Blackmagic Design davinci resolve 12.5 Service Manual

0 (0)

Reference Manual

DaVinci

Resolve

March 2017 12.5

Welcome

Welcome to DaVinci Resolve 12.5 for Mac, Linux and Windows!

DaVinci is the world’s most trusted name in color and has been used to grade more Hollywood films, TV shows, and commercials than anything else. Now, with DaVinci Resolve 12.5,

you get a complete set of professional editing and advanced color correction tools combined in one application so you can edit and grade from start to finish, all in a single tool!

DaVinci Resolve 12.5 has the features professional editors and colorists need, and is built on completely modern technology with advanced color and image processing that goes far

beyond what any other system can do. With this release, we hope to inspire creativity by letting you work in a comfortable, familiar way while also giving you an entirely new creative toolset that will help you cut and finish projects at higher quality than ever before!

We hope you enjoy reading this manual. With its customizable interface and keyboard shortcuts, DaVinci Resolve 12.5 is easy to learn, especially if you’re switching from another editor, and has all of the tools you need to create breathtaking, high end work!

The DaVinci Resolve Engineering Team

Grant Petty

CEO Blackmagic Design

Contents

1 Introduction to Resolve		20
Getting Started		23
Switching Among Pages		27
The Media Page		27
The Edit Page		31
Edit and Color Page Effects and Fusion Connect		35
The Color Page		36
The Deliver Page		40
User Interface Conventions in Resolve		43
2 Logging In and The Project Manager		51
Single-User versus Multi User Installations		53
Logging In and Creating New Users		53
Using the Project Manager		56
User Pop-Up Menu		58
Saving Projects		62
Dynamic Project Switching		63
Archiving and Restoring Projects		64
3 Project Settings and Preferences		66
Opening and Editing Project Settings		69
Presets		70
Master Project Settings		71
Image Scaling		76
Editing		78
Color		79
Camera Raw		82
Color Management		82

Contents 3

Versions		88
Audio		89
General Options		90
Capture and Playback		92
Control Panel		94
Auto Save		95
Keyboard Mapping		96
Metadata		96
DaVinci Resolve Preferences		97

4 Camera Raw Settings		101
Camera Raw Decoding Explained		103
Using ARRI ALEXA files		105
Using RED files		107
Using Sony Raw Files		112
Using CinemaDNG files		114
Using Phantom Cine Files		117
5 Improving Performance, Proxies, and the Render Cache		119
Understanding the GPU Status Display		121
Prioritizing Audio or Video Playback in the Edit Page		121
Using Proxies to Improve Performance		122
Reducing Decode Quality to Improve Raw Performance		122
Using Optimized Media to Improve Overall Performance		123
Using the Smart Cache to Improve Effects Performance		126
Other Project Settings for Improving Performance		131

Contents 4

6	Data Levels, Color Management, ACES, and HDR	132
	Data Levels Settings and Conversions	134
	DaVinci Resolve Color Management	137
	Color Management Using ACES	142
	High Dynamic Range (HDR) Grading in Resolve	145
7	Using the Media Page	161
	Understanding the Media Page User Interface	163
	Viewer	167
	Media Pool	168
	Metadata Editor	171
	Audio Panel	172
	Dual Monitor Layout	173
	Customizing the Media Page	174
8	Adding and Organizing Media	175
	Copying Media Using the Clone Tool	177
	Adding Media to the Media Pool	178
	Adding Media in the Edit Page	182
	Removing Media From the Media Pool	182
	Adding and Removing External Mattes	182
	Adding Offline Reference Movies	184
	Extracting Audio	185
	Organizing the Media Pool	185
	Creating and Using Smart Bins	190
	Finding Clips and Timelines in the Media Pool	193

Contents 5

9	Working With Media	194
	Renaming Clips Using Display Names	196
	Editing Clip Metadata	198
	Importing and Exporting Media Pool Metadata	201
	Syncing Audio	203
	Changing Clip Attributes	206
	Relinking Media Simply	212
	Locating Media Files in the Media Storage Browser and Finder	213
	Update Timecode from Audio – LTC	213
	Changing Clip Thumbnails in the Media Pool	214
	Creating Subclips	214
	Organizing Stereo 3D Media	214
	Camera Raw Decoding	215
10	Using Scene Detection	216
	Using Scene Detection	218
	The Scene Detect Window Interface	218
	An Example Scene Detect Workflow	223
11	Ingesting From Tape	225
	Tape Ingest	227
	The Tape Capture Interface	227
	Setting Up to Capture From Tape	228
	The Three Methods of Capture	230
	Batch Capture Via EDL	232

