DaVinci Resolve 17

Contents Getting Started PART 1 – DaVinci Resolve Interface Introduction to DaVinci Resolve The Project Manager Preferences and Project Settings Individual Preferences and Settings Based on Login Preferences System Preferences User Preferences Project Settings Switching Among Pages Minimizing the Resolve Page Bar Switching Pages Using Keyboard Shortcuts Hide Pages You Don’t Use Hide Page Navigation Altogether The Media Page The Media Storage Browser Viewer Media Pool Metadata Editor Audio Panel The Cut Page The Media Pool The Viewer Audio Meter The Timeline The Edit Page The Media Pool Effects Library Browsing Edit Index Source/Offline and Timeline Viewers Inspector Toolbar Timeline Floating Timecode Window Motion Graphics and Visual Effects in DaVinci Resolve VFX Connect The Fusion Page The Work Area Viewers Toolbar Effects Library Node Editor Inspector Thumbnail Timeline Media Pool Status Bar The Console The Color Page Viewer Gallery Node Editor Timeline Left Palettes Center Palettes Keyframe Editor The Fairlight Page The Audio Timeline Toolbar Mixer Dedicated Channel Strip Controls The Monitoring Panel Floating Timecode Window The Deliver Page The Render Settings List The Deliver Page Timeline The Viewer The Render Queue Using the DaVinci Resolve User Interface Basic Documentation Terminology What Is the “UI” or “GUI” What Is “the Pointer” About Keyboard Shortcuts Customizing the DaVinci Resolve Interface Working Full Screen vs. Within a Floating Window Panels and Panel Focus Showing and Hiding Panels Using the Interface Toolbar Showing and Hiding Panels in the Workspace Submenu Adjusting the Size of Different Panels Using Single vs. Dual Monitor Layouts Video Clean Feed Saving Custom Screen Layouts Resetting to the Default Layout Undocking Specific Panels of the Interface DaVinci Resolve User Interface Conventions Contextual Menus Drop-down Menus Adjusting Parameters Using a Mouse or Other Input Device Mouse, Trackpad, and Tablet Behaviors Timeline Scroll Behavior Viewer Behavior Keyboard Shortcuts Undo and Redo in DaVinci Resolve PART 2 – Setup and Workflows Managing Projects and Databases Using the Project Manager Project Management Importing DaVinci Resolve Projects (.DRP Files) Project Manager View Options Searching for Projects Organizing Projects in Folders Managing Databases with the Databases Sidebar Opening the Databases Sidebar Moving Projects From One Database to Another on the Same Workstation Managing Databases in the Databases Sidebar Legacy User Organization in the Databases Sidebar Saving Projects Live Save Project Backups Project Notes Dynamic Project Switching Archiving and Restoring Projects System and User Preferences DaVinci Resolve Preferences Adjusting Preferences Individual Preferences and Settings Based on Login Resetting Preferences System Memory and GPU Media Storage Decode Options Video & Audio I/O Video Plug-ins Audio Plug-ins Control Panels General Internet Accounts Advanced User Saving User Preference Presets UI Settings Project Save and Load Editing Color Fairlight Playback Settings Control Panels Metadata Keyboard Customization Choosing Keyboard Shortcut Emulation Presets Viewing Commands Assigned to Specific Key Combinations Searching for Keyboard Shortcuts Managing Keyboard Mappings Remapping a Command to One or More Keys DaVinci Control Panels Setup DaVinci Control Panels Setup DaVinci Control Panels Setup Layout Using DaVinci Control Panels Setup Firmware Ethernet Connection Settings Project Settings What Are the Project Settings? Opening and Editing Project Settings Presets Master Settings Timeline Format Video Monitoring Optimized Media and Render Cache Working Folders Frame Interpolation Image Scaling Image Scaling Input Scaling Output Scaling Color Management Color Space and Transforms Dolby Vision™ HDR10+ Lookup Tables Broadcast Safe General Options Conform Options Color Dynamics Profile Versions Camera Raw Capture and Playback Deck Settings Capture Playout Subtitles Fairlight Audio Metering Immersive Audio Camera Raw Settings Camera Raw Decoding Explained Camera Raw Project Settings Camera Raw Image Inspector ARRI ALEXA Master Settings Project Settings Use Camera Metadata Blackmagic RAW BRAW Sidecar Metadata Files Master Settings Project Settings Use Camera Metadata Canon RAW Master Settings Project Settings Use Camera Metadata CinemaDNG Master Settings Project Settings Use Camera Metadata Panasonic Varicam RAW Master Settings Project Settings Use Camera Metadata Phantom Cine Master Settings Project Settings RED Master RED Settings Master Project Settings Decoder Settings Use Camera Metadata Sony RAW Master Settings Project Settings Use Camera Metadata Improving Performance, Proxies, and the Render Cache Understanding the GPU Status Display Prioritizing Audio or Video Playback in the Edit Page Performance Mode Improves Overall Performance Adjusting Performance Mode Timeline Proxy Mode Improves Effects Performance Reducing Decode Quality Improves Raw Media Performance Optimized Media Improves Overall Performance Creating Optimized Media Optimized Media for Raw Source Clips Customizing the Type of Optimized Media You Create Switching Between Optimized and Original Media Sharing Optimized Media Between Projects Rediscovering Lost Optimized Media Deleting Optimized Media Using Optimized Media for Delivery Using the Smart or User Cache Improves Effects Performance How Cached Media Is Organized Choosing a Cache Format and Location When Caching Happens The Difference Between the Smart Cache and User Cache Modes Manually Controlling the Cache Controlling Fusion Output Caching Controlling Node Caching Controlling Color Output Caching Controlling Edit Page Filter Caching Clearing Cached Media Using Cached Media When Rendering in the Deliver Page Using Proxy Media Creating and Using Proxy Media Generating Proxy Media in Other Applications Managing Proxy Media Using Proxy Files for Delivery Moving Proxies Using a DaVinci Resolve Archive (.dra) Working Remotely Using Proxy Media Proxy Media vs. Other Playback Optimizations in DaVinci Resolve Using