation A green outline surrounds the Master Session in the Timeline window indicating that this is the Current Session DaVinci Resolve enables you to have many open sessions so this box outline indicates which is current If you use Create Default to open a new session the green box will automatically switch to the new session and display the first clip in the viewer To reselect the Master Session just click on i
154. face to adjust window position or input sizing Soft Key and Soft Pot Control Conventions Below is a typical soft menu from the Fader panel The title bar shows the menu mode in this case Circular Power Window The top row of legends refers to the soft pots beneath it in this case the window position Pan and Tilt Zoom and Softness controls A more key to the right of these controls not shown allows you to access a second level of soft pots for Aspect and Rotation Both side panels nave a More key which provides another layer of menus if applicable POWER WINDOW CIRCULAR ZOOM ASPECT SOFTNESS ROTATE CPW LPW PPW PCW MATTE KE INVERT INVERT MASK INVERT MIX ds MORE u OJ CJ 0 O Stereoscopic Viewer Right Click Options The second row of legends refers to the soft keys beneath them which in this case select the desired window for adjustment The bottom row of legends refers to the bottom row of soft keys which control the state of the window and allow you to enable the windows as desired The controls are always located very close to the label so there are no parallax errors and learning the panel is an easy task DAVINCI RESOLVE CONTROL SURFACE In this mode the Fader panel soft menus are used for window control When windows are selected on the Trackball panel these menus do not change This allows the user for example to select PowerCurve windows on the Trackball panel ana adjust its parameters simultaneously with
155. ferent Node Graphs from their corresponding clips in the other eye session This operation checks though the clips and detects the difference in Node Graphs If Node Graphs are different in corresponding clips the grading of the clip from the current eye would be copied to the corresponding clips in the other eye This results in the clips in the two sessions with the same graph and same grading In Clip Unmix session mode this copies the grading from selected clips to corresponding clips in the other eye In Track session mode this copies the output grading for the current track to the corresponding track with the other eye In Clip Unmix session mode this swaps the grading from the selected clios to corresponding clios in the other eye In Track session mode this swaps the output grading for the current track to the corresponding track with the other eye Swaps eyes to the output on a clip by clip basis This parameter is retained in the list to compensate for editing conform errors There is a visual indication when this is enabled in the form of an orange outline around the VSR in both eyes This would only be effective when there is only a cut transition to and from the clio in question in a parse pre conform workflow but would support all transitions in a conforming workflow The two stereo sessions are graded together At the same time the delta between the two eyes is preserved and incremental Changes are applied rel
156. ff The Panel menus can be set to Scroll mode after pressing the Scroll Deck button on the Jog Shuttle control panel Exiting the Scroll Mode menu would bring the panel menu back to the Secondary menu On the thumbnail timeline a thumbnail border highlight yellow indicate the current reference clio for the scroll operation While scrolling through the timeline the reference clio stays visible in the thumbnail timeline and is brought cued into visibility when the clip is out of the thumbnail view On the timeline the current scrolled frame is indicated with a yellow line which is different from the current PlayHead cursor position CWhite line Scroll Controls Steo Fwd Steo to next scene Step Rev Step to previous scene Play Plays scrolls forward through the scenes at 1 scene per second Rev Play scrolls the scenes in reverse at 1 scene per second Fast Fwd Shuttles scrolls forward through the scenes at 4 scenes per second Fast Rev Shuttles scrolls reverse through the scenes at 4 scenes per second Slow Fwd Shuttles scrolls forward through the scenes at 1 scene per 3 seconds Slow Rev Shuttles scrolls forward through the scenes at scene per 3 seconds COLOR COLOR 201 AS VIEWER 10 204 Viewer The Viewer screen provides a full screen view of the current frame with transport controls timecode indications and other features as seen in the Color screen vie
157. ffline window or type in a value in the display to the left of the up and down arrow indicators to find the first frame of the scene which matches the scene in the conformed material viewer display on the left If the timecode is completely in error go back to the Browse screen clip window and initiate a Change Source Timecode in Header to make the timecode correct Side by Side Horizontal Wipe Vertical Wipe Mixed Wipe Align by Width Align by Height Auto Align Toggle Offline Source Clip Toggle KeyKode Display Viewer Display Right Click Options Source Clip Editing Instead of showing your Online and Offline side by side you can select the right Viewer to display selected clips from the Media Pool Use the right click option labeled Toggle Offline Source Clip The source clip that will be displayea is the one selected in the Media Pool and selecting any clip there will update the Viewer You may also edit or select the In and Out points of a clip in this mode Use the Transport controls to move the clip to the In point and select Mark In the Scroll Bar display will snow a white mark indicating that a Mark has been selected Play the clio to the desired Out point and press the Mark Out button Another white mark will appear on the status line showing the Out point Right mouse click within the Viewer display and select Add to Timeline from the options available CONFORM 119 CHARER
158. g the fader bar You can also place your mouse over the wipe on the Viewer and click and drag to move the wipe position 01 01 32 09 AN 09 2 2 TN 110 2 2 di i Version 2 ja y LAM Left to right mark RLM Right to left mark ZW Zero width joiner Z WNJ Zero width non joiner ZWSP Zero width space LRE Start of left to right embedding ALE Start of right to left embedding LRO Start of left to right override ALO Start of right to left override PDF Pop directional formatting 15 15 18 E Insert Unicode control character_ Unicode Name Controls The Add Correction selection will apply the color correction parameters from the still to the current clip This will include the structure of the grade with each channel or layer or node of correction When DaVinci Resolve grabs stills or Memories it also captures the node graph structure More details on node Graphs are later in this chapter but the key feature Is that you can copy the complete grade using Add Correction or Display Node Graph and then select all or any node from this node graph 150 COLOR Just select the node with your mouse click and drag it to the Node Graph display on the right of the main screen and place it where you would like the correction applied in the image correction path APPLY COLOR APPLY PTZR APPLY RED APPLY ALL Display Node Pop up Alternatively you can select just the color parameters or just the PTZR parameters from th
159. g upon the desired correction The Color Enhancement screen has a number of areas of display that all work together From left to right they are the Viewer with Transport Controls Stills display and Node graph Under these displays is the track timeline and the thumbnalls timeline Below that are the primary controls secondary controls ana the dynamics timeline Color screen Most of the controls are active by both mouse and control panel operation For example clicking and dragging the controls with the mouse within the Primary Color Correction window will carry out color enhancement adjustments The DaVinci Resolve control surface provides concurrent control over many functions COLOR Viewer Located at the upper left of the Color screen the Viewer displays the current clip and the current frame At the top of the Viewer in the center of the window bar the Project and Session names are shown To the left of this is a GPU status display and the Plavback Speed display in frames per second DaVinci Resolve uses GPUs for Image processing so the GPU status indicates the percentage of use that the current color correction demands of the GPU A full green indication shows there is plenty of GPU headroom As the GPU processing resources are used by additional color correction the green bars will reduce A flashing red indication means that the GPU is unable to consistently process the correction In real time Ultimately as you add a l
160. gh controls adjust the respective Saturation level and Soft controls the slope to adjust the ramp on either side of this range The same group of controls are avallable for the Luminance settings with the Luminance bar showing a black to white range Once you have finished with the Qualifier adjustments press the Highlight button once again and the picture will return to a Normal view Now that you have qualified an area by its Hue Saturation and Luminance values you may use the Trackballs and other grading controls to adjust the color within the qualified area You will notice the Node Graph display of this node and the thumbnail under the timeline will update to indicate that a secondary grade is being made in this node Color Screen Qualifier RGB Qualification If you select the RGB button within the Qualification window the qualifiers will be changed from Hue Saturation and Luminance qualifiers to Red Green and Blue qualifiers When this mode is activated the cursor position will read the Red Green and Blue values rather than the Hue Saturation and Luminance values for the selected color These have the same general control operations with Low Low Soft High and High Soft adjustments COLOR 187 CES 9 188 COLOR QUALIFIER High High Soft A High High Soft 7 High High Soft M Radius A Blur y Radius one RGB Qualifier Luminance Qualification The next
161. ght mouse clicking on the clip and selecting the version You may also de select a batch version of a conformed list that can then contain an alternate version of corrections These additional versions can be named and the names are displayed in the clio thumbnail Group Versions If you have multiple clips that share the same color correction you can define a Group by right clicking on a clip and selecting Add Into A New Group Enter the Group Name and you will see it in the group list at the bottom of the pull down menu To add multiple clips hold down the Ctrl key on the keyboard and select the various clips Once the last clip is selected use Add Into Current Group from the pull down display When there are changes to the correction that are to be applied to the Group you can select how the correction will be rippled to the various clips within the Group Right mouse click on a clip within the Group then within the pull down menu choose the appropriate Group Name and move the mouse to the Change Ripple selection Once this has been done another menu joining these menus will appear This menu will give you the opportunity to change the ripple type to make the target clip the exact changed value or make the change by percentage or unit value or to have all values copied as defined in the Configuration screen settings tab COLOR 169 CES 9 170 COLOR Batch Versions When you begin to color correct using the
162. gin your Project by creating the conformed timeline and start grading If you have used the Scene Detector to create a cut list for exporting to another device you can save a CMX style EDL format list that most professional editing systems can use SCENE ODA Save To Save As Your Scene Cut List a Pe gt ss 00 iu Redbull 3 a DEVICES Tal Date Modified en 4 Macintosh HD Yasterday 6 42 PM Macintosh HD Network PERE Ei Disk PETER C Monday December 31 1979 11 30 P i a Raid 0 Er 4 F Raid 0 E Ral Yesterday 6 42 PM PETER C SHARED dvt pc Ku Force India frontdesk T Eu VG KIC New Folder C Save New Folder Cancel Save Save the cut list Ms SCENE 261 ASA RENDER 16 264 Render The Render screen Is used to set up the configuration and initiate rendering of the timeline images DaVinci Resolve is not restricted by this limitation and this provides you with significant workflow advantages A simple example of this is using 2K source material and an HD image processing timeline and then setting DaVinci Resolve to render in ProRes 444 and then render in MXF Avid DNxHD and then 2K DPX All the settings are configurable and permit mastering in all the formats you need without having to change the timeline processing resolution These renders are always performed at the highest resolution possible If the source clip is 2K and you have an HD timeline
163. h list of events somewhat similar to the ingest process and DaVinci Resolve will automatically control the recording to tape with the correct timecode Often these are source clios and so to make later ingest easier you can add black handles to each of the clips The Batch Output Handle display allows you to set Head and Tail Handles to the material being recorded to tape It will automatically add black before and after the clio material Source Selection There are two tabs within the Source Selection display which allow you to switch between From Disk and Power Master You can select clips from within the media storage to be recorded to tape when In the From Disk tab Use the mouse to navigate to the folder with the clio you need and select It will then be displayed in the Clio Name window which you can find just above the Preview Batch Output and Record buttons DECK 243 ASA DECK 1 Source Selection FROM DISK Folders Total Frames Storage Volumes Raid 0 Usage 33 mx m 7501 MOM HDscans 01 10 01 06 100830 1440x1 080 10b Fri Jun 25 1 07 05 16 11 Tue Apr 6 2 08 07 17 14 730939 2048x1 556 10b Tue Apr 62 MM FandN_selects Record Progress Clip Name 1e_2K 007 7373_ 00637911 00638155 dpx Preview Batch Output Record Source Selection from Disk Selecting the PowerMaster tab will open the PowerMaster clip selection display which allows you to select a series of clips or
164. hanging the position of the links that are connected to the Layer Mixer node inputs will change the priority You may also ada additional inputs to the Layer Mixer node with a right mouse click on the Layer Mixer node and selecting Add Input Layer node operation Is Ideal when you have multiple inputs to the mixer and you want some to mask others or have a greater influence over the mixed image 40 de CORRECTOR Mem PARALLEL Zoom In eee Zoom Out Zoom to Window ER MIXER KEY MIXER Original Size Toggle Display mode Layer Mixer 160 COLOR Key Mixer Node The Key Mixer node allows you to mix the key outouts from multiple nodes and combine them within the Key Mixer node in order to produce a composite key signal To create a Key Mixer node right mouse click within the Node Graph display and add a Key Mixer node by selecting the option within the Add Node section of the menu The Key Mixer node comes with two inputs when first created but additional ones can be added with a right mouse click within the Node Graph display and choosing the option Add One Input To adjust the parameters of each node which is fed into the Key Mixer node use the Inout section of the Key tab The Gain Control within the Post Mixing section can be extremely useful for adjusting the amount of effect the final correction will have within the image 7 0 E O A MO PS O KT MO tee root e ra a i rem i k o 4 A p 4 a SAKS a
165. he button on the bottom left of the screen The administrator can use password protection to lockout the New User function When DaVinci Resolve is first installed the Admin password is left blank If the Administrator has protected the operation with a password please see your Admin to gain access You may also change the graphic for each user by right mouse clicking on the icon and selecting Change Picture Deleting An Existing User To delete a user select the user s icon ana then the button at the bottom of the screen Confirm the Admin password and then a prompt will appear asking you to confirm the user deletion Don t worry if you have done this accidentally as DaVinci Resolve stores the old user information in an Inactive User file so you can recall the data wnenever you need to By clicking on the Inactive Users button at the bottom of the Login screen you must have Admin orivileges the Inactive User List will appear and allow you to either reactivate or permanently delete the users listed Inactive User List RESTORE User List Date Modified V Height Old User conrics User Default Config y E PROJECTS DELETE Inactive Users List This permanent deletion of the user is final Be sure you really want to delete the user and their projects stills configurations etc GETTING STARTED 39 Cn el D 40 GETTING STARTED Changing A User Password Change your user password
166. he correction to the new clip using the center mouse click Clio Thumbnail Indicators In addition to displaying the color corrected image in the clip thumbnail each thumbnail has a number of other valuable indicators of the clio and operational status The clio number can be seen on the upper left of the thumbnail If there are multiple versions of the grade for this clio the numbers to the immediate right of the clio number will show the current version number and how many versions there are In the screen capture below there are two versions of grade and version two Is current Under these numbers is the version name If you have entered one in this case DOP s this same location would also indicate a local or default version if alternatives are made See Versions later in this chapter for additional details 03 00 09 11 Clip Thumbnail COLOR 165 CES 9 166 COLOR On the upper right of each thumbnail you will see the EDL event number followed by frame number of the current frame if anything other than the first frame is shown In the case shown above we are seeing frame 420 If you click and drag the mouse back and forth over the thumbnail you can view the contents of that clip within the thumbnail and even leave it parked on a specific frame This is particularly nelpful to locate the key frame or move off the first frame If its black or does not represent the key element of the scene The frame indicator will upd
167. he deck by clicking on the Connect button and position the tape to the location where you want to record the images clicking on the Mark In button within the Timecode on Tape section Or simply choose the appropriate section where to record the material on the tape by typing in a timecode Check the Assemble Insert Crash setting under the Viewer to make sure it s as you require Note When DaVinci Resolve is performing a Batch Output operation you can only select between recording the clips with an Assemble edit or a Crash record Click on the Record button to start the process of exporting the material to the tape Once finished you can check the recording using the transport controls or click on the Connect button once again to release control of the machine You will need to disconnect prior to exiting the Deck screen amp OaVinciResolve File Edit View Session Control Nodes Dynamics Tracker Deck Screen Clip Information Within the Clio Information display you will see the timecode for the start and end of the clio as defined by the clio s metadata Trim the start and end points the and buttons will either add or subtract frames from the values displayed The Gang Timecodes checkbox allows synchronization of the timecode from the tape with the timecode on the clip If you want the tape timecode to match the timecode of the clip select this box and also make sure your deck Is configured to accep
168. he menus are shown here identified by their core functionality DAVINCI RESOLVE CONTROL SURFACE 307 CHARTER 19 PRIMARY CHANNEL OFFSET CUSTOM CURVES MASTER RED GREEN BLUE OFFSET OFFSET OFFSET OFFSET LUM RED GREEN BLUE CURVE CURVE CURVE CURVE NODES SIZING PRIMARIES VECTORS DAVINCI RESOLVE CONTROL SURFACE PRIMARY PRIMARY Y SEX LUM RED GREEN BLUE YSFX YSFX YSFX YSFX TRACK BALL POTS OFFSET VECTOR QUALIFIERS HSL PARAMETERS QUALIFIER BLUR HUE SAT LUM LUM SHIFT GAIN LIFT GAIN BLUR OFFSET CURVE KEY PRINTER Cre MONITOR MODE LIGHTS J CLIC EJ ODO DO DO 0O U A PRIMARIES LUM GREEN POTS MASTER LUM LUM LUM OFFSET BLACK GAMMA GAIN GREEN GREEN GREEN GREEN OFFSET BLACK GAMMA GAIN NODES SIZING PRIMARIES VECTORS PRIMARY POTS PRIMARIES RED BLUE POTS RED RED RED RED OFFSET BLACK GAMMA GAIN BLUE BLUE GLUE BLUE OFFSET BLACK GAMMA GAIN MAIN PRIMARIES HSL PARAMETERS QUALIFIER BLUR HUE SAT LUM LUM SHIFT GAIN LIFT GAIN BLUR OFFSET CURVE KEY PRINTER ELIPS MONITOR MODE LIGHTS LJ LI CITI OUUU O U 0 PRIMARIES SCENE WHITE CLIPS MASTER RED GREEN BLUE CLIP CLIP CLIP CLIP MASTER RED GREEN BLUE SOFT SOFT SOFT SOFT NODES SIZING PRIMARIES VECTORS PRIMARY CLIPS PRIMARIES SCENE BLACK CLIPS MASTER RED GREEN BLUE CLIP CLIP
169. hey are also similar to the first example The reel number is still in the parent directory name but in this case it will have the fixed characters Reel prefixed in front of the reel number The first pattern with would actually match with any 4 character in front of the reel number The second pattern is more specific and would only match the word Reel in the directory name Example 3 This example will show the reel number stored within the parent folder name two directory levels up Pattern R D D Clip Name volO MyMovie Scans 004B 134500 135000 Frame 1000 2000 dpx Reel number 004B This example is again similar to example 1 The difference is that the reel number is the directory name two levels above the clip In the example 1 the reel number was in the directory name only one level Up Example 4 Finally we see the reel number that is embedded within the clio name of the material Pattern Reel R_ Clip Name volO MyMovie Scans ReelOO4B_ 1000 2000 diox Reel number 004B This example shows a method for extracting the reel number for the file name of the clip Again starting at the right the two pattern characters _ match any series of characters up to the first underscore character Which in this case will pick up the file extension dpx and the frame number portion of the file name Next the Reel R characters indicate the reel number is the characters between the Reel and
170. ication of the file type DPX MOV r3D etc Clip Window The purpose of the Browse screen is to identify clips to place into the Media Pool At any time a double click on a clip will put it in the Media Pool You may select multiple clips by holding down the shift key on the keyboard and selecting the desired clips While some of the options here are the same as the right click over the Media Storage display there are some extra functions found in Clip Details Clip Details Spin and Add into Meda Pool Add Clips Based on EDLs into Media Pool Add as Offline Clip Add into Proxy Manager Add into Media Pool With Offset Scene Cut Detection Change Source Timecode in Header Convert Format Benchmark Clip Add as Matte Copy Move to deleted Delete Permanently Delete Permanently in Background Clio Window Options BROWSE Add as an Offline Clip Selecting a clip to add to the Media Pool as an offline clip makes an important distinction to these clips A DPX or MOV clip can be added to the Media Pool as an Offline clip and it will be designated by a Magnifying Glass icon Identifying an Offline Clio will allow DaVinci Resolve to treat this clio differently in the Conform screen where you want to compare the high resolution Online clips with the Offline to establish that the EDL matches the Offline clip Add into Media Pool Split and Add into Media Pool Add Clips Based on EDLs into Media Pool Add as Off
171. ideal for on set or low budget SD applications Updated DVS SDK 4 0 support for the Centaurus Il card replacement Atomix and Atomix LT e DVS have released a new SDK to support the Centaurus and the new Atomix and Atomix LT cards All customers using DVS video O are required to upgrade to this new driver Both Mac and Linux Drop frame timecode support A number of 30fps NTSC TV programs and commercials use Drop Frame timecode and this is now supported in DaVinci Resolve 720p50 and 720p60 support e V71 now supports 720050 and 720060 Colorists can set these parameters in the configuration screen under the Timeline format Deck I O and video monitoring sections Automatic multi project ColorTrace to transfer digital dailies grades ColorTrace permits colorists to copy grades from one project to another using the source clip timecode With V71 the colorist can now copy the grades from any of the Master Sessions In their User account and not just from a single session within one project ARRI Alexa RAW read support e ARRI Alexa cameras generate RAW and ProRes files ana DaVinci Resolve V71 can read both of these file formats Phantom cine read support e DaVinci Resolve now permits real time playback and grading of cine Phantom files e New MX color space and user controls INTRODUCTION Tiff read support e DaVinci Resolve can now play and grade tif natively OpenEXR read and write uncompressed and co