Contents 6

12 Capturing From the Cintel Film Scanner		234
Controlling the Cintel Film Scanner		236
The Cintel Scanner Interface		237
Cintel Media Page Settings		239
Film Scanning Workflows		243
Grading and Sizing Scanned Media		251
13 Using the Edit Page		253
The Edit Page User Interface		255
The Interface Toolbar		255
The Media Pool		256
More About Timelines		257
Effects Library Browsing		260
Edit Index		262
Source and Timeline Viewers		265
Metadata Editor		270
Inspector		271
Timeline		271
Toolbar		275
Navigating the Edit Page Using the Keyboard		276
Dual Monitor Layout		277
Customizing the Edit page		278
Undo and Redo in the Edit Page		278
14 Editing Fundamentals		279
Creating and Duplicating Timelines		282
Selecting Clips in the Media Pool to Edit		284
Transport Controls and Timeline Navigation		286
Setting In and Out Points		290

Contents 7

Working With the Timeline	292
Assembling Clips in the Timeline	295
Source/Record Editing	297
Three-Point Editing	301
Different Types of Edits	309
Subclips	319

15 Working in the Timeline		320
Match Frame Operations		322
Selecting Clips in the Timeline		324
Deleting Clips From the Timeline		329
Selecting Edits in the Timeline		331
Linking and Syncing Audio and Video		333
Locking Tracks		336
Moving, Resizing, and Rolling Clips in Selection Mode		337
Shuffle or Swap Edits and Inserts		341
Splitting and Joining Clips		343
Copying and Pasting Clips in the Timeline		344
Duplicating Clips and Transitions in the Timeline		346
Flagging and Marking Clips for Reference		346
Color Coding Clips in the Timeline		352
Enabling and Disabling Clips and Tracks		353
Finding Clips, Timelines, Media, Markers, and Gaps		354
16 Multicam Editing, Take Selectors,
Compound Clips, and Nested Timelines		355
Multicam Editing		357
Take Selectors		365
Compound Clips		367
Nested Timelines		369

Contents 8

17	Trimming	372
	Using Trim Mode and the Trim Tool	374
	Summarizing Trim Operations	374
	Trim Tool Operations With the Keyboard	379
	Trimming Without the Heads Up Display	382
	Trimming Using Timecode Entry	382
	Trimming Clips in the Source Viewer	383
	Ripple Editing Rules	384
	Commands to Start Trimming Quickly	386
	Trimming Multiple Edits or Clips at Once	387
	Keyboard Trimming During Looped Playback	392
	Dynamic Trimming	393
	Trim Start and Trim End	395
	Extend Edits	397
18	Using Transitions	399
	Working With Transitions	401
	Adding and Editing Transitions	401
	Adding Transitions When There’s Not Enough Handles	402
	Transition Properties in the Inspector	403
	Using Transition Curves	404
	DaVinci Resolve Transitions	405
	OpenFX Transitions	409
	Organizing Transitions	409
	Changing the Standard Transition	410

Contents 9

19	Edit Page Effects	411
	Using the Inspector	414
	Adding Titles	416
	Using Generators	421
	Using Stills	421
	Composite Modes and Transparency Effects	422
	Keying, External Mattes, and Window Compositing	428
	Transform, Cropping, and Lens Correction	428
	Speed Effects and Retiming	432
	Keyframing Effects in the Edit Page	441
	Paste Attributes	450
	Fusion Connect	451
20	Working With Audio	458
	Compatible Audio Formats	460
	Assigning Audio Channels in the Media Pool	460
	Editing Audio Into the Timeline	463
	Editing Audio In the Timeline Using In and Out Points	468
	Setting Clip Levels and Pan	470
	Keyframing Audio	472
	Audio Fade Handles	475
	Audio Crossfades	475
	Audio Meters	476
	The Audio Mixer	477
	Automation Recording	479
	Using Audio Filters	482
	Pro Tools Export	484