Optimized Media, Proxy Media, and Caching Together Which Playback Optimization Method Should I Use? Other Project Settings That Improve Performance Data Levels, Color Management, and ACES Data Levels Settings and Conversions Converting Between Ranges and Clipping Internal Image Processing and Clip Data Levels Assigning Clip Levels in the Media Pool Video Monitoring Data Levels Deck Capture and Playback Data Level Output Data Level Settings in the Deliver Page So, What’s the “Proper” Data Range for Output? Introduction to DaVinci Resolve Color Management Display Referred vs. Scene Referred Color Management Updated RCM In DaVinci Resolve 17 Resolve Color Management for Editors The Input, Timeline, and Output Color Space The RCM Image Processing Pipeline Identifying the Input Color Space of Different Clips Simple RCM Setup Automatic Color Management Resolve Color Management Presets Output Color Space Advanced RCM Setup Single Setting vs. Dual Setting RCM Setting the Input Color Space Choosing a Timeline Color Space Timeline Working Luminance 203 Nit Support for SDR to HDR Gamut Limiting, Restricting Values Within a Larger Gamut Input DRT Tone Mapping Output DRT Tone Mapping Use Inverse DRT for SDR to HDR Conversion Use White Point Adaptation Color Space Aware Grading Tools Apply Resize Transformations In Graphics White Level Display HDR On Viewers If Available HDR Mastering Is For (Studio Version Only) Resolve Color Management and the Fusion Page Ability to Bypass Color Management Per Clip Exporting Color Space Information to QuickTime Files Color Management Using ACES Setting Up ACES in the Project Settings Window The Timeline Color Space in ACES Workflows is Fixed Tips for Rendering Out of an ACES Project HDR Setup and Grading High Dynamic Range (HDR) Grading in DaVinci Resolve HDR Isn’t Just for Televisions The Different Ways of Mastering HDR What Do I Do With HDR? Analyzing HDR Signals Using Video Scopes Dolby Vision® Organizing Your Timeline for Dolby Vision Mastering Letterboxing for Dolby Vision Mastering Setting Up Color Management for Dolby Vision Mastering Choosing Mastering Displays for Dolby Vision Using the Dolby Vision Internal Content Mapping Unit (iCMU) Simultaneous Master and Target Display Output for Dolby Vision External Content Mapping Unit (eCMU) for Dolby Vision Auto Analysis is Available to All Studio Users Licensing DaVinci Resolve to Expose Dolby Vision Trim Controls Dolby Vision® Trim Controls in DaVinci Resolve Previewing and Trimming At Different Levels Managing Dolby Vision Metadata Setting Up Resolve Color Management for Grading HDR DaVinci Resolve Grading Workflow For Dolby Vision Delivering Dolby Vision SMPTE ST.2084 and HDR10 Monitoring and Grading to ST.2084 in DaVinci Resolve Connecting to HDR-Capable Displays using HDMI 2.0a HDR10+™ Monitoring and Grading to ST.2084 for HDR10+ HDR10+ Grading Workflow Simultaneous Master and Target Display Output for HDR10+ HDR10+ Auto Analysis Commands Delivering HDR10+ Hybrid Log-Gamma (HLG) Grading Hybrid Log-Gamma in DaVinci Resolve Ouputting Hybrid Log-Gamma Image Sizing and Resolution Independence About Resolution Independence Timeline Resolution Mixing Clip Resolutions Changing the Timeline Resolution You Can Use Separate Timelines to Output Different Resolutions You Don’t Need Separate Timelines to Output Different Resolutions Using High Resolution Media in Lower Resolution Projects Clip Source Resolution Pixel Aspect Ratio (PAR) Clip Resolution The DaVinci Resolve Sizing Pipeline “Super Scale” High Quality Upscaling (Studio Version Only) Fusion Effects and Resolution Image Scaling Edit Sizing in the Cut and Edit pages Image Stabilization Input Sizing on the Color Page Node Sizing on the Color Page Output Sizing on the Color Page Output Blanking Format Resolution on the Delivery Page Rendering Sizing Adjustments and Blanking Data Burn-In Data Burn-In Project vs. Clip Mode Setting Up Burned-In Metadata Saving and Loading Burn-In Presets Data Burn-In Metadata Custom Output Options Gang Rendered Text Styles Prefix Render Text Frame.io & Dropbox Replay Integration Enabling Frame.io Integration in Preferences Deliver and Upload to Frame.io Frame.io Comments Sync with Timeline Markers Importing Media from Frame.io Linking Media Pool Clips and Timelines with Frame.io Clips Enabling Dropbox Replay Integration in Preferences Deliver and Upload to Dropbox Replay Dropbox Replay Comments Sync with Timeline Markers Working With Dropbox Markers Resolve Live More About Resolve Live Configuring Your System for Resolve Live Grading Live Getting Started Going Live Using Freeze Using Snapshot Using Resolve Live Grades Later Using LUTs in Resolve Live Workflows Stereoscopic Workflows Stereoscopic Workflows Hardware Requirements for Working in Stereo 3D Setting Up to Display Stereo 3D via SDI Setting Up to Display Stereo 3D via HDMI Supported Stereo 3D Media Using Dual Sets of Media in Any Supported Format Using Stereoscopic OpenEXR Media Using Stereoscopic CineForm Media Creating Stereo 3D Clips From Separate Files Step 1—Import and Organize Your Media Step 2—Generate 3D Stereo Clips Step 3—(Optional) Create Optimized Media Monitoring Stereoscopic 3D in the Edit Page Converting Clips Between Stereo and Mono Converting Stereo Clips Back to Mono Converting Mono Clips or an Entire Timeline to Stereo Attaching Mattes to Stereo 3D Clips Organizing and Grading Stereo 3D Dailies Step 1—Create 3D Stereo Clips Step 2—Edit the New Stereo Clips Into One or More Timelines for Grading Step 3—Align Your Media Step 4—Grading Stereo Media Step 5—Output Offline or Online Media for Editing Conforming Projects to Stereo 3D Media Grading Mastered Stereoscopic Media From Tape Adjusting Clips Using the Stereo 3D Palette Stereo Eye Selection Stereo 3D Geometry Controls Swap and Copy Controls Automatic Image Processing for Stereo 3D Stereo 3D Monitoring Controls Floating Windows Stereo Controls on the DaVinci Control Panel Outputting Stereo 3D Media in the Deliver Page Rendering Frame-Compatible Media Rendering Individual Left- and Right-Eye Clips Using Variables and Keywords