172. ient bandwidth for only a single stream of images to each user With DaVinci Resolve s super fast render speed this may cause playback problems with other users on the SAN if the storage bandwidth is insufficient You can set the Render speed which is typically set to Maximum or throttle down the render speed to limit SAN bandwidth usage to between 1 to 50 fps The Show WFM during Recording mode will update the Waveform display during recording when you have a separate DaVinci Resolve waveform server This option is applicable to Linux systems During rendering to disk using Commercial Workflow you have three options regarding flat pass control The settings are D If you select the option Off the system will always apply color correction for all versions of all clios before rendering to disk 2 The option Force On when checked will force the system to always disable color correction for all versions of all clios before rendering to disk 3 Ifthe user selects option Use Clip Setting for each version of a clip the system will check that versions pass flat flag which is set with a right click on the thumbnail If it is turned on the system will disable color correction for that version of the clip Otherwise it will apply color correction for that version of the clip When you check the Disable Input PTZR any Pan Tilt Zoom or Rotations will not be rendered with the material Recording Speed Max
173. if 01 00 59 19 NY Color screen viewer with four playheads active When the playheads are in use you will see the letters SABC at the bottom of the Viewer display These color coded indications are for Source VTR A VTR B and VTR C The color codings are Red for the current playhead which has all color corrections and formatting Green for a playhead with an assigned link Blue indicating a playhead with an assigned link that is also ganged and Dark Grey for no link assigned to this playhead The Timeline display within the Color screen will also show the position of each linked VTR that has been created by the user It is possible to switch between playheads by using either the PlayHeads window or by using the Job Shuttle control panel The currently selected playhead will receive all color correction and formatting you apply COLOR 145 CES 146 COLOR 3D Display Modes For Stereoscopic 3D projects enable the 3D monitoring option in the Config screen settings tab and then using the selection Display Both Eyes for 3D to see both eyes on the SDI output The format of the display can be selected from the various display types Side by side Line by Line Checkerboard and Difference B amp W and Difference Color gr Grab Still Grab All Stills from First Frame Grab All Stills from Middle Frame Toggle Wipe Toggle Ref Mode Toggle Wipe Type Toggle Invert Wipe Reset Original Size PlayHeads Cha
174. ig Page Do you want to continue and save CDL file Cancel CD Export Prompt To export the CDL right click on the active timeline in the Conform page and select Export CDL follow the prompts to name the file and choose the Export path CONFORM Conflicts Sometimes when an EDL Is used to create a new Session there is a conflict in timecodes This occasionally occurs when shots are added to the Media Pool incorrectly or when replacement shots are added but the original shot still exists As DaVinci Resolve uses the clio timecode for reference when generating the grading metadata it s not valid to have two clips with the same timecode within the same folder It s the same concept that prevents you having two files in the one computer folder with the same name Of course the same timecode often occurs in the normal course of our work but this should be managed by having these clips in a different folder or with a different Reel name 2 Monil35Am Q Tracker amp DaVinciResolve File Edit View Session Control Nodes Dynamics Doete Timeline with four clips indicating Conflicts in Timecode So if you do have a conflict it will show up in the Session timeline with a C within the clip To resolve the conflict right mouse click on the C indicator within the thumbnail TE C Indicates Conflicting Timecodes Between Two Source Clips CONFORM 129 CHARER 130 CONFORM If you se
175. igating around the Node Graph and making correction trims the Colorist decides he she needs an additional node for more correction Using the Append Node key will always add a Serial node to the very end of the Node Graph regardless of which node in the graph is the current node DAVINCI RESOLVE CONTROL SURFACE 295 CES 19 296 DAVINCI RESOLVE CONTROL SURFACE Reference Configuration This area of the fader panel include six keys and the fader T Bar It is primarily used for control of stills display with and without reference wipes The fader bar controls the mix or wipe position when the appropriate mode is active Key This key is not yet implementeo Circle This key is not yet implemented Wipe The Wipe key selects a wipe for reference comparison with the current image H V This key toggles the wipe between horizontal and vertical Box This key is not yet implemented Mix To mix in preference to wipe select this key Still The Still key permits comparison of the current clio with the selected still Memory Use this key to compare the current clio with a memory Hilite When in the Vector menus making secondary qualifiers it s ModecShiftDownHighlight common to select the Highlight key to show a high contrast separation of the qualified color and all other parts of the image Toggle this key to turn off Highlight is used so often it s also on the fader panel and when in vectors on the Trackb
176. ill automatically grab a full resolution frame from the timeline and attach the node graph metadata for later display and use Transport Control Keys Most colorists will use the Transport Control keys every minute of every grade so they are located for quick and easy access While not technically within this key group the Job and Shuttle knob is directly above these keys Jog Shuttle Loop Render Rec Previous Node Rotate the jog control to step forward or backward a few frames at a time On the outside of the Jog rotary control is the shuttle knob This knob has a detent at the null position and is turned clockwise or counter clockwise to shuttle the transport timeline forward or reverse at the rate selected by the rotation of the shuttle knob You may wish to repeat a review of a grade of a clip or a selection of clips on the timeline this Loop toggle key selects or deselects the loop operation Once you have finished your grade the Render key selects the Ul screen used for configuration of the render parameters for your project Shift Down Renden This key Is not yet Implemented Within the Node Graph on the Color screen you are likely to have a number of nodes These are numbered based on the order that you added them which may not be the logical image flow order DaVinci Resolve Node Graphs are completely user configurable so you can add nodes anywhere and in any order you like Thus the pr
177. imum Flat Pass Off Use Clip Setting Force On Disable Input PTZR Use Proxy if Possible i a source Directory Preserve Level Used Space 0 Mew Usage 0 Batch Recording Progress Destination Path Browse Destination Suffix Additional Render Properties RENDER 27 ASA RENDER 16 272 Render Path Settings The remaining items in this window relate to the Render Path settings The Source Directory Preserve Level selection will retain the source file directory structure when rendering material It will automatically create sub directories to match the source files This is followed by an indication of the storage use showing the amount of space available within the target storage area and the new usage based on the selected timeline or clip for rendering Should you use Batch Recording there is a progress bar and status display showing the Batch Render progress covered later in this chapter Use the Browse button to select the location or type it in directly If you like also define a Destination Suffix that will be applied to the recorded file The Render button will initiate the render process based on all the settings in the Render Properties display This will bring up a prompt in place of the Render window that shows you the progress of the render You can watch the Viewer as DaVinci Resolve is rendering and note the render speed on the top left of the Viewer A Render Progress wi
178. in the grading monitor path to emulate the film recorder film lab and print stock used for a film out to ensure the print shown in the cinema will appear the same as the image on your grading monitor Physical and hardware exceptions apply but the principle is that with the film out 3D LUT in the Display path what you see is what you get Of course often you dont want this LUT to influence the waveform monitor displays as these are providing an accurate indication of the levels and phase etc of the image and are not subjected to the limitations of the grading monitor calibration or the film out film lab orint stock limits With DaVinci Resolve you can select to apply or not apply the LUT to the waveform displays by using the checkbox Apply LUTs to Waveform Display Printer Light Step Calibration For film projects when you have a tight integration with a film lab it is possible to adjust the printer light calibration sets to match the lab you are using You should work with your lab technician to set up the Lab Aim settings the Steos adjustments which is an incremental value and the Density Increment adjustment which is the amount of correction applied within each step Generally the Step and Density values will be identical but this will be up to your lab and your preference Printer Light Step Calibration Lab aim densitity 25 00 fed 25 00 green 25 00 blue Density increment 1 00 1 00 1 00 1 00 1 00 green 1 00
179. ing project and or may change the various parameters of the configuration in order to accommodate the project needs You can also assign a name to the project within this page These tasks are performed on the configuration screen which is the first screen always opened by Resolve CONFIGURATION The User List This screen lists all available databases with the users and their associated projects and system configuration files Note that you will not see your user ID within the current database This list allows you to simply import projects from other database or from other users into the current database and user Expand the list to find and select the project or configuration and select the Import button DaVinci Resolve will import that project or configuration and place it in your active database User List Name Date Modified 7 Master Database y Local DB DoS anrien admin BR Pote 2 fl prosects peter tedex Copy big test Copy IBC_S3D BMD_gen_demo2 Aug 20 2010 17 06 34 BMD_gen_demo 3 35 Import M conrics Refresh User List CONFIGURATION 47 AS CONFIGURATION O The Configuration List The Configuration List will show all configurations saved within the current database for the current user As the Admin you can define a User Default Config that can be used as a default system configuration for all new projects Modifying and Saving an Existing Configuration To modify an existing configura
180. ings and this will open the decoder control window COLOR TA 12 13 15 23 PRIMARY Lift Lum Gain Lum Gamma a 7 Lum Lift dd pa versions Default Version Delete All Versions Add into current group Add into a new group Remove from group Default Group Edit RED Codec Settings Edit PAR Value Update All VSR Change Input Format Preset for Clips Switch Parent Directory Revival Mark Clip for Render Cache View Clip Details 17 14 30 12 Offset xy Off che Off size Off ode Gallery Type Wipe Color screen Thumbnail Right Click to select Edit RED codec settings Master RED Decoder Settings There are three sections to the decoder window The first is on the top left of the RED Settings window the configuration here sets the operation for the balance of this window The Decode Quality setting can be set to use the Project setting as selected on the Configuration screen Source tab for RED or you can select one of the other debayer ana resolution settings These settings include Full Resolution with Premium Debayer to Half Res Premium as often used for grading down to the One Sixteeneth Res with Good debayer which is often used when grading RED files on a MacBookPro Master Red Decoder Settings Decode Quality Use Project Setting Decode Clips Using Quarter Res Good One Eighth Res Good One Sixteenth Res Good Color screen Thumbnai
181. ion Once you have selected the Clio option there is also a Reset button that is highlighted at the bottom of the window If you make any changes to the clio decoder settings and you wish to revert to the settings that existed when you first opened the window use the Reset button The Cancel button will close the window with no changes and the Apply button will save the changes made and close the window COLOR Image Decoder Settings Once you have selected the Clip option in the Master RED Decoder Settings all parameters in the Image Decoder become active Color Science Color Space Gamma Curve OLPF Comp Image Detail Denolse The original REDone camera builds used a different color science to the more recent builds Select here as appropriate RED offers a number of different color space options when decoding the RAW images REDcolor which is default color space Camera RGB which bypasses the matrix in the camera and uses uncorrected sensor data REDSpace which extracts a color space larger than REC 709 often used for film work sRGB which is a color space used for monitors printers and the Internet and REC 709 which is the standard for HDTV The Gamma selections include Linear where no gamma adjustment is applied REC 709 which is the standard HDTV gamma sRGB which is a color space used for monitors printers and the Internet REDSpace which is a higher con
182. ion EDL session and the actual EDL event that uses the clip Editing features will be covered later in this chapter but if you decide to use the Edit functions to modify the Conform those changes will also be reflected within this EDL display When you are in any Session other than the Master Session the material may be re conformed from information contained in other Reel folders This can be done by right mouse clicking within the Conform Timeline display and selecting Re conform from Reels CONFORM Viewer Displays The Viewer display at the top of the Conform screen has two main modes One compares the Offline and Online images to make sure the EDL that was used to generate the conformed timeline matches the Offline video The second mode Source Clio View is for selecting and reviewing clips and subsequent marking of In and Out points 01 00 05 18 The Conform Page Viewer Display Under the Viewer images in the display is the control panel with timecode indications clip transport controls with Step Reverse Play Reverse Stop Play Forward and Step Forward buttons There is also a scroll bar which you can operate with a mouse or use as feedback indicating the position of the displayed frame within the full clio Also below the Viewers there is a Mark In and Mark out button for selecting clio In and Out points These buttons are used in the second mode of the Viewer Display Online and Offline Comparison Mod
183. ion set correctly If you are using an HD deck set the deck to the Auto sync mode In this mode the deck will use external sync reference while in playout or if you don t have an external reference generator like the Mini Converter Sync Generator it will default to the internal sync when the deck is in record mode it will automatically switch to Inout sync For an SD deck which does not have an Auto mode we suggest you provide an external sync source and set the reference to External DECK Source Timecode To ingest just a section of the tape simply go to the selected areas by using the transport controls under the Viewer or use the controls on the DaVinci Resolve contro surface Once the correct location has been found locate the Mark In button on the Deck Screen Ingest tab and click to select the start point then find the appropriate out point on the tape and select the Mark Out button to select the end point There are Timecode Trim buttons to step the in and out points forward or back a few frames and you can quickly cue to these points to verify they are as you like Or simply enter the timecode numbers for the in and out points If you know them You should then define the path in your media storage where the ingested files are to be stored This may be typed directly into the Save In Folder area or if you would like use the Browse button to locate a folder on the storage D
184. ions to control primaries secondaries known here as Vectors image sizing and windows Primary Vectors SIZING Windows Outside Node Add Matte Disable Current Delete Current Node CPW Node LPW Node PPW Node PCW Add Serial The first grade for every clip will be a primary This is where you balance the clio and correct for offsets in the black and white balance Selecting Primary switches DaVinci Resolve from other grading modes and automatically selects the primary menus for the LCD displays When you select and isolate a particular color and change that color you are making a secondary correction The Vectors key updates the menus to provide all the secondary controls including the Kilovector hue selection and control The input and output image resizing engines are controlled using the menus selected by Sizing The Windows key opens the menus for Circular Linear Polygon and PowerCurve windows that can be used as a matte or mask for primary and secondary grades Selecting the Outside Node key will add another node after the current node and automatically link both image and key paths If the original node has a grade within the matte shape the new Outside Node would control the grade in the inverse i e outside the matte If there is a matte clip associated with the clip by selecting this key the matte node will be displayed on the Node Graph This key is a toggle key and it dis
185. ipple Mode This section determines the default setting for a correction ripple i e how to copy grades or ripple them from one clip to another Timeline Ripple Mode Target clips are set to Exact values changed Unit value changed All values are copied Timeline Ripple Mode CONFIGURATION 73 AS CONFIGURATION O In each case the target clips are set to Exact values changed Percent value changed Unit value changed All values are copied Working Folders Changes made to the current scene are rippled to the additional scene s using the exact control setting changes For example if Master Gain in the current scene is changed and set to 75 percent of its range each scene rippled will then have a Master Gain setting of 75 percent This is useful for setting consistent levels throughout the entire list Any change made to the current scene is rippled to the additional scene s by the same percentage of change For example if the current scene has a Master Gain level of a hundred units and is changed to ninety units then each rippled scene will have a relative reduction of 10 percent in its Master Gain level This modification is based on the Master Gain level in the rippled scene s before the change So if a particular rippled scene originally had a Master Gain level of fifty units the relative change of 10 percent would reduce the rippled scenes video gain level to forty five units Any changes made
186. ique DaVinci Resolve Trim_LUTO DPX image which is located at Library Application Support Blackmagic Design DaVinci Resolve trim_lutO dpx Generate LUT from Current Grade Save LUT as Generate LUT Save LUT as CONFIGURATION There are two workflows for generating the LUT Workflow A Using the color correction controls and the Trim LUT DPX image within Resolve to generate the LUT Workflow B Using an external software oroduct capable of applying a color correction effect which you want to capture as a LUT Workflow A 1 2 Set your resolution to High Definition within the Config screen Load the trim_lutO dpx file located at Library Application Support Blackmagic Design DaVinci Resolve trim_lutO dpx into the Browse screen s media pool Within the Color screen you will now see the Trim LUT file within the thumbnails Select a normal image clip on the timeline and color grade the desired offset or effect You can grade this image like any other Once done select the Trim LUT clip on the thumbnail timeline with your mouse to make it the current clip With the Trim LUT file as the current clip using the center mouse button click on the clio you just graded with the desired offset grade This offset grading will now be applied to the Trim LUT file This is a standard DaVinci Resolve copy grade operation Then within the Config screen LUT tab assign a name to the new LUT to be generated using the Sav
187. isplay including windows on the GUI but not the main monitor or both as they prefer Cursor The Cursor is used for the Color Picker when in Vector mode This key also controls the window display Under the left and right most trackballs there are three keys Operation for the keys under the left hand side trackball is not yet implemented The keys under the right hand side trackball provide left center and right mouse buttons The right hand side trackball functions as a mouse when the left mouse button Is selected while not in Cursor mode and can also double as an Offset Control DAVINCI RESOLVE CONTROL SURFACE Transport Panel Reference Configuration Located at the top left hand side of the Transport panel are the Deck and Still Select keys These are all related to controlling the deck virtual decks when in multi playhead mode and the grabbing and selection of stills There is also an Undo and Redo key a Shift Up and a Save key Split Shift Up In In Join Shift Up Out Out Duration Gang Undo Redo Source L Place Shift Up A CR ACR F Place Shift Up B B G Place Shift Up C C DaVinci Resolve associates grading information based on source timecode and as it s also possible to have source clips with the same timecode sorted with file name and or path etc it s important to have each source clio identified as a different clip to all the others The
188. its grades and marks Again with the preset exception noted above This key deletes all nodes in the clio with the exception of the first node and resets the grades to default and clears the marks To preview one of the memory grades on any clip select the clio on the timeline select Preview Memory and then the memory This key is a toggle so if you do not like the grade on the memory for that clip select Preview Mem again and the clios grade will revert to the original Each clio by default has a memory of its grade sizing etc The metadata for every clip is saved in reference to the source timecode If you are grading a clip and move from it to another clio the grade is saved automatically in a memory for that clip If you come back to the clip and make a change to the grade then decide you dont like the change select Original Mem to return to the grade status you found when returning to the clip The Scroll key selects a soft menu on the Trackball panel so clios or frames can be scrolled via the rotary control in the soft menu DAVINCI RESOLVE CONTROL SURFACE 303 AS DAVINCI RESOLVE CONTROL SURFACE 19 Numerical Entry Key Group On the center right hand side of the Transport panel is the Numerical Entry key group Here you will find numbers O to 9 and associated keys for entering timecode and clip numbers You will notice the numbers you type are displayed in a scratchpad area to the right of the menu bar on
189. king ISO or Gamma or Color Space changes to all the clips while maintaining the camera metadata or project metadata settings for all the other parameters RED metadata saved in stills e RED clips can have individual decode settings which can now be saved with stills thus permitting these settings to be copied to other clips INTRODUCTION 15 ASA INTRODUCTION Stereoscopic 3D timeline slip to sync left right eye e With V71 the colorist can now slip one eye in relation to the other while remaining on the color screen to correct image sync Issues Stereoscopic 3D Auto color matching e DaVinci Resolve can now apply an automatic color correction to match two stereoscopic images using either Custom Curves or primary controls Stereoscopic 3D image keystone control The mirror rigs used for Stereoscopic 3D production may introduce geometric distortion to the image that can be trimmed using the new Yaw and Pitch controls Stereoscopic 3D side by side and line by line render option e All DaVinci Resolve systems can be used for Stereoscopic SD grading and provide monitoring in Side by side and Line by line mode on the HD SDI output of the DeckLink card These modes are now also available for rendering Clip count display on Color screen primary tab On the primary tab of the Color screen the top status item is now called Clios where DaVinci Resolve reports the number of clips in the timeline e The Stereo Grade statu