Contents 10

21	Media Management	485
	What is Media Management in Resolve?	487
	File Formats Compatible With Media Management	487
	Using Media Management	488
	Options in the Media Management Window	491
	File Naming When Consolidating During Media Management	493
22	Importing Projects and Relinking Media	494
	Preparing to Move Your Project to Resolve	497
	How DaVinci Resolve Conforms Clips	504
	Creating Digital Dailies For Round Trip Workflows	511
	Conforming XML and AAF Files	517
	Conforming AAF Files	521
	Conforming EDL Files	530
	Verifying Imported Projects With Offline Reference Clips	535
	Manually Conforming and Relinking Media	538
23 Introduction to Color Grading		548
	The Goals of Color Correction	550
	Maximizing the Look of Your Media	550
	Emphasizing What’s Important	553
	Audience Expectations	554
	Balancing Scenes	555
	Adding Style	557
	Quality Control	560
	Never Stop Experimenting	561

Contents 11

24 Using the Color Page		562
The Color Page Interface		565
Customizing the Color Page		571
Using the Viewer		571
Monitor Calibration		579
Viewing Broadcast Safe Exceptions		581
Comparing Clips in the Viewer		581
Using Video Scopes		586
Navigating Using the Color Page Timeline		590
Sorting and Filtering Clips in the Timeline		593
Using the Lightbox		600
The Info Palette and Clip Information		602
Undo and Redo		604
25 Color Page Basics		605
Color Controls Covered in This Chapter		607
Camera Raw		607
Color Match Palette		611
Color Wheels Palette		616
RGB Mixer Palette		631
Automated Grading Commands		634
Using CDL Grades and ARRI Looks		638
26 Curves		639
Introduction to Using Curves		641
Custom Curves		643
Soft Clip		650
The HSL Curves		654

Contents 12

27 Secondary Grading Controls		662
Secondary Qualifiers		665
Basic Qualification Using the 3D Keyer		669
Basic Qualification Using the HSL Keyer		672
HSL Qualifier Presets		675
Using Highlight to See What You’re Isolating		676
Qualifier Parameters		677
Matte Finesse Controls		682
The Many Ways to Invert a Key		685
Combining Qualifiers and Windows		685
Manipulating Keys Using Additional Nodes		686
Power Windows		687
The Window Palette Interface		689
Drawing a PowerCurve		694
Combining Power Windows With the Mask Control		697
Copying and Pasting Windows		699
Saving Window Presets		699
Using Windows and Qualifiers Together		700
Manipulating Windows Using a Control Panel		701
Motion Tracking Windows		702
Tracker Palette Controls in More Detail		705
Cloud Tracker Workflows		710
Point Tracker Workflows		716
Rotoscoping Window Shapes After Tracking		721
28 The Gallery and Grade Management		727
Using the Gallery		730
The Gallery Window		737
Importing and Exporting Stills		738

Contents 13

Using and Organizing Memories	739
Using Versions to Manage Grades	740
Copying Grades	751
Copying Individual Nodes and Settings	757
Rippling Adjustments Among Multiple Clips	757
Appending A Node to Multiple Clips	759
Scroll Copy Grades Using the DaVinci Control Panel	759
Rippling Changes Using the DaVinci Control Panel	760
Using Groups	763
Exporting Grades and LUTs	769

29 Color Page Effects		771
Motion Effects Palette		773
OpenFX		780
The Blur Palette		791
Transforms and the Sizing Palette		795
Image Stabilization in the Tracker Palette		805
Data Burn		813
Dust Removal		817
Black Sun Highlight Correction		819
30 Working in the Node Editor		820
Node Editor Basics		823
Grading Order of Operations		834
Copying Nodes and Node Settings		835
Serial, Parallel, and Layer Node Tree Structures		836
Applying a LUT Within a Node		843
Using Compound Nodes		844
RED HDRx Input Support		845