Using Metadata Variables Where Variables Can Be Used How to Edit Metadata Variables Available Variables in DaVinci Resolve Using Keywords PART 3 – Ingest and Organize Media Using the Media Page Understanding the Media Page User Interface The Interface Toolbar Showing Which Panel Has Focus The Media Storage Browser Playing Media in the Media Storage Browser The Media Storage Browser’s Volume List The Media Storage Browser Area Revealing a Finder Location in the Media Browser Viewer Live Media Preview Media Pool The Bin List Showing Bins in Separate Windows Bins, Power Bins, and Smart Bins Filtering Bins Using Color Tags Sorting the Bin List Thumbnail, List, and Metadata Views in the Media Pool Display Audio Clip Waveforms in Media Pool and Media Storage Metadata Editor Audio Panel Dual Monitor Layout Customizing the Media Page Undo and Redo in DaVinci Resolve Adding and Organizing Media with the Media Pool Copying Media Using the Clone Tool Adding Media to the Media Pool Basic Methods for Adding Media in the Media Page Adding Subclips From the Media Storage Panel Adding Individual Frames From Image Sequences Adding Media Based on EDLs Splitting Clips Based on EDLs Import Clips With Metadata Via Final Cut Pro 7 XML Adding Media With Offset Timecode Adding Media to the Cut, Edit, Fusion, and Fairlight Pages Removing Media From the Media Pool Adding and Removing External Mattes What Are Mattes For? Adding Mattes Using Embedded Mattes in OpenEXR Files Adding Offline Reference Movies Extracting Audio in Media Storage Manually Organizing the Media Pool To Select Clips in the Media Pool Organizing Media into Bins Import and Export DaVinci Resolve Project Bins (.drb) Import and Export DaVinci Resolve Timelines (.drt) Sharing Media Among Projects Using Power Bins Automated Organization Using Smart Bins Smart Bins Are Only As Good As Your Metadata Smart Bins Update Their Contents Dynamically Automatic Smart Bin Creation Manual Smart Bin Creation Organizing Smart Bins Duplicating Clips in the Media Pool Duplicating Timelines Choosing How to Display Bins Showing Bins in Separate Windows Using the Media Pool in Thumbnail View Working With Columns in List View Editable Description and Comments Columns Using Metadata View in the Media Pool Finding Clips, Timelines, and Media Finding Clips and/or Timelines Within the Media Pool Finding Synced Audio Finding Timeline Clips in the Media Pool Finding Timelines in the Media Pool Finding Media in the Media Storage Panel and Finder Going Immediately to a File System Location in the Media Browser Tracking Media Usage Thumbnail Clip Usage Indicators List View Clip Usage Column Relinking Media Simply Relink Media Relink Selected Clips Change Source Folder Using Clip Metadata Editing Clip Metadata Automatically Imported Metadata Using the Metadata Editor Editing Keywords Editing Metadata Using the File Inspector Face Detection to Generate People Keywords Creating Custom Metadata Groups Importing and Exporting Media Pool Metadata Different Ways of Using Clip Metadata Renaming Clips Using Clip Names Switching Between File Names and Clip Names Using Metadata to Define Clip Names Using the Inspector in the Media Page Using the Inspector Adjusting Media Pool Clips in the Inspector Video Audio Image File Syncing Audio and Video Syncing Audio to Video Syncing Audio to Video Using Timecode Syncing Audio to Video by Matching Waveforms Manually Syncing Audio to Video Offsetting the Sync of Previously Synced Clips Finding Synced Audio Files Displaying Synced Audio File Names on the Timeline Modifying Clips and Clip Attributes Adjusting Media Pool Clips in the Inspector Changing Clip Attributes Video Attributes Real-Time 3:2 Pulldown Removal Audio Attributes Timecode Attributes Reel Name Attributes Update Timecode from Audio – LTC Changing Clip Thumbnails in the Media Pool Creating Subclips Removing or Changing Subclip Limits Organizing Stereo 3D Media Camera Raw Decoding Using Scene Detection Scene Cut Detection on the Timeline (Studio Version Only) Scene Detection in the Media Pool The Scene Detect Window Interface The Scene Detect Viewers The Scene Detect Graph Cut List The Scene Detect Options Drop-down Menu An Example Scene Detect Workflow Ingesting From Tape Tape Ingest The Tape Capture Interface Setting Up to Capture From Tape Deck Settings Capture The Three Methods of Capture Using Capture Now Logging and Capturing Individual Clips Logging and Capturing Multiple Clips Batch Capture Via EDL Capturing From the Cintel Film Scanner Controlling the Cintel Film Scanner The Cintel Scanner Interface Film Scanning Workflows Adjusting the Color of the Scanner Scanning One or More Sections of Film Extracting Audio Audio Extraction Settings Color Space and Sizing PART 4 – The Cut Page Using the Cut Page Overview of the Cut Page Overview of the Cut Page User Interface Customizing the UI Choose Settings Before You Start Timeline Resolution Quick Menu The Media Pool The Viewer Playing Clips and Navigating the Timeline Tools Bypass Color Grades and Fusion Audio Meter The Timeline Upper Timeline Lower Timeline Tracks Gaps Timeline Controls Undo and Redo in DaVinci Resolve Importing and Organizing Media in the Cut Page Importing Media Removing Media Organizing Media into Bins Master Bin Creating and Using Bins Opening Bins Create Bin With Selected Clips Renaming Bins Import and Export Specific DaVinci Resolve Project Bins Import and Export Individual DaVinci Resolve Timelines ATEM Switcher Integration Importing ATEM Mini Pro ISO Projects Relinking Blackmagic Camera Masters to ATEM ISOs Media Pool Views Metadata View Thumbnail View Filmstrip View List View Sorting and Searching Searching Navigable Clip Paths Sort Media By Finding Timeline Clips in the Media Pool Clip Color Generate Optimized Media Relinking Media Relink Media Relink Selected Clips Fast Editing in the Cut Page Creating and Modifying Timelines Creating New Timelines Opening Timelines About Tracks in the Cut Page Timeline Adding Tracks Deleting Tracks Navigating Clips in the Viewer and Timeline Viewer Options Full Screen Viewer Playing