190. l Right Click to select Edit RED codec settings As you assign the decode quality you will have a direct impact on the performance of the system so you may want to grade in a resolution which provides real time playback then use the config settings to switch to a higher quality resolution for rendering This will depend entirely on the hardware capabilities of your system COLOR 175 CES 9 176 COLOR The second setting in this area is to select to source of the RED metadata for all the other decoder settings If you leave this setting on RED Default then DaVinci Resolve will use the decode settings supplied from RED If you select Camera Metadata DaVinci Resolve will extract the controlling metadata from the rsd file as it was set by the camera The Project setting will use the DaVinci Resolve configuration you set on the Source tab On the right of the window the Red Default Camera Metadata and Project settings for this clio are displayed adjacent to the slider controls for the Clio settings The Clio option provides you with significantly greater control for each clip Selecting Clio will make all the other controls on this window active and you can set them as you prefer for this particular r3d clip Master Red Decoder Settings Decode Quality Full Res Premium Decode Clips Using Clip Project Camera Metadata RED Default Master Red Decoder Settings Clip Select
191. l not change 01 00 00 00 Highlighting the Qualified Areas COLOR 185 CES 9 186 COLOR Next adjust the Hue Saturation and Luminance Gualifiers to get a cleaner gualification First start with the Hue Gualifier which is shown as a rainbow colored bar to indicate the range of Hue values available When you select a color on the image to qualify with the cursor or mouse the selected color will be indicated within a white border on the Hue display Adjusting the Center control will make the white border move up and down the display Width is used to narrow or broaden the range of the hues selected You will see the result on the Grading monitor as well as on the Hue display The Soft control will change the attack angle of the qualified hue selection from the normal hard edge to asofter ramp The Symmetry control changes this softness parameter at either side of the hue range Balanced symmetry has the soft slope even on each size or one side of the control range can be hara while the other soft QUALIFIER Low A zu Low kad Low Soft milli 100 HW Ratio Mr Blur Highilig rit O Offsst Shrink n Invert HSL Qualifier COLOR Width Symmetry High High Soft High High Soft miili Golor Picker The next color band shows the Saturation range of the hue selected Again the white border is displayed around the pixel value selected The Low and Hi
192. lect the Master Session timeline ana right mouse click on the C indicator it will show the conflicting information within a Conflict window and you have the opportunity to copy the correction from the Master Session clip to the conflicting clip in the other timeline If you perform the same action on the other conformed timeline the same Conflict window will open except that it will allow you to choose the clip within this Conform Timeline to act as the Master by clicking on the thumbnail 00 12 56 02 00 12 56 02 Upon successfully completing this operation the C indicator will be replaced with an R indicating that the conflict has been resolved CONFORM Image Path File Name Start Timecode Reel Name Creation Date Image Path File Name Start Timecode Reel Name Creation Date Image Path File Name Start Timecode Reel Name Creation Date Image Path File Name R Indicates the Conflict has been Resolved Conflict Resolution Volumes Raid 0 HD QUICKTIME Blackmagic_10bit_RGB mov 01 00 00 00 461 frames Frame Reel Wed Jun 23 10 24 03 2010 Volumes Raid 0 HD QUICKTIME Blackmagic_10bit_RGB mov 01 00 00 00 461 frames Frame Reel Wed Jun 23 10 24 03 2010 Volumes Raid 0 HD QUICKTIME Blackmagic_10bit_RGB mov 01 00 00 00 461 frames Frame Reel Wed Jun 23 10 24 03 2010 Volumes Raid 0 HD QUICKTIME Blackmagic_10bit_RGB mov Resolving Conflicts Cancel ColorTrace ColorT
193. line Clip Add into Proxy Manager Add into Media Pool With Offset Scene Gut Detection Change Source Timecode In Header Convert Format Benchmark Clip Add as Matte Copy Move to deleted Delete Permanently Delete Permanently in Background Clip Window right mouse click Add into Proxy Manager The Proxy Manager can also be accessed from the Media Pool and the Proxy Manager button which is at the top of the Browse screen As this functionality is considerable please review the operation details later in this chapter Scene Cut Detector All color corrections in the DaVinci Resolve database are related to individual source clips and their timecode and as selected file name and path If you have imported a clio with numerous scene changes and it does not have an EDL the fastest way to split the clip is with the Scene Cut Detector By selecting this option the clio will be loaded into the Scene Cut Detector screen and be ready for processing Please review the Scene Cut Detector feature details in the Scene chapter BROWSE 91 CHARER 7 92 BROWSE Changing the Source Timecode in Header Previously we discussed the option to ada clips to the Media Pool with a frame offset While that is a commonly used feature quite often you will find that your clips have no timecode or the wrong timecode DaVinci Resolve is capable of changing or assigning a different timecode to a clip If there is no timecode present
194. ls the timecode of the current frame and to the left of the Transport Controls the same Configuration buttons as found on the Color screen These once again are as presented on the Color screen On the lower right is the Dynamic Timeline and the Clip Track and Unmix tabs for the keyframable dynamics This allows you to program image reposition marks and dynamic events and is also a duplicate of the Dynamics Timeline on the Color screen Functionally these all match the Color screen however on the Format screen they all interact with the controls on the Input Output and Slate tabs Format Screen 225 FORMAT Input All controls on the Input tab refer to the individual clio being adjusted so the Clip tab is also automatically selected to show the Dynamics Timeline for the current clip Select another clip and the settings will match the dynamics set for that clip If you have no input adjustments i e no Pan or Size or Rotation etc the controls will show no variation between clips However a simple Pan on the slider control or panels will be displayed on the Input tab and also on the top right image of the Output image Input Transform When you adjust the image format using the Input Transform controls these changes may also be programmed within the Clip tab of the Dynamic Timeline as Input Transform settings are all on a clip oy clip basis and are keyframable Input Format Tab Presets You can create
195. ls display Many Mirror the operations from the Color screen however there are some specifically for the Gallery STILLS 1 switch Wipe Mode Window amp Vector Play Still Add Correction A Display Node Graph gt M 4 Delete Selected s A Ghange Label PAL DV50 LAN gt Import Export Export with 3D Lut Properties select All select Current gt Last select First gt Gurrent Current Project Stills Right Click Switch Wipe Mode The Switch Wipe mode will select the current timeline clio to compare to either the Gallery still the matching offline frame or another clio on the timeline In order to match parameters from a Gallery still with that of the actual grading being done you should activate the Reference Wipe mode or select Play Still You may select another clip to wipe against by selecting the Still Timeline button on the panels and then pressing the Previous or Next buttons on the DaVinci Resolve Panels to get to the selected clip or just use the mouse When this is done the clio being wiped against will be highlighted in yellow When this function is de activated the current clip will wipe against the image loaded in the Gallery If you wish to compare with the Offline video toggle the Reference Wipe mode until the Offline label is seen on the status display Toggle Wipe Shape switches between vertical wipe horizontal wipe mix or a key or Alpha contr
196. lternative way to work is to put the nodes in parallel rather than in series The nodes can then have a common input the full range data and each can produce the individual enhancement and output to a Parallel Mixer node The Parallel Mixer node is a multiple input and single output node for images There is a Key Mixer node we will cover later When you add a Parallel node to an existing node DaVinci Resolve will automatically add one Corrector node below the current node and will also add a Parallel Mixer node The current node and the new Corrector node will have the same input source which can be the original file source or the output from another node Both the current and the new Corrector nodes will have their outouts connected to an input on the Parallel Mixer If you add one more Parallel Corrector node the Mixer will add another input A Parallel Mixer node will mix all the inouts with equal processing priority COLOR 159 A COLOR 9 Layer Mixer Node The Layer Mixer node appears at first sight to be similar to the Parallel Mixer in that it allows for multiple Corrector node outputs to be mixed into one node While the Parallel Mixer processes all the inputs with equal priority the corrections in a Layer Mixer are prioritized from top least priority to bottom greater priority As you add additional Corrector nodes to the Layer Mixer they are placed with a higher priority on the Node Graph below the preceding nodey C
197. m the Project tab or on the DaVinci Resolve control surface When using the Low Resolution Proxies section of the Project tab select the resolution for the proxy which is often exactly half the system resolution Proxies on DaVinci Resolve are made with our optical quality resizing engine and have been used for major budget film outs There are two types of proxies The traditional pre generated proxies which are managed from the Browse screen and often used for 4K projects where the system hardware only permits real time 2K performance and the advanced On the Fly Proxy OFP which DaVinci Resolve generates in real time Low Resolution Proxies Use real time proxies Automatically scale to 960 x 540 resolution Low Resolution Proxies Proxies are generally used when a complex color correction is created and the system begins to run a little slower than real time When this occurs the proxy mode can be activated in order to see the results running in real time Alternatively you can cache the clip to gain real time performance again The Low Resolution Proxies display shows the resolution of the generated proxy and the Use real time proxies checkbox allows the operator to activate the Proxy mode CONFIGURATION Timeline Conform Options DaVinci Resolve will make a conformed timeline of the selected clips using a number of parameters to make it easy to deal with missing timecodes or conflicting reel names It is important
198. mage out point timecode REC In is the record timeline in point timecode and REC Out is the record timeline out point timecode The final column Comments is useful for conforming when Reel Names are longer than 8 characters e g from RED TREECPVUFETFISACIN TT OSACOUT RECN RECOUT COMMENTS 1 002 V C 07 04 01 12 07 04 03 00 00 59 59 24 01 00 01 12 FROM CLIP NAME 001 V 05 13 08 22 05 13 10 17 01 00 01 12 00 03 07 FROM CLIP NAME 001 ANA 04 01 54 24 04 01 57 03 01 00 03 07 01 00 05 11 FROM CLIP NAME V 08 02 00 00 08 02 03 00 01 00 05 11 01 00 08 11 FROM CLIP NAME ANA 04 16 48 14 04 16 50 00 01 00 08 11 01 00 09 22 FROM CLIP NAME 02 12 40 21 01 00 09 22 00 11 19 FROM CLIP NAME 01 00 11 19 01 00 13 2 FROM CLIP NAME 10 03 46 03 0 03 47 22 01 00 13 24 01 FROM CLIP NAME 06 04 57 24 06 04 59 13 01 00 15 18 01 00 17 07 FROM CLIP NAME vol0 Copa 4633 e TITLE no title 001 002 VC 07 04 01 12 07 04 03 00 00 59 59 24 01 00 01 12 FROM CLIP NAME COMMENT 05 13 08 22 05 13 10 17 01 00 01 12 01 00 03 07 FROM CLIP NAME 0058 COMMENT 003 001 vV C 04 01 54 24 04 01 57 03 01 00 03 07 01 00 05 11 FROM CLIP NAME 004A COMMENT EDL Display above and raw EDL text below If you right click on this event and select Locate in Master Session or Locate in Media Pool you can cross reference source clips all the way from the Storage volume and folder and file name to the Master Sess
199. makes for later use You can drag stills into the PowerGrade tab from your Memories or save directly to the tab POWERGRADE EE men TE M kl E e a A KITT n Window amp Vector Y 11 e tt i multi keyMix HDprorez Se Multi track ia A a A E Was Aaa Se PAL MxF ur PowerGrade lab GALLERY 219 ASA GALLERY N Orphan Stills Occasionally you may delete a Project or the links between the Project and Gallery database become disconnected In this case the stills are not lost they just become Orphans and are displayed in a tab for you to delete or move as you like ORPHANS Master Session 1 Master Session 2 Master Session 3 Master Session M Master Session 5 Master Session 6 Master Session T Maste iia Pei A Master Sessio 3 Master Session 14 Master Sessi Session 15 Master Sessi Session 16 Master Sessiond Master Ses Master Session 14 Maste by Oa 5 w y is n mul ti l Ea Ine id Loe Master Session 26 Master Session 27 Ma ster aqasion a Master Session 28 Master Session Master Session 31 Master Session d2 3 E a s ae ES gt Y 1 E a Ay NG n lars Orphans Stills Tab 220 GALLERY Current Project Stills The bottom half of the Gallery screen displays the stills related to the current Project On the left are the Memories and to the right the Stills and PowerGrades There are number of right click options found In the Stil
200. matte ana select Add as Matte In the Media Pool the main clip will nave a cyan box just before the clip name and if you double click the main clip the associated matte will be shown with the Mask icon it is linked to the main Clip BROWSE 93 ASA BROWSE 7 Extract Audio from QuickTime DaVinci Resolve is a color correction and enhancement system but it also offers synced audio playback of wav or AIFF audio files To extract audio from a QuickTime file into a separate wav file for synced playback right click on any QuickTime file in the browse screen and select Extract Audio to bring up the Audio Extraction window Add into Media Pool split and Add into Media Pool Add Clips Based on EDLs into Media Pool Add as Offline Clip Add into Proxy Manager Add into Media Pool With Offset scene Gut Detection Convert Format Extract Audio Add as Matte Copy Move to deleted Delete Permanently Delete Permanently in Background Clip window right mouse click over QT file Specify where the extracted audio file should be stored and then select the Extract button to start audio extraction If the QuickTime audio track is encoded with incompatible audio codec an error message box will be displayed to notify the user After audio extraction is complete you can attach the extracted wav to asession in the Conform screen Audio Fie Name vol Quicktime _samples HD 10Bitwav Progress 94 BROWSE Extract Audio
201. mpressed support e OpenEXR is a high dynamic range HDR image file format developed by Industrial Light amp Magic for use In computer imaging applications e With DaVinci Resolve V71 ext files in 32 or 16 bit floating point can be graded in real time The ZIP RLE and PIZ compressed formats are also supported Sony MPEG4 SStP read support for network file transfer The new Sony HDCAM SR 5800 2 decks have an optional Gigabit Ethernet file transfer card to permit images stored on the deck as MPEG 4 Simple Studio Profile to be transferred in a MXF wrapper using a web browser These files can now be read by DaVinci Resolve and graded like all others REDcolor2 and Adobe 1998 color space REDgamma2 gamma space for RED files e DaVinci Resolve now supports the new REDcolor2 and Adobe 1998 color space as well as the REDgamma2 gamma space for decoding RED clips e RED clips now are always listed in the Browse screen at their full resolution irrespective of the decode mode being used Automatic camera metadata support for HF lip and VFlip for RED clips e V71 also supports the horizontal and vertical image flip camera metadata for rsd clips which is very helpful for stereoscopic 3D projects to flip the eye that is shot through the mirror rig Ganged adjustment of decode settings for RED clips RED clips in V71 can be ganged together and adjustments to the decode settings applied to all the ganged clips This new feature is ideal for ma
202. n other scenes You may compare the stored images to those being graded by using a wipe or mix The Gallery displays the database to search for other projects stills and other users stills as well as the A Z Mems or Memories that offer one key selection on the DaVinci Resolve control surface er a wre sem va Sameer vadi Sa 50005 Gallery Screen The Gallery screen has four sections The too half displays the Gallery Database Browser and the tabs selected for Stills display within that browser The bottom half of the screen displays the Memories and Stills that relate to the current project Stills can be copied between sections by simple click drag and drop mouse operations GALLERY Gallery Database Browser At the top of tne Gallery screen is the Database Browser and to the right you will see the tabs as selected by this browser Each of the databases connected to this DaVinci Resolve system will be visible and within each the user names and their projects Gallery Database Browser M big test Copy M peter fedex Copy POWERGRADE admin anrico quest Orphan Gallery Database Browser If the user has stored any stills as PowerGrades these appear in every project for that user making it easy to select and use reference stills or grades from other projects or just to keep the looks you like to use Remember each still that is captured also stores the Node Graph displaying how the grade was cons
203. n screen select the shift down key followed by the Revival key Current Viewer This key toggles between the screen you are on and the Viewer screen so it s a quick way to see the image at full screen on the UI display Object Track Mode The Object Tracker is best viewed on the Viewer UI This key selects this screen and also opens the Object Tracking menus DAVINCI RESOLVE CONTROL SURFACE AS DAVINCI RESOLVE CONTROL SURFACE 19 290 Clip Track Unmix User Shift Up Cache Mode Cache Editor Proxy On Off Auto Color Page Up Shift Up Gallery Gallery Page Down Shift Down Gallery A C Mode Handles Mode DAVINCI RESOLVE CONTROL SURFACE This is a toggle key The color corrections in DaVinci Resolve are generally associated to each individual clip and so most of the time you will be in Clio mode Occasionally you may wish to make a grade or correction enhancement or even add a matte to the whole timeline In this case select Track The Unmix function allows pre conformed clips with dissolves to be un mixed when using an EDL Then each clip can be graded separately as though there were two Clips Will mark a clip for render cache This key is a toggle function to select one of the cache modes Cache All will background cache all clips This operation in performed when you move from the current clio to another Dissolve will cache clios with dissolves User will cache clip
204. n the Frame Number Batch List Settings The Batch List Settings on the lower left of the Deck screen can be used for controlling image ingest based on an EDL The events listed within the Batch List can be loaded using an EDL or loaded from the information on the Ingest tab including the timecode and reel name from above Within the Batch List Settings display there are also controls for managing the batch list operation To add handles to the ingested material use the Apply Handles button and set a value This will direct DaVinci Resolve to ingest additional material on the beginning and end of the edit points as required The value may be entered using the number window located to the left of the button Select the Add Batches button to append additional entries to the Batch List display The amount is selected by the value to the left of the button DECK 239 AS DECK 1 240 If there is a gap between adjacent clips this may be retained by checking the Gao Between Clips option The Copy to Batch List button will incorporate the manually entered information into the EDL allowing the user to modify the EDL information Further information on the Batch List section can be found later in this chapter Audio Options While DaVinci Resolve is a color grading and enhancement system it will record and play audio principally to be used as a guide track during grading or for preview ofthe completed Project To ingest au
205. n the left of the panel trackballs one each for Lift Gamma and Gain Luminance level They are also available as horizontal slider controls for the Luminance Lift Gamma and Gain On the right side of the right most trackball there are also three controls The first pot adjusts the Saturation of the isolated area the second pot is a Hue control and the third pot adjusts the Luminance mix control Each of these controls mirror the horizontal sliders on the Primary tab You can select them with your mouse and adjust or reset any control with a mouse click on the value adjacent to the slider To the right of the Color Level displays are the Offset controls and display You can grade material by using printer light steos using the offset uo and down buttons Input Sizing Controls DaVinci Resolve has an optical quality image resizing engine that can be used to position or resize images with such high precision that you can resize the image using dynamics and see the changes in real time At the bottom left of the Primary tab the Inout sizing controls Pan Tilt Zoom and Rotate mirror those found on the Control Panel COLOR 181 CES 9 182 COLOR Primary Tab System Status On the right side of the Primary tab there is a system status disolay showing the operational status of DaVinci Resolve COS Proxy Render Cache Ref Resize Ref Mode Wioe Tyoe Convergence Stereo Grade Stereo Display The numbe
206. n the main display that permit you to Refresh the list Delete a selected clio from the processing set or Delete All clips from the processing set Also on the lower right hand side of the DaVinci Revival display are the Grain Settings controls and presets This area is used by the colorist to establish grain settings which are used by the DaVinci Revival system for grain reduction DaVinciResolve File Edit Wew Session Control Nodes Oymamics Tracker 1 48 Fmis6m Q Revival Page REVIVAL Marking clips for Revival restoration Clips are marked for restoration using the DaVinci Resolve control panels or via the right click pull down list on the Color screen timeline thumbnail for the current clip The options as described in the Color chapter of this guide are to Add the Current Frame for Dirt Processing Add the Selected Clios for Dirt orocessing or Add the Selected Clios for Grain Processing As each selection is made the request will join the queue listed on the DaVinci Revival screen Selecting DaVinci Revival on the control panels will display the control panel soft keys giving you the options for marking the frame or scene just as the mouse selection does on the Color screen thumbnail Add selected clips for Grain processing l Add selected clips for Dirt processing dhe ease Add current frame for Dirt processing View Clip Details switch selected to Revival processed Clips Switch selected to Original Clip
207. ndow will also be displayed on the Color screen during the render Should you wish to interrupt or cancel the recording process and close the Record Properties window select the Cancel button Recording from frame 86400 to 89620 0 Cancel Render progress dialog as seen on the color screen during the render RENDER Batch Render DaVinci Resolve offers the ability to set up multiple render configurations and make a Batch Render list No renders are actually made from this list however it is useful for render management and allows you to set up different resolution file type and path settings as batch requests The Batch Render list shows configurations set in the Render Properties display After you have made all the settings for a render instead of starting the render using the Render button you can add these settings to the Batch Request list Use the to add requests and to delete them The lock symbol is used to avoid accidental changes to the settings of requests in the list and the refresh symbol to update the list Batch Render Batch Requests User Project Session Directory Creation Time Status guest demo Default sess vol0 DPX Stunning Work Thu Aug 5 11 51 02 2010 READY guest demo Default ses vol0 SD Thu Aug 5 11 52 41 2010 READY Add To Render Queue Render Queue Project Session Directory Creation Time Default ses vol0 SD Thu Aug 5 11 53 00 2010 Default ses vol0 ProRes