Contents 14

Clip vs. Timeline Grading	849
Manipulating and Combining Keys	850
Using External Mattes	856
Using the Key Mixer	863
Using the Key Palette	867
Isolating, Splitting, and Converting Color Channels	871
Putting Nodes into HDR Mode	875
Compositing Using the Alpha Output	875

31 Keyframing in the Color Page		883
Introduction to Keyframing		885
The Keyframe Editor Interface		886
All/Color/Sizing		887
Keyframing Methods		888
Using Specific Keyframing Tracks		891
Automatic Keyframing		893
Modifying Keyframes		893
Copying Keyframes		896
Keyframes and Saved Stills		897
Adding EDL Marks		897
32 Copying Grades Between Timelines Using ColorTrace		898
Copying Grades Using ColorTrace		900
Using ColorTrace in Automatic Mode		902
Using ColorTrace in Manual Mode		905
Importing CDL Data Using ColorTrace		907

Contents 15

33 Using the Deliver Page		909
The Deliver Page		911
The Interface Toolbar		911
Rendering Files vs. Outputting to Tape		912
The Render Settings		912
The Deliver Page Timeline		913
The Viewer		914
The Render Queue		915
34 Delivery Effects Processing		916
Delivery Effects Processing		918
35 Rendering Media		922
Using Presets for Fast Rendering		924
Choosing a Location To Render		926
Single Clip vs. Individual Clips		926
All Other Render Settings for Output		927
Additional Outputs		934
How to Avoid Overwriting Clips When Rendering Output Media		935
Defining a Range of Clips and Versions to Render		935
Using the Render Queue		937
Rendering Jobs from Multiple Projects at Once		939
Remote Rendering		940
36 Delivering Using EasyDCP		942
Licensing EasyDCP		944
EasyDCP Color Management		945
EasyDCP Output in the Deliver Page		945
KDM Generation and Management		947
Publishing Your Encrypted Digital Cinema Package		947

Contents 16

37 Delivering to Tape		948
The Tape Output Interface		950
Setting Up for Tape Output		952
Edit to Tape Queue Option Menu Settings		954
Tape Output Procedures		955
38 Exporting Timelines to Other Applications		957
Exporting to AAF/XML		959
More About Exporting to AAF		960
Exporting an EDL		960
Exporting a Missing Clips EDL		961
Exporting Timeline Markers to EDL		961
Exporting to CDL		961
Exporting the Edit Index as a CSV or TXT File		962
Exporting to ALE		963
Exporting to ALE with CDL		965
Exporting Timeline Markers to EDL		966
Exporting and Importing Media Pool Metadata		966
39 Resolve Live		968
More About Resolve Live		970
Configuring Your System for Resolve Live		970
Grading Live		971
Using Resolve Live Grades Later		973
Using LUTs in Resolve Live Workflows		974

Contents 17

40 Stereoscopic Workflows		975
Stereoscopic Workflows		977
Hardware Requirements for Working in Stereo 3D		977
Supported Stereo 3D Media		978
Creating Stereo 3D Clips		979
Converting Clips Between Stereo and Mono		981
Attaching Mattes to Stereo 3D Clips		982
Organizing and Grading Stereo 3D Dailies		982
Conforming Projects to Stereo 3D Media		984
Adjusting Clips Using the Stereo 3D Palette		985
Outputting Stereo 3D Media in the Deliver Page		995
41 Managing Databases and Database Servers		996
Using Databases		998
Switching to a PostgreSQL Database		998
Switching to a Disk Database		1000
Working With the Database Manager		1001
Configuring and Using a Remote Database Server		1003
Setting Up a DaVinci Resolve Project Server		1004
Connecting to Projects on a Server		1005
Troubleshooting Tips When Setting up a Project Server		1006
42 Collaborative Workflow		1009
Setting Up to Collaborate		1011
Opening Projects to Collaborate Upon		1011
Using Collaborative Workflow		1012