Clips and Navigating the Timeline in the Viewer Scrolling Through the Timeline Smart Reframe (Studio Version Only) The Boring Detector Setting In and Out Points Setting In and Out Points Using the Keyboard Setting In and Out Points Using the Pointer Editing the Duration Field in the Cut Page Viewer Change Clip Duration Dialog Video Only and Audio Only Edits Drag and Drop Editing Append Ripple Overwrite Overwrite Using Cut Page Edit Commands Smart Indicators Setting Up and Performing Edits Smart Insert Append Ripple Overwrite Close Up Place On Top Source Overwrite Overwrite Source Tape Editing Metadata Entry Using the File Inspector Using the Source Tape Limiting the Source Tape Scope by Folder Structure Sync Bin Multicam Editing Preparing Footage for Sync Bin Editing Sync Clips Window Sync Bin Editing Trimming in the Cut Page Tools That Help You Work in the Timeline Snapping Locking, Muting and Disabling Tracks Audio Trim View Timeline Markers Add Track Making Selections Moving Clips in the Timeline Ripple Overwriting An Entire Clip in Track 1 Overwriting the Middle of Other Clips Overwriting The Edges of Other Clips Swapping Clips Copy, Cut, and Paste Splitting Clips Disabling and Deleting Clips Disabling and Muting Clips Deleting Clips Deleting Parts of Clips Trimming Clips Resize Clips While Rippling the Timeline Rolling an Edit Slipping Clip Content Trimming Edits in the Viewer Trimming Transitions in the Viewer Using the Inspector in the Cut Page Using the Inspector Video Audio Effects Transition Image File Video and Audio Effects in the Cut Page Adding Transitions Adding Dissolves Adding Dissolve Using Keyboard Shortcuts Changing a Transition to a Cut Adding Smooth Cuts Adding Other Kinds of Transitions Editing and Removing Transitions Titles Adding Titles Editing Titles Adding Resolve FX and Other Plug-ins Video Effects Audio Effects Generators Clip Tools Shared Controls Transform Crop Dynamic Zoom Composite Speed Stabilization Lens Correction Color Audio Quick Export Quick Export Customizing Quick Export PART 5 – Edit Using the Edit Page The Edit Page User Interface Navigating the Edit Page Showing Which Panel Has Focus The Media Pool Importing Media Into the Media Pool on the Edit Page Bins, Power Bins, and Smart Bins Showing Bins in Separate Windows Filtering Bins Using Color Tags Sorting the Bin List More About Timelines and Grading Timelines, Grades, and Versions Enabling the Use of a Master Timeline Using the Effects Library The Toolbox OpenFX Audio FX Effects Library Favorites Edit Index Navigating the Timeline Using the Edit Index Edit Index Columns Filtering the Edit Index Exporting the Edit Index Source and Timeline Viewers How Each Clip’s Grade Looks in Each Viewer Source and Timeline Viewers vs. Single Viewer Mode Viewer Controls Simultaneous Audio Waveform Display in the Source Viewer Cinema Viewer Mode Viewer Indicators Other Viewer Options Fast Review in the Timeline Viewer Opening Clips in the Source Viewer Timeline Viewer Edit Overlays Copy and Paste Timecode in Viewer Timecode Fields Metadata Editor Inspector Timeline Timeline Options Switching Among Multiple Timelines Toolbar Toolbar Audio Monitoring Controls The Mixer and Meters Displaying Audio Meters Using Video Scopes Floating Timecode Window Dual Monitor Layout Customizing the Edit Page Undo and Redo in DaVinci Resolve Creating and Working with Timelines Keyboard Shortcuts in This Chapter Creating and Duplicating Timelines Individual Timeline Settings for Format, Monitoring, and Output Creating Blank and Stringout Timelines Creating Timelines by Drag and Drop Creating Timelines From Bins and Selections Creating Timelines Using an IMF or DCP Composition Playlist (CPL) Duplicating Timelines Disabling Timelines Timeline View Options Modifying Timeline Tracks Naming Timeline Tracks Using Timeline Snapping and Zooming Zoom Around Mouse Pointer Scrolling Through the Timeline Scroll Wheel Controls on Timeline Resizing the Timeline’s Video and Audio Track Regions Tabbed and Stacked Timelines Tabbed Timelines Stacked Timelines Duplicate Frame Detection Comparing Timelines The Timeline Comparison Window Preparing Clips for Editing and Viewer Playback Keyboard Shortcuts in This Chapter Browsing Clips in the Media Pool Selecting Clips in the Media Pool to Edit Duplicating Clips in the Media Pool Viewer Playback and Navigation Source and Timeline Viewers vs. Single Viewer Mode Opening Clips Into the Source Viewer to Prepare for Editing Viewer Transport Controls Simple Keyboard Shortcuts for Playback and Navigation Using JKL to Control Playback Special-Purpose Playback Commands Option to “Stop and Go to Last Position” Enabling and Disabling Audio Scrubbing Playback Post-Roll Moving the Playhead Using Timecode How to Enter Timecode Values Absolute Timecode Entry Relative Timecode Entry Copy and Paste Timecode in Viewer Timecode Fields Gang Viewers (Playhead Ganging) Adding Markers Adding Markers to Clips Setting In and Out Points Setting Clip In and Out Points in the Media Pool Setting Clip In and Out Points in the Source Viewer Clearing and Navigating In and Out Points Clip Edit Points Are Saved Turning In and Out Points into Markers With Duration and Back Again Organizing Media by Creating Subclips Removing or Changing Subclip Limits Editing Basics Keyboard Shortcuts in This Chapter Drag and Drop Editing Drag and Drop Editing of Individual Clips Into the Timeline Drag and Drop Editing of Several Clips Into the Timeline At Once Drag and Drop Editing of Video-Only or Audio-Only Edits Drag and Drop Insert Editing Dragging Clips From the File System Into the Timeline Inserting Multiple Clips into the Timeline From the Media Pool Insert Selected Clips to Timeline Using Timecode Insert Selected Clips to Timeline With Handles Audio Track Creation While Editing Using Keyboard Shortcuts and Three-Point Editing to Assemble a Program Example: Assembling Clips Into the Timeline From the Source Viewer Example: Assembling Clips Into the Timeline From the Media Pool Making Selections in the Timeline Manually Selecting Clips in the Timeline Selecting