208. ng Upon the clio within the deleted folder or within any of the other files or folders You may select the option of deleting material in the background without the user interface being locked during the delete process During this operation the clips or folders will be deleted in the background and a prompt will appear to inform you when the process is complete Media Pool Clips Clip Name Start TG End TG Frames Date Modified Resolution Medias CANNON d MVl_0890 MoV 00 00 00 00 00 01 24 07 i 2022 2023 Sun Feb 15 21 01 52 2008 1280x720 8b 4 _DPX Bela DPX_ 00000 00167 dpx of 0 00 00 00 07 00 0 57 Tue Mar 23 17 27 11 2010 ga BO 10b 8 DPX Bela DPX_ 00000 00167 dpx 00 0 0 00 00 07 01 67 68 Tue Mar 23 17 27 11 2010 02 0B0 10b 003 6602 00270236 00270465 dpx 03 00 08 11 03 00 19 01 270236 270465 Wed Apr 7 01 30 32 2010 2048x1556 10b 0086602 a ane NENNEN ES TERR 771805 25 Wed Apr 7 01 30 57 2010 20481556 10b Remove Selected Clips Remove Selected Clips from Master Session Remove All Clips Change Timecode Offset Source Timecode Change Pixel Aspect Ratio Change Input Format Preset for Clips Change Parent Directory switch Parent Directory Add into Proxy Manager Update Information View Clip Details File Administration Pl copy Thumbnail Mode Move to deleted Select for Clip Replacement Delete Permanently from storage File Administration within the Media Pool BROWSE 101 ASA BROWSE 102 Clip Re
209. nge 3 D Display Checkerboard Size Increase Source Clip Timecode Decrease Source Clip Timecode Waveform Options Show timecode at 30 fps Side by side Line by line Checkerboard Difference B W Difference Color Color screen viewer with four playheads active Stereoscopic 3D images are often produced out of sync and the Increase and Decrease Source Clip Timecode selections move the active clip one frame at a time to permit visual resyncing COLOR Waveform displays DaVinci Resolve offers a number of built in waveform displays all of which work at the native resolution of the system rather than at the video standard selected for clio playout This means you can see the full data range of the source image with the correction applied regardless of which video standard you wish to master The displays Waveform Parade Vectorscope and Histogram allow you to monitor the levels of the correction that are being applied to the image Within each display there are the controls that allow you to vary the brightness of the scale and information displayed CO m HISTOGRAM Width 1 0 Height a VECTORSCOPE Width 1 0 Height a Waveform Display COLOR 147 CES 148 COLOR Stills PowerGrade and Memories In the center top of the Color screen are the Stills PowerGrade and Memories tabs While all of these are managed on the Gallery screen they are displayed on the Color screen
210. ning of each clip Always highlight the current clip in the media pool If you select this option any clips that are current on the Color or Conform screen will be automatically identified in the media pool within the Browse screen Show the current frame in the master session When selected the current frame for the current session will automatically be identified on the master session If you are in the Color screen with an EDL timeline open and you switch to the master session DaVinci Resolve will auto cue to the same frame within the master session This is particularly helpful when working with multiple sessions and local versions of grades Use color picker The Color Picker Style setting changes the manner of selecting colors within the Secondary color correction controls DaVinci Resolve is the normal and modern mode however some colorists who are familiar with the legacy 2K orefer the DaVinci 2K mode Switching clips selects When switching clios DaVinci Resolve can switch to the same or another node in the node graph The four options below determine which node Is selected Last Adjusted Node Each clip retains its node settings This is the normal setting First Node The first node is selected as the current node Last Node The last node is selected as the current node Same Node The same node will be selected if available Resize scaling uses When resizing images with DaVinci Resolve particularly
211. ntly this is performed in DaVinci Resolve with two nodes with a Link Control that sends the key signal from one node isolation to another node You can manually add and link a node or with the DaVinci Resolve Control surface select Add Outside Node on the Windows Soft menu to Add another node automatically and link the Alpha channel You can then select the first node and grade the image inside the window and select the second node and correct outside the window To add a Matte Link to a second node manually connect the nodes by clicking on the Arrow icon located to the right of one node and then drag the mouse to the Arrow icon located to the left side of the next node Circular Power Window 01 00 33 05 Circular Power Window The Circular Power Window CPW can have its Horizontal and Vertical Position Size and Aspect changed as well as the Softness of the window s impact on the underling image Quite often the CPW is use to make a vignette Davinci s Circular Power Window changed the industry as it permits very small to large size settings with what seems to be infinite softness Use the CPW in a large wide aspect to make a grading impact on the entire top or bottom of the image Or use it on a single eye of the talent to change the look COLOR Linear Power Window The Linear Power Window LPW first comes up as a square however you may alter the position of the corners and vary the softness for each side This gives
212. nversion table It can be used to perform a conversion between color spaces A button or key which is programmed to carry out a task which was normally done by pressing a series of buttons A method of masking or isolating a region within an image by Using a source such as a Power Window A signal which cuts a section of the image for the purpose of replacement with other information An effect which is caused by lines within the material that conflict with the scan lines Another term for black amp white film stock GLOSSARY 323 GLOSSARY MOS MPEG N Nitrate Node Non Drop Frame Time Code Non interlaced Video NTSC O Off line Editing One Light PAL Panchromatic Parade Display Primary Color Correction GLOSSARY An abbreviation for mit out sound meaning with out sound This is an abbreviation for Moving Picture Experts Group and Is associated with a group of compression standards A term which refers Cellulose Nitrate film stock A stock which was used until the mid 1952 and was highly flammable A channel of processing within a non linear color enhancement system which can be used for primary or secondary color correction An NTSC 30 frame per second time code developed by the SMPTE A term which is also known as progressive scan video Each video frame contains one field of full resolution information A term which is an abbreviation for the National Tele
213. o inputs and two outputs one each for the image and the key Alpha or Matte respectively The Image Path is via the yellow dots and the Key Path via the yellow triangles which are grayed out If not active A Corrector node can best compared to a full featured layer or channel of color correction The node can be utilized for primary and secondary color correction and can include PowerWindows Tracking Blurs etc and can work in Serial mode otherwise known as cascade or Parallel mode depending on the correction required There is no limit to the number of nodes on a Node Graph and so it is common to use a new node for each layer or element in the image that you wish to enhance COLOR Parallel Mixer Node When nodes are connected one after the other this Serial or Cascade configuration effectively links the output of the first node to the input of the next ana so on until the last node which finally links to the Node Graph output This is the point where the Viewer and Grading monitor is connected As each node modifies the image it changes the range of data available to the next node An example would be a node one that removes all the color in the image lts output is a black and white image and the following node only has this black and white image to work with You can not add color on node two by increasing the gain for any color channel as there is no color at the inout as supplied by node one Parallel Mixer An a
214. o view the Track of a PowerWindow in the Viewer toggle Show Track and a white line will display the complete path of the movement of the corresponding Power Window s center point Each mark and the current frame is reoresented by a dot on the Track 212 VIEWER Interactive Tracking Controls The Interactive Object Tracking mode allows you to view and edit the feature vector points that are used for achieving the auto tracking To eliminate unwanted points enter the Interactive mode by pressing Control TF on the computer keyboard or by clicking on Enter Interactive button on the Viewer screen tracking panel Then highlight the vectors which you would like to delete by drawing a box around the area by holding down the left mouse button and dragging the mouse from the upper left to the lower right of the area By pressing the D key on the computer keyboard or the Delete button on the UI the points within the selection area will be deleted Once complete press Control TF or Exit Interactive Alternatively to add points create another highlight area and press the T key on the computer keyboard or click on Insert within the Ul and DaVinci Resolve will insert vector points within this area Single Tracking Points While in Interactive Object Tracking mode you may also add a single feature point First activate the cursor and move It to the area of interest and press the Set Point button within th
215. of 1 up to very over saturated at 5 The Custom PDLog parameter Black Point White Point and Gamma are adjustable from their respective default values of 95 685 and 0 6 gamma The Red Green and Blue Gain controls adjust each color channels gain with O being the reference point One 1 Is unity gain and the maximum 10 is ten times greater amplitude than unity CONFIGURATION 81 ASA BROWSE 7 84 Browse One of the fantastic features of DaVinci Resolve is that clips can be in any folder or volume that is connected to the system Simply identify each clip or folder of clips ana place it via a smart link into the active image storage area called the media pool The files are not p path to each clip is created so it s easy to iden All clips that are to be graded must be in the hysically moved or copied into the media pool A virtual tify all the clips needed for the project Media Pool as they are used to form the Master Session that is used to associate all color grading decisions within the DaVinci Resolve database The Browse screen gives you a number of ways to manage what clips are placed in the media pool and then to configure them for grading if required BROWSE 4 40 Fi l022AM Q Browse Media Storage The upper left of the Browse screen displays all the media storage drives and folders within the storage that you selected using the Preferences window You can ex
216. oject On the main Slate tab select the chalk icon under the window listing the text messages Custom Text Please input the custom text Add Your Custom Text Cancel Custom Text Dialog FORMAT 233 CHARER 1 236 DECK Deck DaVinci Resolve offers video and audio YO under the control of the Deck screen There are four main sections ofthe screen The right hand side has two tabs one for Ingest control and the other for Record to tape The left top section features a Viewer of the DaVinci Resolve or Deck Video output depending on mode and transport controls Below this resides the Batch File Manager amp OaVinciResolve File Edit View Session Contro Deck Screen DECK Deck Viewer The deck viewer displays the video DaVinci Resolve is sending to the deck when in Record mode or the video being ingested from the deck when Ingest mode If you have a deck connected to DaVinci Resolve video with embedded audio and RS422 control then select the Connect button on the left of the screen just under the viewer and DaVinci Resolve will initiate a connection to the deck You can verify that the connection is made when the deck type is displayed under the Connect button and by the status message displayed to the left of the transport controls There is an Event Log on the lower right of the screen which keeps a log of all DaVinci Resolve to deck communications so you can review this if connection is not
217. ol Toggle Invert Wipe will swap the reference and current images in the Wipe display so you can see the other side of the images Trace Timeline With the option to Trace Timeline selected the still that is highlighted will always match the scene selected on the main timeline This mode of operation is not always desired but can be handy if there are avery large number of shots and multiple stills for each GALLERY 221 EZ est N 222 GALLERY One Still Per Scene The One Still Per Scene selection can ease workflow if you prefer to automatically erase a previous still for a scene when a new one Is grabbed As you grab a still it replaces the previous still for a scene Should you have more than one still for any scene before selecting this option DaVinci Resolve will only delete the extra stills when a new grab is made for that scene This feature used in conjunction with the Grab All Stills from the First or Middle Frame is an ideal way to recapture reference stills for a completed project Apply Display LUT If you have a Display LUT selected on the Config screen LUT tab this LUT will be applied to the Grading monitor output and also the Viewer display When you grab a still you would not want this display LUT burnt into the still as it s a display LUT not a Look LUT The stills will appear in the Gallery with the correct non LUT influenced image The Apply Display LUT
218. olor bar signal which was created by the European Broadcasting Union A 25 frame per second time code standard which was created by the European Broadcasting Union This is a list of in and out points which has been created by an editing system it Is also known as an EDL This an abbreviation for Edit Decision List An abbreviation for television and audio standards listing assoclation Electronic Industries Association A seven color bar test chart which was created by Electronic Industries Association An abbreviation for the Federal Communications Commission Within an interlaced signal a video frame is comprised of two fields One field contains even numbered lines while the other contains odd numbered lines A term which refers to the last part of a data file such as CIN or dpx A device which is used to recording image data files back to film A device to transferring film to data formats in high resolution A term which refers to Frames per Second A term which generally applied to storing a frame for comparison A term which is applied to the luminance information within an image A type of measurement which is one thousand million bytes A term which is applied to the width of a film stock A correction which is applied to a series of clips or events The individual grains within the structure of a film stock GLOSSARY 321 GLOSSARY GSN GUI H Handles HOI Head Histog
219. ols for each clip There is also a status display providing a variety of system status Indications Primary Slider Controls Typically colorists use a control surface for grading as it permits multiple controls to be adjusted simultaneously No mouse pen or touch screen allows concurrent simple and intuitive control of a dozen parameters with just two hands For interactive feedback these control panel adjustments are reflected in the interface of this Primary tab but you can also use your mouse to select any of the sliders or color bars to adjust individual parameters Generally the first node in every scene Is used to balance the primary values of the source clip ana Subsequent nodes are used for effects but this is of course a user preference The Primary Color Correction display will show the corrections that are being applied usina from left to right the Lift Gamma and Gain trackballs on the DaVinci Resolve trackball contro panel PRIMARY Lift Pier a 5 ESTER Lum Gain O Clips 2 _ Proxy Lum Gamma 0 E 50 Hender Cacha Ref Resize C SATEEN Ref Mode Gallery Wipe Type Wipe Convergence Opposite Stereo Grade Left Solo Stereo Display Mono Primary Tab on the Color Page COLOR The trackball Lift Gamma and Gain controls are displayed as vertical colored bars with Red Green and Blue values for each Adjacent to the colored bars is the Luminance value grey bar These controls are o
220. olve control panel and a mark will appear in the Dynamics Timeline display Simply play the clip to the point where the dissolve should start and right click select to add the dissolve mark Then play the clip to the point where the dissolve should finish and add Mark The dissolve will then appear within the Event Timeline display IF you have an existing dissolve mark you can change it to a standard mark This will change an existing mark to a dissolve mark To change the position of an event or dissolve simply highlight the event by left mouse clicking on the event and then drag it to the desired location To delete an event left mouse click on the event in the Dynamic Timeline display which will highlight this event Then right mouse click and select Delete Selected Mark from the options When right mouse clicking within the Dynamics Timeline display and selecting Change Dissolve Type from the menu you can adjust the start and end profiles of a dynamic or dissolve event There are a number of different variations for the start and end profiles available The default values may be established within the Configuration page Dissolve Type Dissolve Profiles Start Dissolve Type Render Cache Options When working with dissolves from one clip to another or complex corrections you may want to generate a Render Cache as sometimes the two streams of full bandwidth images can not be played or process
221. on right mouse click within the Viewer and select Reset If the user right clicks the mouse while its over the Viewer a pop up window provides a number of Options Grab Still Grab All Stills from First Frame Grab All Stills from Middle Frame Toggle Wipe Togale Wipe Moda Togale Wipe Shape Togale Invert Wipe Reset Original Size PlayHeads m o WFM PARADE VECTORSCOPE HISTOGRAM save Settings Viewer Window Right Click Menu VIEWER 207 ASA VIEWER 10 208 Viewer Stills Display The first section of these right click options relates to Stills Grab Still will simply grab the current frame to make a still and place it in the Gallery Stills display Grab All Stills from First Frame will grab a still from every clip on the timeline using the first frame of each clip Grab All Stills from Middle Frame will perform the same function except use the middle frame of each clip as the source of the still Once this is started it will work in the background and grab a still for each clip within the timeline It is important to note that once this procedure has started it will continue until completed The Toggle Wipe selection will turn the wipe on ana off This function on the DaVinci Resolve panels is called Play Still The Toggle Wipe mode will select either to compare the current timeline clip to either the Gallery Still the matching offline frame or another clip on the timeline 01 00
222. one you may find it useful to start each reel for a feature film with an increment of the hours Reel two for instance would start at 02 00 00 00 Typically image files are rendered using no Prefix or Suffix and a standard eight digit length of the File Name You can type your own prefix and suffix labels to be used in the file path when rendering or by checkbox selection use the Source Prefix Suffix and number of Digits The Number of Digits selection allows the user to enter the amount of digits required for the recorded file This is particularly useful to make the rendered files immediately readable by another manufacturer s system RENDER 267 CHARRIER 16 268 RENDER Render Properties start Recording at 02 00 00 00 Use Prefix Suffix No of Digits from Source Final Version sui Approved Number of Digits 8 Frame Rate 24 Output Size 1920 x 1080 Output Type DPX RGB 10 bits Render Properties Detail The next setting is the Frame Rate of the render This number is typically the same as the Conform frame rate as selected on the Config screen but on occasions you may wish to set this to a variation of this conformed rate This will adjust the metadata recorded within the file and is again to aid playback for the range of systems available in the market Use the pull down to select from the available options Output Size settings are simply the resolution for the finish
223. ou can also add names in different languages The current still will display a cyan border Memories Within DaVinci Resolve every scene has a grade that is stored in an active Memory Colorists consistently refer to this current memory and compare it to the stills to match grades You can always clear this memory to get to a default memory the no grade applied memory by using the Base Mem control which is a right click selection on the Node Graph or Panel control Comparing the current memory and memories that are used very often is easily done using A to Z Memories which you will find at the bottom of the Still section These stills are in most respects the same as the others in the Stills or PowerGrade tab with the exception that you can save and recall the stills from the control panel with great speed On the DaVinci Resolve control surface simply select Current and then one of the A to Z Memory keys and the current scene grade Is saved to that Memory The Current and A to Z keys are on the fader and also the Transport panel In each case the Memory is seen in the Memory display with a small letter that identifies which Memory It was saved in To recall a grade from the Memory simply select that Memory with a one button selection GALLERY MEMORIES E x gt u a ai A Es A Y l MN a Memories Browser A key feature for the stills is the capture and display of the Node G
224. ou will see a and chalk icon Click on the button and a window will pop up to display options for text Selecting an existing item and clicking on the button will eliminate that text from the burn in Within the pop up window select items for display on the left and move them to the right list with the arrow button Remove will delete selected items from the list FORMAT Add Text Options Source Clip Name GAGA MA Dw ow a DD A F me Source Clip Name Custom Text REMOVE Slate Text Selection After you have chosen which items will be burnt in select OK or select Cancel to close the dialog box with no change When you close the pop up the items selected will aopear in the Slate tab window There are a number of controls available that affect the display of the complete list of items These include Font Color Size Background Highlight and Opacity controls to make the text viewable on your images Use the X and Y position controls to move each item individually First select the item in the window and type in position values think of the image size or use the up and down buttons Then go to the next item and move it gt Add Your Custom Text PR 4 knd kg Ex E gt SL o ma c ins 8 01 00 00 21 86421 Viewer with Slate Text Enabled Custom Text If you selected Custom Text when adding items for display in the pop up dialog you can add your own descriptions to a Pr
225. pand the folder structure to display folders within folders The sub folders or clips within folders will be visible on the Clip Details window directly to the right of Media Storage display Click on each folder to expand ana view the clio metadata and the actual content in the Viewer display Or simply double click and the clip is then placed into the media pool that will make it available for grading Media Storage Folders m Storage Volumes Media Usage 9 m CANNON 7a DPX HAD a B m 1020_2398_DPX h 720576 DPx2 fee Full range DPX MTV demo m 2 Mi HD E E Stuff Tom Trash render Folder Tree Expanded BROWSE 85 CES 7 86 BROWSE amp DaVinxi Resolwe Fie Ede View Session Control Nodes Dynamics Tracker 2 4 Monil24AM Q Browse Right Click over Folder Window A right mouse click within the Media Storage display reveals a number of options Splitting Clips Based on an EDL To split a clio based upon an EDL so that only the required material is placed within the Media Pool right mouse click on the desired clip or folder and select Split and Add Folder and Sub Folders into Media Pool or Split and Add folder into the Media Pool from the pop up menu Then from File Browser window select an EDL to use for splitting the source material and click on Open When prompted select the handle size you need to be added to the clips 5 fr