Contents 18

43	Remote Grading	1015
	Introduction to Remote Grading	1017
	Requirements for Remote Grading	1017
	Setting Up for Remote Grading	1018
	Remote Grading Restrictions	1018
44	Using Variables and Keywords	1019
	Using Metadata Variables	1021
	Using Keywords	1024
45	Creating DCTL LUTs	1025
	About DCTL	1027
	DCTL Syntax	1027
	A Simple DCTL LUT Example	1029
	A Matrix DCTL LUT Example	1029
	A More Complex DCTL LUT Example	1030
46	TCP Protocol for Resolve Transport Control	1031
	About the TCP Protocol Version 1.2	1033
	TCP Protocol Stream	1034
47 Control Panel		1035
	DaVinci Resolve Control Panels	1037
	DaVinci Resolve Micro Control Panel	1038
	DaVinci Resolve Mini Control Panel	1042
	DaVinci Resolve Advanced Control Panel	1045
	Copying Grades Using the Advanced Control Panel	1056
	Rippling Changes Using the Advanced Control Panel	1058

Contents 19

Introduction to Resolve

DaVinci Resolve integrates editing, color correction, and finishing within a single, easy to learn application. The editing and grading tools found in Resolve should be immediately familiar to experienced artists who’ve used other postproduction applications, but they’re also very approachable to folks who are new to postproduction.

Additionally, dedicated tools available for on-set workflows integrate tasks such as media duplication, shot and metadata organization, and on-location look management into a complete tool set that lets you smoothly segue from the camera-original media being acquired in the field to the organization and use of that media in a wide variety of postproduction workflows that use DaVinci Resolve at their heart.

The tight integration in Resolve between on-set media, metadata, and “look” organization, editing, and grading means that you can freely move from one task to the next without skipping a beat. This makes it easy to back up and organize your media, and then immediately dive into editing a program, switching over to color-correct clips in the middle of your editing spree, before going right back to editing, without needing to export projects or launch other applications. And you can go further, using the collaborative features of DaVinci Resolve to enable multiple artists, for example an editor, a colorist, and assistants, to work together on the same timeline simultaneously, for the ultimate integrated workflow.

Of course, no postproduction professional works in a vacuum, and DaVinci Resolve makes it easy to work with other facilities by importing projects and exporting project exchange formats and rendered or managed media among applications such as Apple’s Final Cut Pro X, Adobe’s Premiere Pro, Avid’s Media Composer, Autodesk’s Smoke, and many other applications via robust support of XML, AAF, and EDL import and export workflows.

This chapter introduces the DaVinci Resolve user interface (UI), explaining where to find each group of features, and how the highly focused and tightly integrated Media, Edit, Color, and Deliver pages of functionality work together to let you pursue nearly any postproduction workflow you can imagine. After this brief tour, the rest of Part 1 of this manual provides much more in-depth information about every aspect of functionality found in DaVinci Resolve.

This chapter covers the following topics:

Getting Started	23
Logging In	23
The Project Manager	24
Preferences	24
Project Settings	26
Switching Among Pages	27
The Media Page	27
The Media Storage Browser	28
Viewer	28
Media Pool	29
Metadata Editor	29
Audio Panel	30

Chapter 1 – Contents

The Edit Page	30
The Media Pool	31
Effects Library Browsing	32
Edit Index	32
Source/Offline and Timeline Viewers	33
Inspector	34
Toolbar	34
Timeline	34
Edit and Color Page Effects and Fusion Connect	35
The Color Page	36
Viewer	36
Gallery	37
Node Editor	38
Timeline	38
Left Palettes	39
Center Palettes	39
Keyframe Editor	40
The Deliver Page	40
The Render Settings List	41
The Deliver Page Timeline	42
The Viewer	42
The Render Queue	43
User Interface Conventions in Resolve	43
Customizing Each Page Using the Interface Toolbar	43
Adjusting the Workspace	44
Dual Monitor Layouts	47
Contextual Menus	48
Buttons and Pop-up Menus	48
Adjusting Parameters	49
The Three Buttons of a Mouse or Other Input Device	49

Chapter 1 – Contents

Getting Started

When you install DaVinci Resolve and then open it for the first time, there are a few things you’re going to want to do before you begin working on your first project.

Logging In

If you’ve installed DaVinci Resolve in its multi-user environment, the first window you’ll see is the login screen. If you installed DaVinci Resolve’s default single-user environment, opening Resolve immediately takes you to the Project Manager, discussed in the next section.