Clips Based on Markers, Flags, and Clip Color Selecting Edits in the Timeline A Practical Example of Keyboard-Driven Selections Using Auto Select Controls to Define Selections Defining Selections With the Help of Auto Select Controls Overriding Automatic Selections by Making Manual Selections Using Auto Select Controls to Control Other Operations Locking Tracks You Don’t Want to Change Position Lock for Finishing Position Locking All Tracks Position Locking Individual Tracks Disabling and Re-Enabling Clips in the Timeline Deleting Clips and Gaps From the Timeline Finding, Selecting, and Deleting Gaps in the Timeline Deleting Multiple Timeline Gaps at Once Audio/Video Linking Controlling Linked Selection Linked Move Across Tracks Dealing with Audio Video Sync Offsets Manually Unlinking and Relinking Audio and Video Linking Multiple Clips in the Timeline Commands for Slipping Audio/Video Sync Using the Inspector in the Edit Page Using the Inspector Video Audio Effects Transition Image File Modifying Clips in the Timeline Keyboard Shortcuts in This Chapter Moving, Resizing, and Rolling Clips in Selection Mode Trimming Gaps Modifying Clip Duration Via Timecode Resizing or Trimming Clips in the Source Viewer Using the Selection Tool Using the Trim Tool Doing a Slip Edit in the Viewer Shuffle/Swap Insert Edits Splitting and Joining Clips Through Edits Enabling and Disabling Clips and Tracks Copying and Pasting Clips in the Timeline Paste Insert Cut/Copy/Paste of Partial Clip Segments Using In and Out Points Copying and Pasting Clips to a Different Track Audio Channels When Copying and Pasting Audio Clips Auto Align Clips Duplicating Clips and Transitions in the Timeline Smart Reframe (Studio Version Only) Scene Cut Detection on the Timeline Clean Up Video Tracks Three- and Four‑Point Editing Keyboard Shortcuts in This Chapter Introduction to Three-Point Editing Choosing a Track to Edit to Using Destination Controls Setting In and Out Points in the Timeline Mark Clip and Mark Current Selection Preview Marks During Three‑Point Editing Dragging Preview Marks to Change an Edit The Rules of Three-Point Editing Editing Rules for Split In and Out Points Editing a Specific Range of the Source Clip Into the Timeline Editing Part of a Source Clip to Fit Into a Specific Range of the Timeline Backtiming a Source Clip When Editing Into the Timeline Switch Focus to Timeline After Edit Different Types of Three‑ and Four‑Point Edits Overwrite Edits Insert Edits Replace Edits Fit to Fill Place on Top Ripple Overwrite Append at End Insert Selected Clips to Timeline Using Timecode Insert Selected Clips to Timeline With Handles Three-Point Editing From the Media Pool Example: Assembling Clips Into the Timeline From the Media Pool Marking and Finding Clips in the Timeline Using Flags Using Markers Adding Markers to Clips Adding Markers to Timelines Saving In and Out Point Ranges As Markers with Duration Editing Marker Information and Keywords Changing Marker Timing Drawn Annotations on the Viewer Frame.io Timeline Markers Working With Frame.io Markers Dropbox Replay Timeline Markers Working With Dropbox Markers Reading Marker Information Using Markers for Navigation Using Timeline Markers for Chapters Exposing Markers in Lists Using Markers in the Media Pool Hiding Markers By Color Deleting Markers By Color Renaming Clips in the Timeline Color Labeling Clips in the Timeline Custom Clip Colors Clip Color Appearance Assigning Clip Colors Track Colors Finding Clips, Media, Markers, Gaps, and Timelines Finding Clips in the Timeline Finding Offline Clips in the Timeline Finding Edit Index Events Using Clips in the Timeline Finding Clips Finding Clips Using Markers or Flags Finding Gaps Finding the Currently Open Timeline in the Media Pool Finding Media Using Match Frame Operations Matching From the Timeline Matching From a Source Clip Finding a Clip in the Media Pool Using a Timeline Clip Using a Clip in the Source Viewer to Find a Media Pool Clip Using a Clip in the Timeline to Find a Media Pool Clip Tracking Media Usage Thumbnail Clip Usage Indicators List View Clip Usage Column Multicam Editing Introduction to Multicam Editing Creating and Modifying Multicam Clips Converting Compound Clips or Timelines to Multicam Clips Logging and Editing Multicam Clips Setting up a Timeline for Multicam Editing Opening and Altering Multicam Clips Performing a Multicam Edit Multicam Controls in the Source Viewer Multicam Keyboard Controls Editing Multicam Clips in the Timeline Grading Multicam Clips Take Selectors, Compound Clips, and Nested Timelines Take Selectors Compositing and Grading Take Selectors Compound Clips Compositing With and Grading Compound Clips Nested Timelines Re-Editing a Nested Timeline Swapping the Contents of the Source Viewer and Timeline Editing Source Media From a Timeline or Compound Clip Marking Clips in Timelines Loaded into the Source Viewer Decomposing Nested Timelines Compositing and Grading Nested Timelines Audio Buses in Nested Timelines Converting Compound Clips or Timelines to Multicam Clips Trimming Keyboard Shortcuts in This Chapter Summarizing Trim Operations Selection-Based Trimming Using the Trim Tool How the Trim Tool Differs From the Selection Tool Using the Trim Tool With the Mouse Turning Off the Heads Up Display While You Trim Trim Tool Operations With the Keyboard Important Trimming Keyboard Shortcuts Trimming Using Timecode Entry How to Enter Timecode Values Commands to Make Selections and Trim Trimming Clips in the Source Viewer Ripple Editin Contents Getting Started PART 1 – DaVinci Resolve Interface Introduction to DaVinci Resolve The Project Manager Preferences and Project Settings Individual Preferences and Settings Based on Login Preferences System Preferences User Preferences Project Settings Switching Among Pages Minimizing the Resolve Page Bar Switching Pages Using Keyboard Shortcuts Hide Pages You Don’t Use Hide Page Navigation Altogether The Media Page The Media Storage Browser Viewer Media Pool Metadata Editor Audio Panel The Cut Page The Media Pool The Viewer Audio Meter The Timeline The