226. pe gt lt Offset gt 0 3 0 0 0 0 lt Offset gt lt Power gt 1 0 10 10 lt Power gt lt SOPNode gt lt ColorCorrection gt lt ColorDecision gt lt ColorDecisionList gt 134 CONFORM ColorTrace 2K Session With the appropriate version of DaVinci 2K Plus software it is possible to export primary color correction grades from the DaVinci 2K Plus and import them into DaVinci Resolve When you export the file from the 2K Plus the resulting file will contain a 2kg extension The file contains thumbnails source timecodes Reel number information and the grades To import this file right mouse click within the Conform timeline and select the ColorTrace 2K Session option As with other ColorTrace modes you will have the opportunity to use ColorTrace in either Automatic or Manual mode It is important to note that the input for DaVinci Resolve and the 2K Plus should be the same If there are differences a LUT may need to be applied CONFORM 135 CES 9 138 COLOR Color The Color screen is essentially the heart of the DaVinci Resolve system In addition to basic color correction you also have the option of applying a PowerWindow or even Blur Pro Mist and Aperture Correction Effects to each clip The color enhancement process is clio based and centers on the usage of nodes Each corrector node can be considered a full featured color corrector and multiple nodes can be applied in either Parallel or Serial dependin
227. placement and Automatic Proxy Generation To replace sections of a master clio with frames from another location or to automatically generate oroxies for the selected frames use the Replace Shots tool This option comes in handy when you modify a subset of a clio using different tools and want to merge their modifications in the current clip First right mouse click on the master clip within the Media Pool and select Select for Clip Replacement Next build a replacement shot list by right mouse clicking on the required clips and select the Add to Replace List option Then either select the Replace Master button or the Replace Master and Proxy button A 9 Replace Shots CLIP NAME START TC END TC START END FRAMES DATE MODIFIED RESOLUTION MESSAGE Choose Clips to insert from the FileSystem Browse 0 00 00 00 1000 999 0 2048x1556 10b Use Big Endian Master Clip IVolumes Media NAB demo 2k IC1 selects 003 6602 00271552 00271805 dpx 2048x1556 10b Square PAR Proxy Nolumes Media NAB_demo 2k IC selects 003 proxy 0960x0540 6602 00271552 00271805Ldpx 960x540 Square PAR Cancel The Replace Shot Display BROWSE Viewer Window The Viewer window is used to preview clips located either in the storage area or within the Media Pool The bottom of the window has transport controls for Stop Forward Reverse Fast Forward and Fast Reverse Below the transport controls is a slider bar that can be dragged with th
228. play 143 PlayHeads 144 3D Display Modes 146 Waveform displays 157 Stills PowerGrade and Memories 148 Stills 149 Stills Import and Export 152 Sorting Stills 152 Other Still Options 153 Searching For Stills 153 PowerGrade 154 Memories 155 Node Graph 156 Managing Nodes 157 Corrector Node 158 Parallel Mixer Node 159 Layer Mixer Node 160 Key Mixer Node 161 LUT applied within a node 162 External Matte Support 165 Timeline 164 Clio Thumbnails VSRs 164 Correction Management with the Thumbnail Timeline Display 165 Clio Thumbnail Indicators 165 Local and Remote Versions 168 Group Versions 169 Batch Versions 179 Display Node Graph 170 Wipe Timeline 170 Update All VSRs 170 Edit PAR Value Pixel Aspect Ratio 170 Change Input Format Preset for Clips 171 Switch Parent Directory 171 DaVinci Revival 171 Render Cache Clip 172 View Clip Details 175 Audio Timeline 173 RED r3d Clip Decoder Control 174 Master RED Decoder Settings Vs Image Decoder Settings 177 Clip Decoder Settings 178 Primary Tab 180 Primary Slider Controls 180 Input Sizing Controls 181 Primary Tab System Status 182 Primary and Qualifier Control Sensitivity 182 Curves Tab 183 DAVINCI RESOLVE USER MANUAL CONTENTS USER MANUAL DaVinci Resolve 7 1 DAVINCI RESOLVE USER MANUAL Curves 183 Custom Curves 183 YSFX 184 Clio Tab 134 Secondary Color Correction 184 Hue Saturation and Luminance Qualification 185 RGB Qualification 187 Luminance Qualification
229. pplied to the reduction in file size by the removal of un needed information This is an abbreviation for Central Processing Unit A term which is short for Cathode Ray Tube A name which is applied to a positive film print which has been made in order to see the results of the day s shoot A term which is applied to computer or digital information A name which is applied to a Digital Disk Recorder A term which is applied to a setting which has been pre defined by the manufacturer The name of a measuring device that shows the object s amount of transmitted light A term which is short for Deutsche Industrie Norm lt is used for measurement of film speeds A term which is short for Director of Photography A file format which is short for Digital Moving Picture Exchange and developed by the SMPTE The file has the extension of dex It is similar to the Cineon file format except that it can be either a log or linear A term which is applied to the method of moving information within an application by using the mouse to drag it to the desired location and letting go of the mouse button which drops it into the area EBU EBU Color Bars EBU Time Code Edit Decision List EDL EIA EIA Color Bars EEE Field File Extension Film Recorder Film Scanner ges Frame Grab G Gain Gigabyte Gauge Global Grains Aterm which is short for European Broadcasting Union A c
230. r between multiple Marks you can change the grade Scene Shift Down Mark To quickly switch to the Scene Cut Detection screen select Shift Down then Mark Lift Mark Often you may place a mark in the wrong spot so place your cursor on the mark and use Lift Mark to remove it DAVINCI RESOLVE CONTROL SURFACE 305 CES 19 306 DAVINCI RESOLVE CONTROL SURFACE Menus Soft Keys and Soft Pot Controls All three panels have liquid crystal displays LCDs and within this display a selection of soft keys and soft pots for variable control of different parameters The functionality of these keys and pots is based on the menus displayed on the LCD and changes dynamically with the operation of DaVinci Resolve The soft menu structure is designed to offer simultaneous control over multiple functions and a fast logical and efficient way to move between the menus Each of the menus with the applicable control functions is described below The LCD has a two line title description of the menus main function and there are two lines of text above each pot or switch describing the control The Fader and Transport panels can have quite independent controls compared to the Trackball panel For example the Fader panels default menu is for Windows adjustment while the default menu for the Transport panel is Sizing This allows users to control windows or sizing full time regardless of Trackball Panel mode and eliminates the need to change the work sur
231. r an operation to impact more that one still at a time Stills display a Still Number in the upper left corner that is in the scene number clio number format Multiple stills for one scene will be displayed adjacent to each other for quick reference STILLS 1 1 1 e 0 OA a pe aia 1 f le 2 Window amp Vector t simple Vector interactive trk Switch Wipe Mode Play Still Add Correction Display Node Graph Delete Selected Change Label a Import multi keyMix r Export Export with 3D Lut piini ma a Properties ua 3 Select All 2K Par scope select Current gt Last Select First gt Current Individual Still Right Click Options Stills can be named renamed by placing the cursor over the still right clicking and choosing the pull down option Change Label If your system has Unicode language options loaded you can add names in different languages Japanese Is one of the many languages supported COLOR 149 A COLOR 9 Selecting Play Still via right click on the still or on the control panel will display the still on the Viewer with a wipe to the current scene frame The Wipe mode can be a Horizontal or Vertical Wipe or a Mix these options are select from the panel directly or via the mouse on the Viewer using the right click pull down Switch Wipe Mode If you double click on a stored image the Viewer will automatically enter into Wipe mode and you may adjust the wipe by usin
232. r monitoring in NTSC while the user grades 24fos material If you have selected NTSC 59 94 or a playback rate of 24fos will automatically activate this option 64 CONFIGURATION LUTs Tab From the LUTs tab on the Configuration screen you may select various Input Output or Display look up tables or LUTS There is also an option to Apply LUT to Waveform when checked will apply the selected LUT to the DaVinci Resolve Waveform display This can be useful when working in Video grading mode when a 3D LUT has been applied LUT Tab Timeline Lookup Tables Within the Timeline Lookup Tables display are the factory preset lookup tables along with those that have been generated or imported into DaVinci Resolve If new lookup tables are imported into the system the Update lists button should be clicked to refresh the contents of the pull down menus Resolve uses both ID and SD LUTs 3D LUTs that are generated in DaVinci Resolve are in the cube format and are configured as 33x33x33 cubes in 32 bit floating point DaVinci Resolve can also read and use LUTs in the Cinespace format Timeline Lookup Tables Load 1D Input Lookup Table No LUT selected Load 3D Input Lookup Table Asylum Gpd Load 1D Output Lookup Table cpaWithCrtMonitor CriGamma Load 3D Output Lookup Table Customer Customer Load 1D Display Lookup Table invertColor InvertC olor64k Load 3D Display Lookup Table InvertCpd Linear LUT Table
233. r of clips in the timeline will be displayed If the On the Fly Proxy mode is selected or proxies are enabled on the Config screen this indication will be On There are five modes to toggle for render cache Off do not perform any cache Cache All to cache all clips Cache D to cache all dissolves Cache U to cache individual clips marked by you for caching and Cache to cache dissolves plus user selected clips When On the reference clios can be resized and repositioned The reference for grading can be the Gallery stills any clio on the Timeline or the Offline clip The available wioe modes are Horizontal Vertical Mix and Key In Stereoscopic 3D operation when you adjust the convergence of the two eyes there are two modes Oppose where the convergence control moves each eye away or towards each other and Linked Zoom where there is insufficient image to fill the screen due to the convergence adjustment and the images will automatically zoom to fill the screen Resolve SD projects can be graded in Solo mode when only one eye Is adjusted by the grade or Gang mode when both eyes are graded together The active eye is also indicated here The display output can be a single eye i e Mono or both eyes Stereo as required Primary and Qualifier Control Sensitivity A right mouse click within the Primary Color Correction window will pop up a menu allowing the user to either reset the primary values or open
234. r track timeline and timecode display You will see the first of what can be many lines of information with the first being the master channel with three icons to the left of the channel name as indications of the selected state possible in the channels below Under the Master each corrector node or mixer node will have an indication of grading changes and at the bottom of the list you will see the PTZR channel The white vertical line through all the channels indicates the current frame matching the timecode and within each channel display markers will show dynamic transition keyframes At the far left of the Dynamics Timeline display for each of the channels the radio button will indicate that the channel is active or de activated This matches the DaVinci Resolve Control Surface Disable Current key and also performs the same function as clicking on the left of the node number on the Node Graph The Lock function directly to the right will lock any changes to the grade for this channel when the padlock icon is activated If you seem to be adjusting the grade and nothing is happening check this icon in case it is selected 01 00 36 19 01 00 36 19 01 00 41 14 01 00 46 09 01 00 51 Master CORRECTOR CORRECTOR PARALLEL CORRECTOR CORRECTOR Dynamics Timeline The next icon to the right indicates that the Auto Keyframing tool has been activated When activated each time you adjust the grade the channel indicator
235. r within the Project The current clio is highlighted for easy Identification If you are in Loop mode the timeline will also display in and out markers and a highlight showing the frames that are in loop play You can also scroll through the various clips by dragging the vertical white line back forth across the timeline or jump to another clio by clicking on the timecode portion of the timeline The vertical white line will jump to that location Below the timeline is a scroll slider that is used to expand and contract the timeline so you can zoom in to review a single scene or expand to see the whole Project Clip Thumbnails VSRs Located directly below the timeline scroll slider are the Clio thumbnails The current clip will have an outline When the Project has more than 15 clips the current clio will be positioned in the center of the clio thumbnail display with thumbnails either side indicating the clips on either side of the current clip regardless of the length of those clips If you click with the mouse on a thumbnail this will automatically cue or Jump to this clip COLOR Correction Management with the Thumbnail Timeline Display When any type of correction is applied to a clip metadata for the change is automatically saved for the clip into the clio thumbnail You can copy any corrections from one clip to another by recalling a Memory a clip number or even by scrolling to another clip making it current and copying t
236. race is one of the leading features of DaVinci Resolve It allows you to copy color corrections quickly and easily from one Project or Session to another based upon a source timecode or even the name of the clio when in Automatic mode To use ColorTrace right mouse click on any timeline within the Conform screen and select the ColorTrace option Within the ColorTrace Setup window select the Project or Session that will be used with the current Session then the Continue button to open the ColorTrace window or Cancel to abort ColorTrace Setup Project List Name Local_DB gt tom2 tom test red rocket 30fp s red rocket red files Dee FRR FRAR peter test peter fedex Master Session Default session 1 020607 FedExL1 big test Effects Shot Definitions Continue ColorTrace Setup At this point you may select to work in either Manual or Automatic mode When in Manual mode the corrections can be moved by the Copy and Paste procedure or by dragging and dropping with the mouse The source and target projects must have the same number of clips in order to successfully perform the Copy and Paste functions The range of clips selected to be copied or pasted may be selected either with the mouse or by using the Range controls Once the grades have been copied they may be pasted by clicking on the Paste button The Finished button will complete the operation als The Undo Last
237. ram HSDL legal Video Import Insert Edit Interlace Internegative Interpositive IRE ISO ITU R 601 GLOSSARY This term is short for Gigabyte System Network and is a high soeed network standard A term which is short for Graphic User Interface A term which is applied to additional material which is required beginning and end of each clip It is usually required when effects such as dissolves are to be added A general term which applies to High Definition Television This refers to the beginning of a roll of film A display which shows the dynamic range and contrast of an image The X axis within the display shows the luminance of the pixel while the Y axis displays the amount of pixels A term which short for High Soeed Data Link A term which is applied to signal levels which do not fall within a broadcast standard range The process of importing data into an application An editing mode which records audio and or video onto a pre striped videotape A term which is applied to when the image contains two fields one with lines which are even numbered and the other with lines which odd numbered A negative which is produced in a laboratory and made from an Interpositive for the expressed purpose of eventually making release prints A positive image on a negative like film stock which is made directly from the original negative for the expressed purpose of creating an Internegative
238. raph which will show the user how the grades were constructed This also applies to the Memories A right mouse click on an image within the Stills display lets you select the option Display Node Graph Various sections of the correction may be copied to the current correction by dragging the appropriate nodes to the current Node Graph display or selecting the Apply Correction button to copy the entire correction into the current clip The still nodes may be dragged on top of an existing node and replace that node s enhancement or a node can be dragged and inserted independently into the Node Graph line PowerGrades The PowerGrade tab shows stills that are always available to the individual user no matter which project they have open Typically stills relate to Sessions within a particular Project You can always copy stills from other users and other projects but this is a manual process and there are times when you may just want to have specific stills with their Node Graphs that are always available to you no matter which Project you have open The PowerGrade stills are the same as all others in most respects but the ability to see these stills when the user opens another Project provides a simple way to copy grading information between Projects As the Node Graph is saved with the PowerGrade still complex multilayer grades with LUTs can be saved and recalled with ease This also makes them ideal for specific looks that a colorist
239. re details on presets later in this guide These user defined presets are settings for various image sizes and are very useful for example when a film has been over scanned Instead of having to resize every clio independently you can resize a clip and use the preset to apply to all If you select None this will indicate that no settings have been applied Within the Image Format Scaling selections if the check boxes are activated next to each option the programmed settings will be overwritten with the newly selected presets Image Format Scaling Override scaling on all media pool clips Override output scaling Format Preset Selection CONFIGURATION Common use of Input Format Preset If your project originated on film it will have been scanned at some time prior to editing and grading and often to make sure all the image area is captured the image is slightly over scanned This means you will see the full open gate image and depending on the scanner some of the edges around the image or even sometimes the round corners or distortion in the corners of the image To avoid the time prohibitive process of manually resizing every shot so that it matches every other simply create a resize of a reference image Save this new image size as an Inout Format Preset and select this preset The optical quality zoom and positioning controls will produce outstanding results on the fly so you don t need to pre render and
240. reset the curve To delete all Custom Curve settings simply right mouse click within the Tab background and select Reset Custom Curve COLOR 183 CES 9 184 COLOR YSFX Also contained within the Custom Curve display is the YSFX operation which allows you to invert the chrominance and luminance to create special effects within the image The YSFX is controlled by clicking and moving the slope markers on the right of each channel on the Custom Curve display As with Custom Curve effects YSFX may be combined with Power Windows to further enhance the correction by creating effects such as vignettes Clip Tab To adjust the highlight and lowlight clipping on a clip by clip basis and also to apply soft clipping for either the blacks or the whites within the image use the Clipping Curves controls on the Clip tab The vertical slider control adjusts the curve clipping point for the high clip on the right and low clip on the left of each color graph The bottom sliders adjust the slope of the curve transition Soft clipping can be extremely useful for retrieving details that may be lost when adding extra brightness to the image Secondary Color Correction Once the primary color correction has been completed its very common to create a secondary color correction by adding another node so that the first node used for the overall orimary balance of the scene can remain clean of special grades It can now be used as a
241. rms you select the Enable 3D Monitoring option on the Config screen Settings tab and then your SD mesh type to match your display The larger stereoscopic Linux systems with the appropriate hardware supports 4 2 2 and 4 4 4 RGB or XYZ monitoring at HD resolution for each eye You can also configure these systems with multiple GPUs for 20 nodes of grading in full Stereoscopic 3D with real time performance Creating a Stereoscopic Project You can create a Stereoscopic timeline by either using Pre Conform or a conformed workflow Either way In the Browse screen Media Pool folders make a folder for each eye Place your left eye material in the left folder and right eye in the right Even a non 3D project may be converted to a SD project at any time just by adding the second eye in its own folder With your source images in the two separate folders in the Media Pool create the default timeline in the Conform screen Next load an EDL or use Pre Conform and create the timeline using the images only from the one eye Select the appropriate Media Pool Folder when loading the EDL Right mouse click on that eye on the Conform timeline and assign it to either the left or right eye as appropriate For the second eye the process is repeated using a corresponding EDL and choosing the alternate eye for this timeline The result is you have a master timeline with all the clips and two EDL based timelines with each associated with an eye Gr
242. rojects based on the user With the five tabs located on the right half of this screen you can set up new projects load existing projects and select the format and connection tvpe for deck capture and playback Configuration Screen QUICK START GUIDE 25 CHARER QUICK START GUIDE Use the Browse screen shown below to select and review clips that are in your media storage and to mark the individual clios you need for your project On the Browse screen you can create a Master timeline load your EDLs and compare the hi res source clips to your offline video from the edit system i 4 iion Q DaVinci Revohe file Fat View Session Cosimi Nodes Dymanis Tracie Browse The Conform screen is used to establish your Master Session timeline organize clips into a numbered order designated by an edit decision list and to confirm the edit via an offline video amp Davinciterohe file fat vew Session Commi Nodes Dynamkes Tracker D 4 e friloseam Q ee Peete NEA ALARM SET BOR BER PA BH Meee he ME N on MIDI Ma MAMA Conform QUICK START GUIDE Most of your grading time will be spent here at the Color screen This includes a viewer gallery of stills a project and clio timeline and all the tools you need to create a master grade o TE E Per Color The Viewer screen provides a full screen view of your Images with transport controls and controls for the automatic Image object tracker DaVinci Revoive fil
243. rosspoir ATS 3d colormatchin Autosave tab Colorists can select the Autosave to On for fast incremental saving of the current project or To backup project for a full backup of the current project The incremental autosave mode emulates a manual save and is quite fast While the full backup takes longer than the incremental autosave and is often used by colorists at the end of each workday or grading session 76 CONFIGURATION Source Tab DaVinci Resolve natively supports a number of file formats some of which require you to set decoder parameters When processing r3D files from the RED camera you can set the control variables from the RED sub tab within the DaVinci Resolve Source tab Individual controls are also available for each rsd clip on the Color screen You may also select a clip or number of clips in the Media Pool and access the settings that way In the Media Pool you can select clips by various criteria and assign settings specific to a given camera shoot day etc The same settings found on the Config page are available per clio on the timeline pop up and you can select the DaVinci Resolve config settings as well Master Red Decoder Settinas Project 4 RED Image Decoder Settinas RED File Decode Settings CONFIGURATION 77 CHARER 78 CONFIGURATION Master Decode Settings DaVinci Resolve provides RED source clip settings in two ways project and clio based You can set