DaVinci Resolve was originally designed as a multi-user application for professional grading suites where an elaborately appointed room at a high-end facility was being shared among a stable of colorists. Resolve is still very much used in that capacity, and the login screen provides the interface that’s used to create and manage multiple users on a single workstation.

Another way of looking at the multi-user capabilities of Resolve is organizational in nature. Each login has individual settings, preferences, projects, and PowerGrades. This means that you can create users, not for specific individuals, but for specific types of projects that you want to share common project settings and PowerGrades.

To open a user, simply double-click that user’s icon, or follow the on-screen instructions to create a new user and then double-click it to open.

The login screen that appears when you first open Resolve

Whether you simply use the default admin login to do your work (which is fine), or you create your own individual login, there are several controls for creating and customizing user logins, all of which are covered in Chapter 2, “Logging in and the Project Manager.”

Chapter 1 – Introduction to Resolve

The Project Manager

If you’ve installed DaVinci Resolve as a single-user environment, the Project Manager is the first window you’ll see when you open Resolve

The Project Manager is a centralized interface for managing all projects belonging to the user who’s currently logged in, whose name appears at the upper right-hand corner in a project title bar. This is the second window you’ll see when opening DaVinci Resolve. The Project Manager is also the place where you import and export projects to and from Resolve, whether you’re moving projects around from user to user, or moving projects from one Resolve workstation

to another.

To open any project, double-click it. To create a new project, double-click the Untitled Project icon.

The Project Manager shows all projects belonging to the current user

More information about the Project Manager appears in Chapter 2, “Logging in and the Project Manager.”

Preferences

The Preferences Window lets you set up the overall environment of your DaVinci workstation, choosing which language to display the interface with, what hard drive volume to use as the scratch disk, what I/O interfaces to use for playing audio and viewing video output, and which, if any, control panel to use while grading. If you have a system that doesn’t change very often, then you may only rarely use the Preferences window. On the other hand, if you’re working with a mobile system with changing video interfaces, control panels, and scratch volumes, then you may use this window more frequently.

Whenever you change any settings in the Preferences, you must quit and restart Resolve for those preferences to take effect.

Chapter 1 – Introduction to Resolve

The DaVinci Resolve Preferences let you set up your environment

A quick overview of the Preferences appears below, but for more information, see Chapter 3, “Project Settings and Preferences.”

System Overview

Provides an overview, for reference, of all hardware and computer characteristics that are relevant to DaVinci Resolve running smoothly, including listing of installed GPUs. A Language pop-up at top lets you specify which language the DaVinci Resolve user interface displays. Resolve currently supports English, Spanish, Chinese, and Japanese.

Media Storage Volumes

This is a list within which you define the scratch disk used by your system. The first volume in this list is where Gallery stills and cache files are stored, so you want to make sure that you choose the fastest storage volume that’s connected.

Video I/O and GPU

The preferences in this panel let you choose video interfaces and GPU processing hardware on your workstation. If you have multiple Blackmagic Design I/O interfaces connected to your computer, you can choose one to use for monitoring video output, and one to use for Resolve Live, a feature that lets you grade camera output during a shoot as part of an on-set workflow.

Control Panels

Lets you choose and configure (if necessary) a control panel that’s connected for use during grading in Resolve.

Chapter 1 – Introduction to Resolve

Project Settings

Once you’ve created a project, all project-specific settings are found in the Project Settings window. To open the Project Settings window, just click the gear button at the bottom right on any page.

Project Manager and

Project Settings buttons

The Project Settings open in the middle of the screen, divided into a series of panels which can be selected from a sidebar to the left. Each panel contains a collection of related settings that affects some category of Resolve functionality. To open a panel of settings, simply click its name in the sidebar at the left.

The Project Settings show all project-specific settings and attributes

The Master Project Settings define the principal attributes of a project, such as the timeline resolution, timeline frame rate, color science, and bit depth. Image Scaling settings define how clips that don’t match the timeline resolution are scaled to fit. There are other panels for Editing settings, Color settings, Lookup Tables (LUTs), et cetera.

For more information about Project Settings, see Chapter 3, “Project Settings and Preferences.”