Edit Page The Media Pool Effects Library Browsing Edit Index Source/Offline and Timeline Viewers Inspector Toolbar Timeline Floating Timecode Window Motion Graphics and Visual Effects in DaVinci Resolve VFX Connect The Fusion Page The Work Area Viewers Toolbar Effects Library Node Editor Inspector Thumbnail Timeline Media Pool Status Bar The Console The Color Page Viewer Gallery Node Editor Timeline Left Palettes Center Palettes Keyframe Editor The Fairlight Page The Audio Timeline Toolbar Mixer Dedicated Channel Strip Controls The Monitoring Panel Floating Timecode Window The Deliver Page The Render Settings List The Deliver Page Timeline The Viewer The Render Queue Using the DaVinci Resolve User Interface Basic Documentation Terminology What Is the “UI” or “GUI” What Is “the Pointer” About Keyboard Shortcuts Customizing the DaVinci Resolve Interface Working Full Screen vs. Within a Floating Window Panels and Panel Focus Showing and Hiding Panels Using the Interface Toolbar Showing and Hiding Panels in the Workspace Submenu Adjusting the Size of Different Panels Using Single vs. Dual Monitor Layouts Video Clean Feed Saving Custom Screen Layouts Resetting to the Default Layout Undocking Specific Panels of the Interface DaVinci Resolve User Interface Conventions Contextual Menus Drop-down Menus Adjusting Parameters Using a Mouse or Other Input Device Mouse, Trackpad, and Tablet Behaviors Timeline Scroll Behavior Viewer Behavior Keyboard Shortcuts Undo and Redo in DaVinci Resolve PART 2 – Setup and Workflows Managing Projects and Databases Using the Project Manager Project Management Importing DaVinci Resolve Projects (.DRP Files) Project Manager View Options Searching for Projects Organizing Projects in Folders Managing Databases with the Databases Sidebar Opening the Databases Sidebar Moving Projects From One Database to Another on the Same Workstation Managing Databases in the Databases Sidebar Legacy User Organization in the Databases Sidebar Saving Projects Live Save Project Backups Project Notes Dynamic Project Switching Archiving and Restoring Projects System and User Preferences DaVinci Resolve Preferences Adjusting Preferences Individual Preferences and Settings Based on Login Resetting Preferences System Memory and GPU Media Storage Decode Options Video & Audio I/O Video Plug-ins Audio Plug-ins Control Panels General Internet Accounts Advanced User Saving User Preference Presets UI Settings Project Save and Load Editing Color Fairlight Playback Settings Control Panels Metadata Keyboard Customization Choosing Keyboard Shortcut Emulation Presets Viewing Commands Assigned to Specific Key Combinations Searching for Keyboard Shortcuts Managing Keyboard Mappings Remapping a Command to One or More Keys DaVinci Control Panels Setup DaVinci Control Panels Setup DaVinci Control Panels Setup Layout Using DaVinci Control Panels Setup Firmware Ethernet Connection Settings Project Settings What Are the Project Settings? Opening and Editing Project Settings Presets Master Settings Timeline Format Video Monitoring Optimized Media and Render Cache Working Folders Frame Interpolation Image Scaling Image Scaling Input Scaling Output Scaling Color Management Color Space and Transforms Dolby VisionTM HDR10+ Lookup Tables Broadcast Safe General Options Conform Options Color Dynamics Profile Versions Camera Raw Capture and Playback Deck Settings Capture Playout Subtitles Fairlight Audio Metering Immersive Audio Camera Raw Settings Camera Raw Decoding Explained Camera Raw Project Settings Camera Raw Image Inspector ARRI ALEXA Master Settings Project Settings Use Camera Metadata Blackmagic RAW BRAW Sidecar Metadata Files Master Settings Project Settings Use Camera Metadata Canon RAW Master Settings Project Settings Use Camera Metadata CinemaDNG Master Settings Project Settings Use Camera Metadata Panasonic Varicam RAW Master Settings Project Settings Use Camera Metadata Phantom Cine Master Settings Project Settings RED Master RED Settings Master Project Settings Decoder Settings Use Camera Metadata Sony RAW Master Settings Project Settings Use Camera Metadata Improving Performance, Proxies, and the Render Cache Understanding the GPU Status Display Prioritizing Audio or Video Playback in the Edit Page Performance Mode Improves Overall Performance Adjusting Performance Mode Timeline Proxy Mode Improves Effects Performance Reducing Decode Quality Improves Raw Media Performance Optimized Media Improves Overall Performance Creating Optimized Media Optimized Media for Raw Source Clips Customizing the Type of Optimized Media You Create Switching Between Optimized and Original Media Sharing Optimized Media Between Projects Rediscovering Lost Optimized Media Deleting Optimized Media Using Optimized Media for Delivery Using the Smart or User Cache Improves Effects Performance How Cached Media Is Organized Choosing a Cache Format and Location When Caching Happens The Difference Between the Smart Cache and User Cache Modes Manually Controlling the Cache Controlling Fusion Output Caching Controlling Node Caching Controlling Color Output Caching Controlling Edit Page Filter Caching Clearing Cached Media Using Cached Media When Rendering in the Deliver Page Using Proxy Media Creating and Using Proxy Media Generating Proxy Media in Other Applications Managing Proxy Media Using Proxy Files for Delivery Moving Proxies Using a DaVinci Resolve Archive (.dra) Working Remotely Using Proxy Media Proxy Media vs. Other Playback Optimizations in DaVinci Resolve Using Optimized Media, Proxy Media, and Caching Together Which Playback Optimization Method Should I Use? Other Project Settings That Improve Performance Data Levels, Color Management, and ACES Data Levels Settings and Conversions Converting Between Ranges and Clipping Internal Image Processing and Clip Data Levels Assigning Clip Levels in the Media Pool Video Monitoring Data Levels Deck Capture and Playback Data Level Output Data Level Settings in the Deliver Page So, What’s the “Proper” Data Range for Output? Introduction to DaVinci Resolve Color Management Display Referred vs. Scene