244. s Resolve Timeline Thumbnail right click selection for Revival restoration Revival Grain Settings On the Revival screen within the Grain Settings area you may set and save recommended settings for grain reduction These can be recalled later adjusted to suit the new image and saved again When you select one of the clios marked for grain reduction the Grain Settings will become active They display the current status of the user controls for grain reduction You can use these as is or adjust them You can also save the settings as a preset Each time you select the same clip the settings will refresh to show the values for that clip Use the Load button to apply other presets to one or many clips Revival Grain Settings REVIVAL 249 ASA REVIVAL 14 The user controls are Spatial 0 20 Noise Level 0 50 Number of Frames 0 20 Patch Size 0 50 Color Space This contro provides a blending of pixels with adjacent pixels on a single frame The edges are softened a bit in order to reduce the fine grain noise Since this is a spatial control processing of one frame does not affect adjacent frames A value of zero O will turn off spatial processing This control is used in temporal processing of the image This value represents a ratio of noise to motion Higher levels may tend to cause artifacts on some motion For grain a value of 10 20 is a good starting point
245. s depend on which video capture card you are using and are all available with the Blackmagic Design DeckLink HD Extreme 3 and SD DaVinci Resolve normally uses computer RGB levels internally and so the normally scaled legal video option will perform a color mapping conversion to and from the SMPTE video levels when ingesting from or recording to tape By selecting the Unscaled full range data no scaling will be performed in either ingest or playout 10 bit is the current option Select whether to record the material to tape in Insert Assemble or Crash record edit mode If your deck supports it this is the best method to record video to the deck If deselected a basic the Edit On Off mode can be used Adjusts the edit synchronization for the deck when auto edit is not selected Set the number of seconds for preroll depending on the performance of your deck Enable for working with NTSC 59 94i based material This will remove the 3 2 seguence on ingest or will add 3 2 on export to tape With the Decklink this is set to Auto but with some other capture cards you may wish to set the sync source to Reference for playout and Input for ingest PowerMastering Grading and Formatting Directly To Tape PowerMastering Is intended for creating tape deliverables quickly without the need to render It can also be used for dailies operations To output a color corrected and resized timeline or clip directly to tape you must be
246. s Object Tracking If you have modified the clip length it is a useful reminder to check that the track now covers the complete clip 05 2 2 Eos 130 Version 2 A ee MK 01 14 35 05 ES TS nl Tracker Indicator Local and Remote Versions There are a number of time saving right click options within the clio thumbnail When the project images in the Media Pool are first conformed you generate a default session or default timeline called the Master Session using the Create Default button on the Conform screen If there is an EDL that is loaded afterwards the EDLs will be listed by their names after the Master Session in the EDL file label section on the Conform screen When you work with the Master Session within the Color screen any color corrections that are made to any clip will be automatically applied to the other conformed sessions other EDLs regardless of the order of the clips in those EDLs This will save you quite a lot of time as you can grade many different versions of the EDL automatically and when changing EDLs using the same clips all of your grading metadata is automatically applied to the new session EDL When you are working on the Master Session but want to create an alternate version of a color correction the new version Is called a new Local Version 1 e you want to keep the original version but also have another As this is the Master Session these versions are also available for use within the
247. s as marked by the colorist User amp Dissolve will cache clios that you have marked for cache and also dissolves The Editor key is reserved for future use DaVinci Resolve has three proxy modes to permit real time playback in the event that the correction or resolution is too high for the selected plavback speed With Pre generated Proxy the system will use the pre generated oroxies obviously you need to have made the proxies first The last mode is OFP or On the fly Proxy OFP provides a high quality real time input image resize The Proxy On Off key selects between Off and the other of the two modes depending on whether you have or have not pre generated the proxies This is a popular key Using this key DaVinci Resolve will automatically make a basic primary color correction to balance the blacks and whites of your image In larger projects you may have a number of gallery pages holding stills and this key will change the Gallery screen to the next higher page number Used to select the Gallery Ul screen where you can manage your stills The inverse of the Shift Up Gallery function as this selects the Gallery screen one page lower than the current This toggle key will display the clips in the timeline in the order of the EDL the record order and often referred to as C Mode or the ascending order of the source clip timecode called A Mode This selection is reserved for future use S
248. s either not been detected by DaVinci Resolve or it is not currently supported Control Panel Type Finally select which control panel hardware you have connected to your DaVinci Resolve from the list provided After you have made each of these selections select Save and then restart the DaVinci Resolve application You may have noticed a Debug tab This is used for engineering and is not required for general use SYSTEM SETUP 21 AA QUICK START GUIDE S 24 Quick Start Guide Before getting into the details of grading with DaVinci Resolve let s have a quick look at each of the main application screens and their functions When you start DaVinci Resolve the launch window opens and each software module reports its loading status G Davinci Revove he 44 PM gt A 5 o a A S E p S 7 2 2 5 M M o LA Md Y ML 2 A 23 is lt A o A A E a 4 ka PL 4 M A Mac Start Up When the start up Is complete the User Login screen appears Double click on a User icon to switch to the Configuration screen for that user DaVinci ezone file fat View Session Conti Nodes Dynamics Tracke Fat alan Enw Auera Bat de os Mas po User Login QUICKSTART GUIDE After you login to Resolve this navigation bar appears at the bottom of every main screen Use a left mouse click on this bar to switch to each screen Navigation Bar The Configuration screen shown below is used to configure p
249. s item now reports which eye is active for control and whether grading is in Solo or Ganged mode Session duration display on conform screen On the Conform screen within the Timeline Management display V71 now includes a new Indication of the duration of the timeline for each EDL New Slate option to display source clip name The Slate controls on the Format screen now include a new option to select the source clip name for burn in 1080P 50 59 94 and 60 monitoring There are three new monitoring options on the Configuration screen that can be selected for 1080P monitoring Select 50 59 94 and 60 as required 16 INTRODUCTION GPU debayering for Cineform mov files To further improve the SD playback performance of Cineform mov files a new GPU based debayer algorithm is implemented in V71 Updated Autosave options e Colorists can now select the Autosave to On for fast incremental saving of projects or To backup project for a full backup of the current project New DaVinci Resolve control surface function to enable disable all nodes e Using the DaVinci Resolve control surface colorists can now enable or disable all nodes by using the Shift Down and Disable Current buttons INTRODUCTION 17 Cn elm 2 20 SY o PEM Erde System Setup DaVinci Resolve on Mac systems require three simple hardware items to be configured when you start the application for the very first time Start the applic
250. s selected on the client DaVinci Resolve will be applied instead REMOTE GRADING 285 AS DAVINCI RESOLVE CONTROL SURFACE 19 288 DaVinci Resolve Control Surface The DaVinci Resolve Control Surface panels feature workflow ergonomics and ease of use so Colorists can quickly and accurately construct simple or complex creative grades The panels feature high resolution liquid crystal displays LCD and backlit hard keys to accommodate a darkened grading environment The color and intensity of the keys and the LCD panel brightness are user programmable so each Colorist can set up his her personal panel configuration There are three panels in the control panel set The center panel is the Trackball panel The majority of controls and feedback for the Colorist is found on this panel including a slide out keyboard DaVinci Resolve Control Surface On either side of the Trackball panel are two interchangeable panels the position of which is determined by operator preference The T bar panel shown above on the left has a T bar mix wipe control and a number of menu and function keys The Transport panel shown above on the right has the timeline transport controls and a jog shuttle control as well as a numerical keypad and associated function keys All panels have soft keys ana variable control pots within the LCD panel which provide an accurate visual reference to the control without the risk of parallax errors Given
251. seful when the offline edit was done at SOfps with 3 2 added Please note that 25fps to 24fps Is not currently supported Import a session from file BROWSE FPS 25 IMPORT DETAILS gt gt Selecting an EDL and Importing a Session Next enter a Session name The EDL file name will be shown as a default but it can be changed by typing a new name The EDL will be used to cross reference the clips in the Media Pool and generate the new timeline This EDL is also loaded into the EDL viewer at the bottom left of the Conform screen more details follow later in this manual If you have no more EDLs to load close the Import Session window The Session name has been loaded into the Timeline Manager and the conformed clips are at the top of the Timeline Viewer window There will be a green box surrounding the timeline indicating it s the current Session and the Viewer will display the first clip in the timeline Session Name Please Input session name HDconto rmi Cancel Session Name Dialog CONFORM Pre Conform As mentioned earlier you may have a single long clip a finished project or maybe just the offline With DaVinci Resolve you can still grade this material If you have an EDL you can use the Pre Conform feature to split and load the clip automatically into the Master Session Select the Pre Conform button within the Timeline Management display and you will be promoted for an EDL associated
252. set to a clip that is not cleared when you select Base Mem The simple example is when a film is over scanned and the frame edges are shown as well as the image Instead of making an input resize adjustment for every clio to remove the framing a preset resize can be made and stored with a label and this preset is not deleted when using Base Mem Preview Mem Original Mem Scroll View Shift Up Current Current Shift Up Shift Down Macro Memory Keys To preview one of the memory grades on any clip select the clio on the timeline select preview memory and then the memory This key is a toggle so if you do not like the grade on the memory for that clip select preview mem again and the clips grade will revert to the original Each clip by default has a memory of its grade sizing etc The metadata for every clip is saved in reference to the source timecode If you are grading a clip and move from it to another clip the grade Is saved in a memory for that clip automatically IF you come back to the clio and make a change to the grade then decide you don t like the change select Original Mem to return to the grade status you found when returning to the clip When you select Scroll you can navigate up and down the timeline to find and select a clip and its grade to recall to the current clip The Color screen has two display modes The normal mode includes the Viewer Stills and Node Graph on the top
253. sible on the third party panels Tangent Devices Wave CONTROL PANELS CONTROL PANELS 35 ARAS GETTING STARTED D Getting Started Starting DaVinci Resolve Click the DaVinci Resolve icon to start the application As the system is starting the launch window opens and each of the software modules reports its loading status When the start up is complete the User Login screen will appear You can close DaVinci Resolve using the Exit button which is on the User Login Exit page Colorist Login User Login Screen DaVinci Resolve uses a database to store grading information for each project and each user Each user s file contains stored color corrections and system configurations for your projects Login To An Existing User The User Login screen displays an icon for Admin Guest and all other users To login without a password simply double click on the Guest icon If you double click a password protected user just enter the password and continue If needed easily create a new user as indicated below As all projects require ore configuration prior to grading once the login is successful DaVinci Resolve will automatically switch to the Configuration screen Exiting Resolve When you have completed your work save the project use the log out button on the Configuration screen ana then Exit on the User screen 38 GETTING STARTED Creating A New User To set up a new user select the Admin icon and then t
254. source clip It works five times faster than real time so you can start grading faster Scene Cut The Render screen is used to set up the configuration and initiate rendering of the timeline images Many systems limit the render of clips to the settings used in the timeline Resolve is not restricted by this limitation and this provides you with significant workflow advantages unmatched in the industry DaVincikerone file fat Vew Session Cosimi Nodes Dynamics Tracker A e Mons ia mM Q Render 30 QUICKSTART GUIDE Quick Start Project This Quick Start overview is designed to skip past much of the detail and get you quickly to the Color screen so you can learn how to login configure and load a project select clips create a master timeline and start grading Once you have these basics understood you can continue learning the details of DaVinci Resolve operation as you reference each of the chapters in this User Manual Assuming you have installed the DaVinci Resolve application ana used the Preferences menu as detailed in Chapter 2 to set up your media storage video capture hardware and control panel type the final preparation step Is to put some images on your media storage drives On the DaVinci Resolve application DVD there is a folder called Sample Images Use Mac Finder or your Linux Browser to copy this folder and contents to your media storage 2 Start DaVinci Resolve At the Login screen double
255. ssociated with a luminance correction that is so high that the detail is cut off or clipped The overall adjustment of the scenes color information Refers to a method of retaining levels within legal limits A test signal made up of eight color bars which is recorded on a tape to ensure the levels remain consistent when played on other equipment A term which pertains to the images range of color The process of adjusting an image s color balance A device used for adjusting and storing color corrections This generally refers to the process of balancing the image s color balance GLOSSARY 319 GLOSSARY Color Temperature Color Timing Crushed Blacks Conform Compression CPU CRT Daily Data DDR Default Setting Densitometer DIN DP DPX Drag and Drop GLOSSARY A term which refers to the measurement of a lights color Warmer colored lights measure out to a lower color temperature while bluer Illumination measures out to a higher color temperature The measurement is carried out on a scale known as Kelvin A name which is applied to the balancing of image and color in motion picture laboratories by a color timer When the image is balanced so that the black or lift control causes the detail within the black information to be lost this is referred to as crushed Tne method of assembling scenes or clips in an order defined by an Edit Decision List A term which is a
256. stills until you capture another for that clip Searching For Stills You can search for stills within the selected tab by using the Search window at the bottom left of the Stills display Simply place your cursor in the Search window and click then type the name or description you are searching for and DaVinci Resolve will automatically show the results in the tab above Note there is also a still count which will show how many stills are in this tab or how many are shown based on the search COLOR 183 CES 9 154 COLOR PowerGrade The PowerGrade tab shows stills that are always available and referenced to the User Name no matter which Project you have open Normally stills relate to Sessions within a particular project You can always copy stills from other Users and other Projects but this is a manual process and there are times when you may just want to have specific stills with their Node Graphs that are always available to you no matter which project you have open The PowerGrade stills are the same as all others in most respects The ability to see these stills when you open another Project provides a simple way to copy grading information between Projects As the Node Graph is saved with the PowerGrade still complex multilayer grades with LUTs can be saved and recalled with ease This also makes them ideal for specific looks that a colorist makes for later use You can drag stills into the PowerGrade tab from your
257. store the various settings and the next page will allow the recall of various settings FORMAT Output Format This section is used to define the timeline formats ana most of the controls match the functionality of those on the Config screen System tab While some control the management of the source files they all set the configuration for the timeline which directly influences the output image format You can set the timeline or output resolution from a preset list which will display the resolution selected for image processing To change the setting for resolutions not found in the presets enter the Width and Height directly into the text box The Lock Format Info is available only on this tab and it is used to prevent accidental switching of the timeline resolution With this box checked no format changes can be made on the Config or Format screens The Pixel Aspect Ratio PAR is used to select other than the normal square pixel format You can apply a 16 9 anamorphic pixel aspect a 4 3 for SD or Cinemascope ratio For mismatch source clio resolutions you can have DaVinci Resolve process the images with the following options Center crop with no resizing This option makes no attempt to resize the image to fit the aspect ratio selected A simple crop is used from the center of the source image if it is larger than the timeline format Scale to full frame with crop This option will automatically insert blanking wi
258. t The Ethernet based JL Cooper Eclipse CX control panel is now supported Additional Tangent Wave control panel menus e An additional ten menus have been added to the Tangent Wave control panel which will provide faster operation and ease of use There are also an additional two master menus and the use of the Alt button for extra functionality Shortcut key for Highlight control e In the View pulldown menu two keyboard shortcuts related to Highlight have been added e Highlight shows the key blended with the image while Highlight BW shows the key over a black background Native ProRes read and write support without installing FCP e DaVinci Resolve for Mac now natively supports ProRes read and write without the need to install FCP Installation of FCP Is continues to offer a wide range of other QuickTime codecs XDCAM in QT wrapper read and write support e Using a customer supplied FCP QuickTime codec DaVinci Resolve will now read and write files in the XDCAM formats INTRODUCTION 13 ASA INTRODUCTION 14 For Linux New single chassis dual GPU configuration for Stereoscopic 3D grading e The Dec 2010 Linux configuration guide now specifies a new Supermicro server chassis and motherboard model that permits multiple double wide cards including the C2050 CUDA GPU The new motherboard and server can save customers considerable cost for a basic stereoscopic 3D system as the 2 GPU configuration Is
259. t could be working with the colorist to prepare files for the next reel by conforming shots managing the VFX replacements or using the system to do dust busting repairs etc Resolve automatically prevents two users working on the exact same item by opening a copy of a project if one is already in use and will advise you when the other session is closed We highly recommend the use of a separate workstation to operate as the Remote Database Server for facilities with more than two DaVinci Resolve systems By selecting Connect in the Database Manager you can enter the information relating to the remote database Just fill in each item and confirm OK GETTING STARTED GETTING STARTED 43 CHARER 46 CONFIGURATION Configuration At the commencement of every project a number of user project deck and monitor configurations should be set to provide the correct environment for your color grading project You can open the default or an existing project and or may change the various settings to accommodate the project needs You can also assign a name to the project These tasks are performed on the Configuration screen which is the first screen always opened by DaVinci Resolve after you log in Configuration At the commencement of every project a number of user project and operational configurations should be set to provide the correct environment for your color grading project You can open the default or an exist
260. t in the timeline or in the Timeline Management window CONFORM Create Default When you select the Create Default button for any new Project all the clips within the Media Pool are conformed or sorted in an ascending order of timecode The exception is the offline and matte clips you may have added to the Media Pool These clips are displayed as an EDL in the display directly below and as a timeline in the Timeline window at the bottom right of the Conform screen EDL and Timeline displays will oe detailed later in this chapter The first session you create using these Media Pool clips is called the Master Session It is key to the operation of DaVinci Resolve as the grading metadata always relates to this Master Session When you Subsequently select Create Default DaVinci Resolve recognizes that it already has a Master Session so it then opens a new default session In each case you can name the session and enter the starting timecode which will default at one hour if you do not alter the window After the Master Session has been created you can also create a default timeline and select the checkbox to open an Empty Session which will allow you to click and drag clips manually from the Media Pool into the session timeline Load AAF EDL Many grading projects start without an EDL DaVinci Resolve permits color grading to begin as soon as you have the source images Grading metadata is associated to the source clip timecod