Chapter 1 – Introduction to Resolve

Switching Among Pages

DaVinci Resolve is divided into four main pages of functionality, which can be accessed using four buttons at the very bottom of the DaVinci Resolve interface. These buttons are organized in order of workflow, and they’re always available, letting you quickly switch between importing media, editing, grading, and outputting your project in a structured manner.

You can also switch pages using the following keyboard shortcuts.

Page	Keyboard Shortcut
Media	Shift-2
Edit	Shift-4
Color	Shift-6
Deliver	Shift-8

The Media Page

The Media page is the primary interface for media management and clip organization in DaVinci Resolve. It’s central to the way DaVinci Resolve works that the source media used by a project is organized separately from the project data that you import and manage in the Edit page.

In this way, you can manage and update the clips used by timelines in the current project with ease, switching between offline and online media, reorganizing clips, and troubleshooting any problems that occur.

The Media page also contains much of the core functionality that will be used for on-set workflows, and in the ingest, organizational, and sound-synching steps of digital dailies workflows. This chapter covers most of the functionality found in the Media page, including functions in detail that are referenced throughout this manual.

The Media page is divided into six different areas, designed to make it easy to find, select, and work with media in your project. Much of the functionality and most of the commands are found within the contextual menus that appear when you right-click clips in the Media Storage, File Browser, or Media Pool.

Media page

For more information on using the Media page, see Chapter 7, “Using the Media Page.”

Chapter 1 – Introduction to Resolve

The Media Storage Browser

The Media Storage browser shows a list of all volumes that are currently available to your Resolve workstation. It’s used to locate media that you want to import manually into your project.

Media Storage with scrubbable Clip view

Viewer

Clips that you select in any area of the Media page show their contents in the Viewer. A jog bar appears at the bottom, letting you drag the playhead directly with the pointer, while a jog control between the mode pop-up and transport controls lets you move through a long clip more slowly. The full width of the jog bar represents the full duration of the clip in the Viewer. The current position of the playhead is shown in the timecode field at the upper right-hand corner of the Viewer. Simple transport controls appear underneath the jog bar, letting you Jump to First Frame, Play/Stop, and Jump to Last Frame.

Media page viewer

You can also put the Viewer into Cinema Viewer mode by choosing Workspace > Viewer Mode > Cinema Viewer (Command-F), so that it fills the entire screen. This command toggles Cinema Viewer mode on and off.

Chapter 1 – Introduction to Resolve

Media Pool

The Media Pool contains all of the media that you import into the current project. It also contains any media that’s automatically imported along with Timelines that have been imported into Resolve. Ordinarily, all media imported into a project goes into the Master folder, however the Media Pool can be organized into as many user-definable folders as you like, depending on your needs. Media can be freely moved from one folder to another from within the Media Pool.

Media Pool with the Folder View closed

Metadata Editor

When you select a clip in any area of the Media page, its metadata is displayed within the Metadata Editor. If you select multiple clips, only the last clip’s information appears. The Metadata Editor’s header contains uneditable information about the selected clip, including the file name, directory, duration, frame rate, resolution, and codec. A series of editable fields within the Metadata Editor lets you review and edit the different metadata items that are available.

A pop-up menu at the upper-right of the Metadata Editor lets you choose from many different sets of metadata fields and checkboxes, each grouped for a specific task or workflow.

Chapter 1 – Introduction to Resolve

Clip Metadata Editor Panel and Audio Meters exposed Panel

Audio Panel

The Audio Panel can be put into one of two modes via a pair of buttons above the audio meters. In the default Meters mode, Audio Meters are displayed that show the levels of audio in clips you’re playing. In Waveform mode, you can load audio clips side by side with video clips opened in the Viewer in order to sync them together manually. The Audio Panel can also

be hidden.

The Edit Page

The Edit page exposes a source-record style NLE that incorporates many specialized features for both creative editing and finishing. The Edit page is divided into three main regions: the browsers found at the left, the Viewers at the top, and the Timeline at the bottom, all of which work together to let you import, edit, and trim timelines with a flexible variety of tools

and methods.

For more information on the Edit page, see Chapter 14, “Editing Fundamentals.”

Chapter 1 – Introduction to Resolve

+ 1030 hidden pages