Referred Color Management Updated RCM In DaVinci Resolve 17 Resolve Color Management for Editors The Input, Timeline, and Output Color Space The RCM Image Processing Pipeline Identifying the Input Color Space of Different Clips Simple RCM Setup Automatic Color Management Resolve Color Management Presets Output Color Space Advanced RCM Setup Single Setting vs. Dual Setting RCM Setting the Input Color Space Choosing a Timeline Color Space Timeline Working Luminance 203 Nit Support for SDR to HDR Gamut Limiting, Restricting Values Within a Larger Gamut Input DRT Tone Mapping Output DRT Tone Mapping Use Inverse DRT for SDR to HDR Conversion Use White Point Adaptation Color Space Aware Grading Tools Apply Resize Transformations In Graphics White Level Display HDR On Viewers If Available HDR Mastering Is For (Studio Version Only) Resolve Color Management and the Fusion Page Ability to Bypass Color Management Per Clip Exporting Color Space Information to QuickTime Files Color Management Using ACES Setting Up ACES in the Project Settings Window The Timeline Color Space in ACES Workflows is Fixed Tips for Rendering Out of an ACES Project HDR Setup and Grading High Dynamic Range (HDR) Grading in DaVinci Resolve HDR Isn’t Just for Televisions The Different Ways of Mastering HDR What Do I Do With HDR? Analyzing HDR Signals Using Video Scopes Dolby Vision® Organizing Your Timeline for Dolby Vision Mastering Letterboxing for Dolby Vision Mastering Setting Up Color Management for Dolby Vision Mastering Choosing Mastering Displays for Dolby Vision Using the Dolby Vision Internal Content Mapping Unit (iCMU) Simultaneous Master and Target Display Output for Dolby Vision External Content Mapping Unit (eCMU) for Dolby Vision Auto Analysis is Available to All Studio Users Licensing DaVinci Resolve to Expose Dolby Vision Trim Controls Dolby Vision® Trim Controls in DaVinci Resolve Previewing and Trimming At Different Levels Managing Dolby Vision Metadata Setting Up Resolve Color Management for Grading HDR DaVinci Resolve Grading Workflow For Dolby Vision Delivering Dolby Vision SMPTE ST.2084 and HDR10 Monitoring and Grading to ST.2084 in DaVinci Resolve Connecting to HDR-Capable Displays using HDMI 2.0a HDR10+TM Monitoring and Grading to ST.2084 for HDR10+ HDR10+ Grading Workflow Simultaneous Master and Target Display Output for HDR10+ HDR10+ Auto Analysis Commands Delivering HDR10+ Hybrid Log-Gamma (HLG) Grading Hybrid Log-Gamma in DaVinci Resolve Ouputting Hybrid Log-Gamma Image Sizing and Resolution Independence About Resolution Independence Timeline Resolution Mixing Clip Resolutions Changing the Timeline Resolution You Can Use Separate Timelines to Output Different Resolutions You Don’t Need Separate Timelines to Output Different Resolutions Using High Resolution Media in Lower Resolution Projects Clip Source Resolution Pixel Aspect Ratio (PAR) Clip Resolution The DaVinci Resolve Sizing Pipeline “Super Scale” High Quality Upscaling (Studio Version Only) Fusion Effects and Resolution Image Scaling Edit Sizing in the Cut and Edit pages Image Stabilization Input Sizing on the Color Page Node Sizing on the Color Page Output Sizing on the Color Page Output Blanking Format Resolution on the Delivery Page Rendering Sizing Adjustments and Blanking Data Burn-In Data Burn-In Project vs. Clip Mode Setting Up Burned-In Metadata Saving and Loading Burn-In Presets Data Burn-In Metadata Custom Output Options Gang Rendered Text Styles Prefix Render Text Frame.io & Dropbox Replay Integration Enabling Frame.io Integration in Preferences Deliver and Upload to Frame.io Frame.io Comments Sync with Timeline Markers Importing Media from Frame.io Linking Media Pool Clips and Timelines with Frame.io Clips Enabling Dropbox Replay Integration in Preferences Deliver and Upload to Dropbox Replay Dropbox Replay Comments Sync with Timeline Markers Working With Dropbox Markers Resolve Live More About Resolve Live Configuring Your System for Resolve Live Grading Live Getting Started Going Live Using Freeze Using Snapshot Using Resolve Live Grades Later Using LUTs in Resolve Live Workflows Stereoscopic Workflows Stereoscopic Workflows Hardware Requirements for Working in Stereo 3D Setting Up to Display Stereo 3D via SDI Setting Up to Display Stereo 3D via HDMI Supported Stereo 3D Media Using Dual Sets of Media in Any Supported Format Using Stereoscopic OpenEXR Media Using Stereoscopic CineForm Media Creating Stereo 3D Clips From Separate Files Step 1—Import and Organize Your Media Step 2—Generate 3D Stereo Clips Step 3—(Optional) Create Optimized Media Monitoring Stereoscopic 3D in the Edit Page Converting Clips Between Stereo and Mono Converting Stereo Clips Back to Mono Converting Mono Clips or an Entire Timeline to Stereo Attaching Mattes to Stereo 3D Clips Organizing and Grading Stereo 3D Dailies Step 1—Create 3D Stereo Clips Step 2—Edit the New Stereo Clips Into One or More Timelines for Grading Step 3—Align Your Media Step 4—Grading Stereo Media Step 5—Output Offline or Online Media for Editing Conforming Projects to Stereo 3D Media Grading Mastered Stereoscopic Media From Tape Adjusting Clips Using the Stereo 3D Palette Stereo Eye Selection Stereo 3D Geometry Controls Swap and Copy Controls Automatic Image Processing for Stereo 3D Stereo 3D Monitoring Controls Floating Windows Stereo Controls on the DaVinci Control Panel Outputting Stereo 3D Media in the Deliver Page Rendering Frame-Compatible Media Rendering Individual Left- and Right-Eye Clips Using Variables and Keywords Using Metadata Variables Where Variables Can Be Used How to Edit Metadata Variables Available Variables in DaVinci Resolve Using Keywords PART 3 – Ingest and Organize Media Using the Media Page Understanding the Media Page User Interface The Interface Toolbar Showing Which Panel Has Focus The Media Storage Browser Playing Media in the Media Storage Browser The Media Storage Browser’s Volume List The Media Storage Browser Area Revealing a Finder Location in the Media Browser Viewer Live Media Preview Media Pool The Bin List Showing Bins in Separate Windows Bins, Power Bins, and