261. t incoming VITC CVertical Interval Timecode and to record this to tape with the matching frame DECK Timecode on Tape The Timecode on Tape display shows the In point ana Out point where the images will be placed on the tape You may manually mark the start point by pressing the Mark In button or mark the out point by oressing the Mark Out button Under the timecode display there is a check box for LTC With a DeckLink HD Extreme 3 or 3D the longitudinal timecode is available on track 16 of the HD SDI video signal so you can use a Mini Converter de embedder to extract this analog audio signal and feed it to a recording device This is particularly helpful if you have a downstream noise reducer that does not pass the VITC timecode You can use the LTC and bypass the noise reducer compensating the delay using the LTC delay slider making sure the image and timecode reach the deck at the same time With the DVS card there is a separate timecode output Audio Options With Audio Options when the Enable Audio Output is selected DaVinci Resolve will play a wav or aif audio file with the images so both can be recorded on tape Select the appropriate audio file then select the appropriate settings for the Channels Offset and Bit Depth sections Use the Offset frames control to sync the audio and video Batch Output Handles If you are recording a number of clips to tape rather than a single timeline you can set up a batc
262. t to the left ripples all the clips to the left The exception is when Ripple with Holes is selected from the options and in this case the Ripple still occurs for all clips but instead of the respective out and in points joining the black hole that is between shots will remain To Roll an In or Out point select the transition point and when you see the white dotted outlines on the timeline you can roll the edit point within that outline This will change the Out point of the preceding clip and the In point of this clip without changing the clip s position on the timeline You can also slip a clio forward or backward within the same edit boundaries with Slip When the timeline has a clip that has in and or out points that are not the extent of the clip ie handles a white dotted box will appear to indicate the available slip parameter while maintaining the image within the handles Just select the clio and slip it along CONFORM 121 CHARER 3 122 CONFORM Timeline Editing The dotted line around the clip identifies the total clip length for the selected clip Once you begin to edit a clip length or position the cursor will change reflecting the operation being carried out In each case the EDL will be updated to reflect the changes made There are also three buttons on the editing panel Undo Redo and History Undo and Redo will reverse an editing decision or redo an editing decision and the History
263. t value is O so to type one hour three minutes zero seconds and sixteen frames you do not need to type 01 03 0016 Simply type 1 35 16 and then press Enter This soeeds timecode entry Will clear the scratchpad number Select the minus key prior to the number to reduce the number The Plus key selected prior to a number adds the number To accept or enter any input select this Take Enter key List Marking The List Marking keys are on the bottom right hand side of the Transport panel The functions are replicated on the Fader Bar panel The List Marking group of keys Is used In association with the timeline and controls the selection of keyframe points for the start and end of dynamic transitions of the grade called Dynamics Delete This key deletes the Dynamic Start Dynamic This key Is used to select the first keyframe in a transition a Dynamic The transition may be a grade change a sizing the addition of a matte or any number of 100 variables all of which are associated with the Node Graph and the clip or Track timeline Trim This key is used with the numerical keypad to trim a mark position Ripple Value If you have a grade or effect or just an adjustment and you would like to ripple this effect over another or a large number of other clips use Ripple Value Mark Like the Start Dynamic key Mark is a major key It places a keyframe on the clip timeline and between the Start Dynamic and Mark o
264. te Date Remark Master Database 127 0 0 1 patched with 7 0 0 213 database upgrade Local DB 127 0 0 1 Tue Jul 27 18 58 22 2010 patched with 7 0 0 213 database upgrade Create New Database Manager Creating a New Database On the Database Manager window select Create New to create and add a new database to your available database list Enter a label name to help identify the database in DaVinci Resolve and a unique database name in lower case IF you are using the database on this workstation leave the other items unchanged and confirm OK This new database is now available and you can add your user as detailed above All of the old projects are still available How to import them is found later in this guide Create a New Database Master Database Host 127 0 0 1 DB Name nab2010 User postgres Password DaVinci Driver New Database Popup GETTING STARTED 41 Cn el D 42 GETTING STARTED Create a New Database Image If you are connecting to a Remote Database Server change the IP address from the local machine address which we show as default to your Remote Database Server Enter the remote database name and select postgres for all new databases with full read write access or MySQL for read only access to legacy DaVinci databases Remote Database Server Multiple DaVinci Resolve systems can also work on the same project at the same time using the shared database For example an assistan
265. te a render of all clios in the queue that have not already been rendered This is slightly different to the Start All function which will re render all clips in the Queue regardless of if they have already been rendered or not You can stop the current event from rendering and DaVinci Resolve will then proceed automatically to the next event or you can select Stop All to cancel all renders The list will remain active so you can start again later or modify and start again Render Queue User Peter Creation Time Status RENDERING READY Project Session BMD gen BMD gen Directory Aolumes 2JTB raid0 DEMO Volumes ax27T B raid Ww DEMO Demo Fri Aug 20 14 18 26 2010 Peter Demo Fri Aug 20 14 19 44 2010 Stop Current A Stop All Render Queue RENDER RENDER 275 CHARTER 1 278 STEREOSCOPIC GRADING Stereoscopic Grading With DaVinci Resolve on Mac systems monitoring of Stereoscopic images is via the HD SDI output where you can select a Side by Side or a Line Mesh output to be fed to your Stereoscopic 3D monitor Of course there are bandwidth from disk issues and a limited GPU count for processing but principally you can grade and review a Stereoscopic project on the MacPro platform On single chassis Linux systems performance is similar to the MacPro and just like the MacPro the HD SDI from the DeckLink provides the stereoscopic monitoring feed On both platfo
266. that are oresent within the Task Manager window Just as DaVinci Resolve allows throttling of render speed you can throttle proxy generation speeds This enables you to control SAN bandwidth utilization and select the soeed of proxy generation your storage system can manage Located at the top of the Proxy Manager window the Proxy Status shows the name of the selected clip Also shown Is the current proxy width and height BROWSE 105 CHARER 3 108 CONFORM Conform The Conform screen Is used to establish your Master Session or master timeline to organize clips into a numbered order designated by an edit decision list EDL and to confirm the edit via an offline video With DaVinci Resolve you may load as many EDLs as required for the project and also load offline clips that may be used for comparison All clips required for your timeline must be in the Media Pool and there are various ways to conform the clips to suit different EDLs The Conform screen has a number of windows and each have multiple operations some of which reference the Browse and Configuration screens In this chapter we will be referring to those screen settings with the understanding that you are familiar with them Also note that the conform frame rate set for the Project in the Configuration screen is used for calculations in the Browse and this Conform screens so ensure it is set correctly for your current project 2 Mon li35A
267. that so many of the controls are menu based this User Manual will describe each of the hard keys and controls and then separately the menu structure and controls of the soft keys and variable pots A key feature of the panel design is the feedback given to the Colorist The LCD panels provide a color and value indication based on the last control adjusted Tne hard keys also reflect the last button pushed and in some cases other keys on the panel are illuminated or dimmed based on the menu options available for the operational mode selected Shift Key Convention Before describing the hard key operation it is important to understand two keys on the left and right panels These shift keys Shift Up and Shift Down provide access to potentially two more functions on each of the next key selected DAVINCI RESOLVE CONTROL SURFACE For example on the Fader panel next to the shift up key is the Base Mem key If you select Shift Up and then Base Mem the operation is to Base Mem ALL as designated on the upper left corner of the Base Mem key To select Base Mem Current first select Shift Down then Base Mem To permit a fast and single handed operation this function does not require you to hold the Shift Up or Shift Down key while selecting the second key just select them sequentially first the Shift key then the function T Bar Panel The T Bar Panel typically located on the left for a right handed Colorist
268. the Stills display and the Display Node Graph option to display the Node Graph Various sections of the correction can be copied to the current correction by dragging the appropriate nodes to the current Node Graph display or select the Apply Correction button to copy the entire correction into the current clip The Still Nodes may be dragged on top of an existing node to replace that nodes enhancement or a node can be dragged and inserted independently into the Node Graph line a Switch Wipe Mode Play Memory Add Correction Display Node Graph Glear Properties Export Export with 3D Lut Memory Right Click Options COLOR 155 A COLOR 9 Node Graph Whenever a color correction or enhancement is performed on DaVinci Resolve it must be carried out within a node The Node Graph found in the upper right of the Color screen provides a visual representation of the image processing path and node layer priority for every correction for each clip The Viewer display and the grading monitor present the output from this Node Graph There are three tabs in this window Clip Track and Unmix Functionally the Node Graph works the same for each tab however each shows a different perspective of Resolves image processing Detail of this will be covered later in the Dynamics Timeline section of this chapter On the left and right hand side of the Node Graph is a blue rectangle Consider these points the Input and Output
269. the Master Session and remove any information in the Media Pool CONFIGURATION Video Monitoring The Video Monitoring display should be adjusted to reflect the monitor you use for color correction The settings here have frame rate and screen refresh implications so making the correct selection is Important For example if you are working with 2K files in a 2K environment but color correcting using a high definition monitor you should select the appropriate HD standard for that monitor There are many options for the video monitoring format so first select one from the pulldown list Then select the video connection to operate as YUV 422 RGB444 dual or single link or the XYZ option The Colorspace conversion selection will perform a color mapping conversion to work with data to video level translations Remember your images are often stored in full O 1023 data but the monitor is generally expecting and can process the 64 940 960 video levels as specified by SMPTE If you wish to monitor the full 10 bit data range 0 1023 of the monitoring output simply change the colorspace conversion to unscaled full range data If the Colorspace conversion is set to the normally scaled legal video then the data range is scaled down to video range 64 940 960 Video Monitoring Video monitoring formatis HD 1080i 50 Video connection operate as TUV 4 2 2 SDI RGB 4 4 4 Dual Link RGB 4 4 4 Single Link 3 Gb s Colorspace conversion uses
270. the decoder for the entire project using these controls Decode Quality Bit Depth Timecode Audio Decode Clips Using CONFIGURATION The decode quality will have a direct impact on the performance of the system so you may want to grade in a resolution which provides real time playback then use the config settings to switch to a higher quality resolution for rendering Performance will depend entirely on the hardware capabilities of your system DaVinci Resolve offers RED decoding on all of its systems using the onboard CPUs and can also decode in 4K Premium quality on a suitably equipped system using the RED Rocket card Resolve will decode the r3d files and generate an 8 10 or 16 bit image file Using 16 bit for maximum quality may impact playback performance on some hardware You may set DaVinci Resolve to use either the Camera timecode the Absolute code which is the time of day timecode or Edge code which is the timecode that defines each frame Edge timecode is particularly valuable for off speed recordings Enable or Disable audio playback This feature is to be implemented in a future release This is a key parameter to define Decode the RED images using the project based settings found on this screen made active by choosing Project here or the metadata recorded by the camera when making the clip or use the RED default settings Master Red Decoder Settings Decod Half Res Premium
271. the need to render cache pre render or even render the final grades The operation is deoendent on the hardware being used and the image resolution a well as the grades applied to each clip Reload last working project when logging in With this box checked the next time DaVinci Resolve opens and you log in it will automatically launch the last project Resize image in viewer for correct aspect ratio This control will select between using a square or non square pixel aspect ratio within the viewer This is important when working with SD images which do not have a square pixel aspect ratio Output fields when paused This setting will reduce flicker when grading Using a computer monitor or when working with interlaced material When viewing interlaced material in stop or pause mode field one is displayed followed by field two Depending on the image this can result in a flicker on the display When enabled field one will only be shown on the monitor in still mode however both fields will be shown when the clios are played Mattes display high contrast black and white This option will show a black and white display 1 e high contrast rather than the standard grey matte when highlighting a secondary color correction isolation Enable 3D monitoring All DaVinci Resolve systems can generate a side by side display that can be sent to a Stereoscopic monitor via the DeckLink HD Extreme HD SDI card This provides you with a w
272. the source timecode or the creation date and time or by the clip order with the creation date and time If you have multiple sessions in your project you can also select to display stills from just this Session or stills from all Sessions 5 A mar 9 1 N p t t MS JA a 073 2K Skin Mist 2K RED Key 2K soft clip 2K Par scope Switch Wipe Mode Trace Timeline One Still Per Scene Apply Display Lut Record TimeCode Source TimeCode Create Time Clip And Create Time Import Export Export with 3D Lut Select All Select Current gt Last Select First gt Current Show All Stills Show Current Session Only Add Still Page Remove Current Still Page Stills Right Click Options Other Still Options Images can be stored in multiple Still pages to make it easier to find or switch between stills These pages are configurable and while the Gallery screen offers the full suite of still management tools on the Color screen you can add or remove a Stills tab Just click and drag a still to the Memories section If you use this still often This will give you a one key selection for even faster operation You will note that there is an option to Trace Timeline With this selected the still that s highlighted will always match the scene selected on the main timeline The One Still per Scene selection will force a single still to be saved for each clip Any clips with multiple stills will retain those
273. thin the image area to compensate for a difference in the source to timeline aspect ratio Scale entire image to fit This option will resize the image in order to completely fill the frame In some cases a part of the image will be cut from the left and right sides of the source image or the top and bottom You also have the ability to reposition the image using the Inout Format sizing controls within the Format screen Stretch frame to all corners When you select this option DaVinci Resolve will fit the frame to the outout aspect ratio In this mode the frame edges will be stretched to the corners and no information will be lost However this option can also result in squeezing or stretching of the image in order to fit the outout format Use the Reset button to reset any values which were entered to the settings as you found when you opened the tab To apply the adjustments select Apply FORMAT 231 ASA FORMAT 12 232 Slate The third tab of the Format screen is called Slate It provides control over a simple text character generator used to burn into the image timecode frame numbers and simple custom text To activate this function click on the Enable check box in the Slate and Burn In Text section The controls then become active Slate and Burn In Text Enable Courier Color White Highlight Black Opacity s X position Y position Slate Tab Under the window y
274. time control allows you to separate the versions timecode via an offset For example the default version will be at 01 00 20 00 and you select a 10 minute offset in the Alternative Pass Offset timecode entry the second graded version of the clips will be at 0110 20 00 and the third version at 0120 20 00 etc You can offset the clips by whatever value you like but the idea is to make it easy for the editor and VFX guys to find the versions of the grade If the clios are shared to the finishing artist they know the alternative pass the other versions will be 10 minutes apart or whatever you set Its easy for them to change the clio version just by adding 10 minutes to the time To further simplify the workflow you can put the separate source reels in separate folders The Clips in Separate Folders option will automatically place alternate grades of clios into separate folders when checked The Use Version Name for Folder option will label the folder with the name assigned to the alternate version On the Color or Render screen you can select a thumbnail with a right click and rename the version Again this is to assist in the facility workflow while sharing material between suites and applications If you wish to exclude a version to be rendered simply select the Render Disabled option when right mouse clicking on a clio within the Thumbnail Timeline display on the Color screen 01 00 00 00 01 00 39 12 01 01 18 24 01 01
275. ting this button will open a Browse window so you can select the EDL to load and once loaded you will see the EDL file name listed at the too of the window and all the events in the Batch List To the right of the EDL name is a check box Use Reel Number for Sorting which you should check if you would like the EDL to be sorted by reel number otherwise it will be sorted by source timecode EDL Users resolve Desktop enrico edi batch ingest 246F cdi Use Reol Number for Sorting Batch list for Ingest The Batch List display shows by event the Reel Name the Mark In and Mark Out points and the Clip Name that will be ingested into DaVinci Resolve The check box on the left of each item in the display will indicate when each event has been successfully ingested by displaying a white check in the box On the right hand side of the display the user will see if the images are available within the Media Pool and comments if any At the bottom of the Batch List display along with the Load EDL button there are a number of contro buttons If you load an EDL and some images for that EDL are already in the Media Pool there is no reason to ingest them again so this offers a quick check to helo reduce your ingest time Using the active EDL DaVinci Resolve will show you the missing clips making ingest of the remainder quite a lot faster than the complete list Clicking on the Select All button will highlight all edits
276. tion highlight the configuration and make the changes or modify the oroject configuration Save these settings to the configuration or cancel to revert to the original Further details on the Configuration screen tabs and their operation follow later in this section of the guide Configuration List Name Default Width Height ps SYSTEM CONFIG 1920 1080 Ei User Default Config DEFAULT 1920 1080 lo Add Delete Load Save Save As Configuration List Within the Configuration List window you can Add This allows you add a new config with the current settings Delete To delete an existing config select the config with your mouse and then the Delete button Load This will load the selected configuration file Save Any changes that have been made into the existing i e highlighted configuration file are saved Save As To save configurations with an alternate name and thus create a new configuration file use Save As 48 CONFIGURATION Creating a Facility Default Configuration There are two default configurations in DaVinci Resolve a User Default and a System Configuration To modify a System Configuration and save it as the default configuration for all new users first login as Admin then select System Config within the Configuration List make the changes to the project and user configurations and select Save All new users that are added to the system will automatically inherit these User default
277. to another File Format 93 Ada as Matte 93 Extract Audio From QuickTime 94 The Media Pool 95 Media Pool Folders 95 Media Pool Clips 96 Remove selected Clips 97 Remove from Master Session 97 Remove all Clios 97 Change Pixel Aspect Ratio 98 Source Flip 98 Change Inout Format Preset 99 Change Parent Directory 100 DAVINCI RESOLVE USER MANUAL CONTENTS USER MANUAL DaVinci Resolve 7 1 Switch Parent Directory 101 The deleted Folder 101 Clio Replacement and Automatic Proxy Generation 1902 Viewer Window 103 Browse Screen Buttons 104 Clio Task Manager 104 Proxy Manager 105 Conform 107 Reel Folders 109 Media Pool Folders and Clip Displays 109 Timeline Management 110 Session Selection 10 Create Default 11 Load AAF EDL 111 Pre Conform 113 Delete 113 Offline Clips 114 Creating a Conform with handles 114 EDL Display 116 Viewer Displays 117 Online ana Offline Comparison Mode 17 Fixing Offline and Online Offsets 119 Source Clip Editing 119 Timeline Displays 120 Editing 121 Editing An Existing Timeline 22 Building Your Own Timeline 123 Locks 123 Enable Snapping 123 Deleting Clips Adding Black 124 Speed Changes 124 Audio Conform Tools 124 Re conform from Reels 128 Saving EDLs 127 Track Marks 124 Export CDL 128 Conflicts 129 ColorTrace 131 ColorTrace CDL 155 ColorTrace2K Session 155 Color 137 Viewer 139 Interactive Dirt 8 Dust Removal Tool 141 Viewer Window Options 142 DAVINCI RESOLVE USER MANUAL Viewer Stills Dis
278. to the Media Pool The scene cut detection information including the probability metadata will be saved to disk These files are recognizable as they end with a sc and are useful to later re cut a Clip You can select an existing sc file and load it into the cut list Export the scene detection information in a CMX style EDL format This will load a CMX style EDL and allow you to use the cut information from the EDL in the Scene Cut Detection process Scene Cut Detector Graph The bottom half of the screen is dominated by the graph used to display the results of the Scene Cut Detector s analysis of the images As the Scene Cut Detection process is taking place you will see a visual graph forming Once the process Is completed the scene changes are listed in the column to the right of the Scene Cut Detector graph The horizontal green bar within the Scene Cut Detector graph represents the sensitivity level for the detector If you click and drag it upwara it will lower the sensitivity and if you lower the bar it will increase the sensitivity When either of these functions are performed the calculations of where scene cuts occur will immediately be updated on the cut list DaVinci Resolve enables you to adjust the sensitivity of the detection process even after the analysis has been performed This is a significant time save in reducing false positive selections and also permits dynamic review of the cut list
279. to trim a mark position Mark Like the Start Dynamic key Mark is a major key It places a keyframe on the clip timeline and between the Start Dynamic and Mark or between multiple Marks where you can change the grade Scene Shift Down Mark This selection is reserved for future use Memory ccess DaVinci Resolve has a number of hot keys where you can store a grade for quick reference of use called Mems In fact every time you make a grade for a clip a memory of the grade is kept facilitates Undo and Redo While you can obviously save a still for each clip having 1000s of stills to scroll through can take time so there are 26 quick and easy memory locations to store a grade called A Z Mems As every clip has its own metadata for the grade this is stored by DaVinci Resolve as a Memory too There are a number of keys to select or revert to these storea metadata memories or to clear the metadata to revert to a base grade or no grade state All Base Mem Shift Up Base Mem This is used to clear the current color correction of every node in the Node Graph for the current clip but it leave the nodes in place Base Mem Used to clear the grade of the current node Current Base Mem Shift Down Base Mem Will clear all the grades and all the nodes of the current clip DAVINCI RESOLVE CONTROL SURFACE There is an exception to rule to clear the Base Mem It is possible in fact very helpful sometimes to have a pre
280. track at a time The Node Graph display above the Dynamics Timeline also displays the Clip Track and Unmix tabs in sync with the Dynamics Timeline There are three tabs in this section Clip Once the timecode reaches the next clip the correction within this clip will be displayed Track This mode relates to the whole timeline and is useful when you wish to create an overall color trim to all the graded material Unmix Unmix is essentially the same as the Clip mode however no effects such as dissolves or speed changes will be displayed Note the Node Graph display above the Dynamics Timeline also displays the Clip Track and Unmix tabs synchronized with the Dynamics Timeline Many of the operations here are via the Ul and a mouse but there are number of display changes automatically made in this area as each clip is graded and as the timeline plays If for example you wish to insert a dissolve within a clip this operation can be performed within the Dynamics Timeline display CLIP 01 01 45 12 01 01 45 12 01 01 46 17 01 01 49 02 Master E 1 gt CORRECTOR 2 Y CORRECTOR Color Correcto Qualifier Quad Wir Circ Wir Polygon Wir CORRECTOR CORRECTOR CORRECTOR CORRECTOR CORRECTOR CORRECTOR CORRECTOR Dynamics Timeline 196 COLOR Dynamics Indicators At tne top of the tabs on the left the current timecode matches the timeline position To the immediate right is the clip o
281. trast color space than REC 709 REDlog which maps the native 12 bit RAW image data into a standard 10 bit Log curve and Custom PDLog which offers users an alternative LOG curve similar to Cineon and also provides for custom adjustments as described below The PDLog 685 and 985 offer alternative white points for the Gamma Curve The default is REDgamma The OLPF compensation sets a low pass filter to reduce color moir There are four options with Off being the default Select from the low medium or high sensor detail extraction options There are seven settings from mild to maximum to adjust for the best noise reduction without image degradation Image Decoder Settings Color Science Version 2 Color Space REDcolor Gamma Curve REDgamma OLPF Compensation Off Low Medium High Image Detail Low Medium High De noise Off Color screen Thumbnail Right Click to select Edit RED codec settings COLOR 177 CES 9 178 COLOR Clip Decoder Settings Just as the Source Tab on the Config screen offered Project based RED Clio Decoder settings this window offers the same controls for each clip You can easily compare the values of the clip settings to the Project Camera or RED Default metadata as these are listed on the right hand side of the clip Sliders ISO Similar to exposure this control adjusts gain from the black point to white in a linear manner 320 is the def
282. trol panels to add a Serial or Parallel node A node may be deleted by simply clicking on the node image right mouse clicking then selecting Delete from the pull down menu The order that nodes are linked may be changed by first right clicking on the links connecting the node and deleting them then re positioning the nodes to place them in the new order And finally reconnecting the nodes by selecting the node connector with a left mouse click and dragging the link from one node to another The nodes may also be re arranged within the graph in order to view them better by simply dragging them with the mouse to the required area Two nodes can be linked together to provide a PowerWindow inside outside operation With a PowerWindow in the first node and the image and key outputs linked to the inouts of the next node the second node will use the key inout and automatically invert so you can grade inside the window In node one and outside in node two More details on PowerWindows are found later in this chapter All of the node corrections in the Node Graph can be bypassed by using the keyboard Up and Down keys and an individual node bypass by simply clicking on the left of the number located at the bottom of each node COLOR 157 CES 9 158 COLOR Add Node BaseMem Zoom In Zoom Out Zoom to Window Original Size Togale Display mode Right click over the node graph Corrector Node The Corrector node has tw
283. tructed and helping you to copy the whole grade or just the PTZR or just the color corrections or individual nodes to the new shot All stills saved include the Node Graph showing the clios grade construction GALLERY 217 EZ est N 218 GALLERY Gallery Database Tabs Stills To the right of the Gallery Database Browser are the Stills tabs which reflect the selection made in the browser This can include stills from the project and Memories By selecting the Grab Still button on the control panel or right clicking Grab Still on the viewer you are capturing a high resolution still image of the frame currently displayed on the timeline and at the same time capturing the grading metadata information relating to that grade This means the still can be used for both visual reference and also for direct grade copy and paste operations The still will be added to the Current Still tab on the Color screen and on the Gallery screen You can also delete the stills by using the right click option One or a number can be deleted at once Use the Select current to Last or First to Current options or hold the keyboard shift key while selecting multiple stills Stills Browser Stills display a still number in the upper left that is in the scene number clio number format The pull down options Change Label allows you to create or change the still label name If your system has Unicode language options loaded y
284. ur is the inverse of Sharpen so the same control will give you one effect at one end of the range and another affect at the other Blur When Blur is enabled DaVinci Resolve will blur or defocus the image in real time The two main adjustments for blur are the Radius control which changes the size of the image area used by the Gaussian algorithm to calculate the defocus effect and the Horizontal Vertical Ratio control which changes the balance between the horizontal and vertical influence Each of these parameters are normally in Gang mode which means the Red Green and Blue channels are all affected evenly You can deselect Gang mode and make individual adjustments on the Ul or on the control panels by selecting the Master Color button on the Primary soft menu to toggle between Gang and individual color controls BLUR Sharpen Horizontal f Vertical Ratio Gang Red Blur Tab COLOR Sharpen The Sharpen control can be adjusted via the Resolve control panel or with the mouse within the window on the user interface The Sharoen contro will enhance the image and the filters may be adjusted individually for Red Green or Blue or If Ganged is checked which is typical the change will be for all Sharpen also has a scaling control again with a ganged and individual RGB values The scaling adjustments change the recursive filter within the Gaussian algorithm Finally there is also a Coring control that makes
285. ve values with softness Be sure to return the Color Picker to the standard mode after making the trim adjustments to the qualifier values COLOR Power Windows DaVinci Resolve has the famous DaVinci Power Windows which provides a number of shapes to use for Matte and Masking of image sections Once you have made the Power Window adjusting the grade within the window area or outside if invert is selected is as easy as moving the trackballs You will see the result of the window and the correction applied within it on the Viewer display and the final result is the image that is seen on the Grading monitor There are four window types Circle CPW Linear LPW Polygon PPW and Curve PCW Bezier Power Windows may be used to isolate a primary or a secondary color correction They are often used with secondaries to permit fine qualification of the image and in Matte or Mask mode depending on the tyoe of correction required Using a Power Window in Mask mode is generally used when the window is intended to mask out a portion of another Power Window or a Qualification DaVinci Resolve s object tracking will be discussed later in detail but it s clear that windows placed on an object to permit grading within or outside the window edge will only work if the object does not move The object tracker will allow you to create keyframes automatically for the windows to track moving objects making DaVinci Resolve Power Windows even more valuable
286. vision Standards Committee It is a 525 line system which is used in the United States Canada Japan and in some areas of South America An electronic edit which creates a pre edit or rough cut of the program An EDL is produced upon completion which allows the user to assemble the program in the on line suite A term which is applied to a single color correction which is used throughout the film This Is an abbreviation for Phase Alternate Line and is a 625 line interlace system which is utilized throughout Europe and Australia A term which refers to monochrome or black and white film stock with is sensitive to all color A display which shows separate red green and blue channels on a waveform monitor display The act of adjusting the overall color correction for the entire image by adjusting the lift gamma and gain balance and level Primary Colors Progressive Scan Q Quality Control RAM Real Time Effects Release Print RE RGB S Safety Film Saturation SECAM Secondary Color Corrector Sepia OMI LE Soft Squeezed Storyboard A term that is applied to the three primary colors red green and blue A scanning method which has each video frame with one field of full resolution information The act of inspecting a program to ensure that it is free from defects or problems This also known as Random Access Memory It is computer memory which is unsaved A term which
287. wer display You can zoom even further into the image by either using the and keys on the keyboard or by using the rotary center mouse button on the mouse You may also reposition the image in the Viewer by holding down the center mouse button and dragging the image to the desired position To reset the Viewer size simply rignt mouse click and select either Reset or Original Size from the options within the pull down menu There are two screen display modes within the Viewer The main is a full screen display as indicated above The second which will be covered in detail later in this chapter includes a right hand slide window that provides controls for object tracking Viewer Page VIEWER Full Screen Viewer At the top of the Viewer in the center window bar is the name of the Project and Session To the left of this is a GPU status display and the playback speed display in frames per second The GPU status indicates the percentage of use that the current color correction demands of the GPU A full green indication is good indicating there is plenty of GPU headroom As the GPU processing resources are used by additional color correction the green bars will reduce A flashing red indication shows that the GPU is unable to consistently process the correction in real time Ultimately as you add a greater number of corrections you will reach the real time limit of the GPU and DaVinci Resolve will play back at a slo
288. wer in order For example you are on version three select Previous Version to get to version two Once the default version is reached selecting Previous Version again will select the highest Version Next Version Use this key to select the next higher version of the grade Once the top version is reached selecting Next Version again will select the default version DAVINCI RESOLVE CONTROL SURFACE 291 A DAVINCI RESOLVE CONTROL SURFACE 19 292 Marking Dynamics On the bottom right of the Color screen is the Dynamics Timeline display for the current clip in the timeline The Marking Dynamics group of keys is used in association with the Dynamics timeline and controls the selection of keyframe points for the start and end of dynamic transitions of the grade Start Dynamic This key is used to select the first keyframe in a transition a Dynamic The transition may be a grade change a sizing and the addition of a matte or any number of 100 variables all of which are associated with the Node Graph and the Clip or Track Dynamics Timeline Ripple Value If you have a grade or effect or just an adjustment and you would like to riople this effect over another or a large number of other clips use Ripple Value Delete This key deletes the dynamic Lift Mark If you place a mark in the wrong spot put your Cursor on the mark and use Lift Mark to remove it Trim This key is used with the numerical keypad
289. wer than selected speed There are a number of operational options in this situation to continue with the slower than real time operation If you select On The Fly Proxy DaVinci Resolve can generate proxy source images in real time which will allow the GPU sufficient headroom to process the image or you can select Render Cache to cache the clip This display will show either Record or Source timecode Record or Source frame number and if available in the DPX header KeyKode On the bottom right of the Viewer is the primary timecode display for the clio being played Just like the top display you can change the information displayed by clicking on the timecode display with the mouse to toggle the display between the five options as indicated above To the right of the primary timecode display is the Clip Loop selection button When enabled the current clip displayed in the timeline will turn blue so you can play the clip in a Loop mode The button on the left hand side will select and deselect the PowerWindows cursors The next button will change the cursor into the Color Picker mode for selecting a specific color from the Viewer image When the third button is activated the Gallery Wipe will be visible The right button is used to activate the interactive Dirt ana Dust tool VIEWER 205 ASA VIEWER 10 206 Interactive Dirt amp Dust Removal Tool DaVinci Resolve provides an interactive Dirt and Dust removal tool
290. which can accessed be from either the Viewer or Color pages by clicking on the Dirt Removal tool icon located at the left of the Viewer display Within the Dirt Settings section of the setup widget you may adjust the Algorithm section to select the filtration being used for the correction There are also adjustments for the Aggression and Blend sliders depending on the degree of correction to be applied Dirt ROI Settings Dirt Settings ROI Settings ROI Mode Draw Une Size Dirt Settings The ROI Settings allows you select the correction method If you chooses the Click and Clean mode this will apply the correction for clicks on the object with the mouse If the Draw and Clean mode is selected highlight the area with the mouse and the correction will be applied If you are unhappy with your correction select Undo to return to the original image Dirt ROI Settings Dirt Settings ROI Settings VIEWER Viewer Window Options There are a number of centre and right click mouse options for the viewer You may zoom in and out of the image within the Viewer by using a rotary control within the center mouse button and also zoom in and out of the image within the Viewer display by pressing the and keys on the computer keyboard If you hold down the center mouse button and drag the mouse it will move the image position within the Viewer display To reset the Viewer display to the correct size and positi
291. will be automatically updated to reflect the correction change This mode is typically off While useful it can also be distracting to some people To the right of the Auto Keyframing icon you may see a channel number indicating the correction channel the node to which this line of display refers To the right of these the arrow normally points right but if you select the arrow with your mouse the corrector or PTZR channel will exoand to show a number of more lines of grading and sizing parameters Each is keyframable Marks are made for the individual channel elements ana with a large Node Graph this list can be quite long Every variable is captured here for every clip and stored with the Project metadata COLOR 197 A COLOR 9 Adding Dynamics Dynamics can be added in a number of ways With the Ul right mouse click and select the appropriate function from the pull down menu that appears within the Event Timeline display Add Mark Add Dissolve Set to Non dissolve Mark Set to Dissolve Mark Moving a Mark Delete Selected Mark Change Dissolve Type 198 COLOR Add Mark Add Dissolve Mark Set to Non Dissolve Mark Set to Dissolve Mark Delete Selected Mark Change Dissolve Type Maximum Zoom Reset Zoom Add EDL Marks on Tracks Delete EDL Marks on Tracks Dynamics Timeline Right Click Will enter an event mark into the timeline or simply oress the Mark button on the DaVinci Res
292. with the project Browse select ana load the EDL Delete The Delete button also within the Timeline Management area will delete the selected Session It will remove the Session from the timeline but before doing so will prompt you to either Save or Not Save the stills for the Session Often you want to delete the Session but maintain the stills for later reference You also have the opportunity to save any Session changes CONFORM 113 CHARER 3 114 CONFORM Offline Clips The Timeline Management window also provides the option to associate an Offline Clip for comparison to the EDL and Online images Using your Mouse select the Session you wish to compare to the Offline Then select the Offline Clip label pulldown arrow and select the correct clip to associate When you select the Offline clip it displays the first frame within the right side Viewer window Please refer to the Viewer Display section later in this chapter for details on reviewing the Offline Clips Timeline Management Session Start Timecode Total Frames Offline Clip Master Session 01 00 00 00 2843 Default session 1 01 00 00 00 2843 Create Default Load AAF EDL Preconform Delete Offline Clio Selection Creating a Conform with handles You can create a version of a timeline with handles This is particularly helpful if you plan to record the timeline to tape and need pre roll time First right mouse click on the Conform
293. within the Batch List display If you click on the Delete Selected button this will delete the highlighted edit information This gives you the opportunity to remove events from the batch and ingest only the selected sections from the EDL You can also ingest material using multiple EDLs Particularly helpful for a TV commercial project First place all the EDLs within the same directory folder When you initiate the Load EDL function browse to the directory that has the EDLs and use the Shift or Ctrl Command buttons to select the EDLs Scan list export Lastly at the bottom of the Batch List display is a Scanner Export button This button will export the events within the Batch List in a format that can be utilized automatically by an Arri scanner The scanner can then scan the film and place the frames you need into the Media Pool with the correct naming convention DaVinci Resolve can also optionally populate the Media Pool with the clio entries so you can continue working as the scan is in progress The images will appear automatically as soon as the scan has finished DECK 241 ASA DECK 1 242 Record The Record tab provides controls to record images from the media storage disks to a video tape deck If you have a PowerMaster project it also offers control over the clips to be recorded from the timeline Select the appropriate clip from disk browser in the Source Selection tab Then acquire t
294. y Stills display This still can then be used as a reference for comparison in other scenes Grab all stills from first frame will grab a still from every clip on the timeline using the first frame of each clip Grab all stills from Middle Frame will perform the same function except use the middle frame of each clip as the source of the still Once this procedure has started it will continue until completed which coula take some time The Toggle Wipe selection will turn the wipe on and off This function on the DaVinci Resolve control surface is called Play Still The Toggle Wipe mode will select to compare the current timeline clio to either the Gallery Still the matching Offline frame or another clip on the timeline To use select a clio on the timeline togole the mode to Timeline ana then use the mouse to select the thumbnail of the reference clip Right click on the thumbnail to select Wipe Timeline and the reference clip will be highlighted in yellow when you move to the clip to compare Alternatively to compare the current clip to the Offline select the Still Timeline button on the DaVinci Resolve control surface until the Offline label is seen on the status display More on the Status display later in this chapter You will then be able to perform a wipe with the offline recording in conjunction with the clip The Toggle Wipe Shape option switches between Vertical Wipe Horizontal Wipe Mix
295. y selected to provide the best image motion preservation and will take longer to process the grain reduction than when deselected 250 REVIVAL Here are some recommended starting settings for grain reduction Spatial Filter O Off for no spatial blurring 2 Low for low resolution images 5 Medium for high resolution images will potentially soften the image Noise Level 20 Number of Frames 3 Patch Size O RGB Mode Safe Enabled Here are some recommended starting settings for noise reduction Spatial Filter O Of Noise Level 20 30 Number of Frames 4 8 Patch Size 20 40 RGB Mode Safe Enabled Settings are very subjective and it is highly recommended some testing be done prior to committing a large amount of work REVIVAL 251 ASA SCENE IS Scene Scene Cut Detector Often images are supplied in continuous recordings or single streams of files without an EDL to split the clips As DaVinci Resolve associates color grading metadata to each clip based on source clip timecode any long media files which include a number of clips must have either an EDL or be split into individual clips so the grade can be applied Splitting clips can be done manually on the Color screen or automatically in the Scene Cut Detector Loading Clips for Scene Cut Detection Within the Browse screen Clip Details area highlight a clip and right mouse click to select Scene Cut Detection This will automatically load
296. ymamics Tracker 2 Fil43m m Q Viewer screen with 3D Object Tracking controls On the right side of the Viewer screen there is a control arrow that extends the 3D Object Tracking controls With a PowerWindow placed over any part of the image select either Track Fwd or Track Reverse buttons or use the Soft buttons on the DaVinci Resolve control panels If DaVinci Resolve loses the object at any point press the Stop button make the necessary window reposition enter a mark using the Mark button on the control panel and start the track again from that point Alternatively you may correct the shape position by pressing the Shift key and moving the shape to the desired location VIEWER 211 ASA VIEWER 10 If you want to track the shape in reverse play press the Track Rev button to track the shape backwards It s useful to note that it is better to track the window with minimum edge softness After the tracking orocedure is finished the required softness may be applied and will be carried automatically through the tracking procedure The Tracking functions can also be selected by pressing the T key on the keyboard for forward tracking or Shift T for reverse You may stop the tracking at any time by pressing the Stop button on the DaVinci Resolve Keyboard control panel or by pressing the Stop button within the Object Tracking graphic user interface Object Tracking T

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