Smart Bins Filtering Bins Using Color Tags Sorting the Bin List Thumbnail, List, and Metadata Views in the Media Pool Display Audio Clip Waveforms in Media Pool and Media Storage Metadata Editor Audio Panel Dual Monitor Layout Customizing the Media Page Undo and Redo in DaVinci Resolve Adding and Organizing Media with the Media Pool Copying Media Using the Clone Tool Adding Media to the Media Pool Basic Methods for Adding Media in the Media Page Adding Subclips From the Media Storage Panel Adding Individual Frames From Image Sequences Adding Media Based on EDLs Splitting Clips Based on EDLs Import Clips With Metadata Via Final Cut Pro 7 XML Adding Media With Offset Timecode Adding Media to the Cut, Edit, Fusion, and Fairlight Pages Removing Media From the Media Pool Adding and Removing External Mattes What Are Mattes For? Adding Mattes Using Embedded Mattes in OpenEXR Files Adding Offline Reference Movies Extracting Audio in Media Storage Manually Organizing the Media Pool To Select Clips in the Media Pool Organizing Media into Bins Import and Export DaVinci Resolve Project Bins (.drb) Import and Export DaVinci Resolve Timelines (.drt) Sharing Media Among Projects Using Power Bins Automated Organization Using Smart Bins Smart Bins Are Only As Good As Your Metadata Smart Bins Update Their Contents Dynamically Automatic Smart Bin Creation Manual Smart Bin Creation Organizing Smart Bins Duplicating Clips in the Media Pool Duplicating Timelines Choosing How to Display Bins Showing Bins in Separate Windows Using the Media Pool in Thumbnail View Working With Columns in List View Editable Description and Comments Columns Using Metadata View in the Media Pool Finding Clips, Timelines, and Media Finding Clips and/or Timelines Within the Media Pool Finding Synced Audio Finding Timeline Clips in the Media Pool Finding Timelines in the Media Pool Finding Media in the Media Storage Panel and Finder Going Immediately to a File System Location in the Media Browser Tracking Media Usage Thumbnail Clip Usage Indicators List View Clip Usage Column Relinking Media Simply Relink Media Relink Selected Clips Change Source Folder Using Clip Metadata Editing Clip Metadata Automatically Imported Metadata Using the Metadata Editor Editing Keywords Editing Metadata Using the File Inspector Face Detection to Generate People Keywords Creating Custom Metadata Groups Importing and Exporting Media Pool Metadata Different Ways of Using Clip Metadata Renaming Clips Using Clip Names Switching Between File Names and Clip Names Using Metadata to Define Clip Names Using the Inspector in the Media Page Using the Inspector Adjusting Media Pool Clips in the Inspector Video Audio Image File Syncing Audio and Video Syncing Audio to Video Syncing Audio to Video Using Timecode Syncing Audio to Video by Matching Waveforms Manually Syncing Audio to Video Offsetting the Sync of Previously Synced Clips Finding Synced Audio Files Displaying Synced Audio File Names on the Timeline Modifying Clips and Clip Attributes Adjusting Media Pool Clips in the Inspector Changing Clip Attributes Video Attributes Real-Time 3:2 Pulldown Removal Audio Attributes Timecode Attributes Reel Name Attributes Update Timecode from Audio – LTC Changing Clip Thumbnails in the Media Pool Creating Subclips Removing or Changing Subclip Limits Organizing Stereo 3D Media Camera Raw Decoding Using Scene Detection Scene Cut Detection on the Timeline (Studio Version Only) Scene Detection in the Media Pool The Scene Detect Window Interface The Scene Detect Viewers The Scene Detect Graph Cut List The Scene Detect Options Drop-down Menu An Example Scene Detect Workflow Ingesting From Tape Tape Ingest The Tape Capture Interface Setting Up to Capture From Tape Deck Settings Capture The Three Methods of Capture Using Capture Now Logging and Capturing Individual Clips Logging and Capturing Multiple Clips Batch Capture Via EDL Capturing From the Cintel Film Scanner Controlling the Cintel Film Scanner The Cintel Scanner Interface Film Scanning Workflows Adjusting the Color of the Scanner Scanning One or More Sections of Film Extracting Audio Audio Extraction Settings Color Space and Sizing PART 4 – The Cut Page Using the Cut Page Overview of the Cut Page Overview of the Cut Page User Interface Customizing the UI Choose Settings Before You Start Timeline Resolution Quick Menu The Media Pool The Viewer Playing Clips and Navigating the Timeline Tools Bypass Color Grades and Fusion Audio Meter The Timeline Upper Timeline Lower Timeline Tracks Gaps Timeline Controls Undo and Redo in DaVinci Resolve Importing and Organizing Media in the Cut Page Importing Media Removing Media Organizing Media into Bins Master Bin Creating and Using Bins Opening Bins Create Bin With Selected Clips Renaming Bins Import and Export Specific DaVinci Resolve Project Bins Import and Export Individual DaVinci Resolve Timelines ATEM Switcher Integration Importing ATEM Mini Pro ISO Projects Relinking Blackmagic Camera Masters to ATEM ISOs Media Pool Views Metadata View Thumbnail View Filmstrip View List View Sorting and Searching Searching Navigable Clip Paths Sort Media By Finding Timeline Clips in the Media Pool Clip Color Generate Optimized Media Relinking Media Relink Media Relink Selected Clips Fast Editing in the Cut Page Creating and Modifying Timelines Creating New Timelines Opening Timelines About Tracks in the Cut Page Timeline Adding Tracks Deleting Tracks Navigating Clips in the Viewer and Timeline Viewer Options Full Screen Viewer Playing Clips and Navigating the Timeline in the Viewer Scrolling Through the Timeline Smart Reframe (Studio Version Only) The Boring Detector Setting In and Out Points Setting In and Out Points Using the Keyboard Setting In and Out Points Using the Pointer Editing the Duration Field in the Cut Page Viewer Change Clip Duration Dialog Video Only and Audio Only Edits Drag and Drop Editing Append Ripple Overwrite Overwrite Using Cut Page Edit Commands Smart Indicators Setting Up and Performing Edits Smart Insert Append Ripple Overwrite Close Up Place On Top Source Overwrite Overwrite Source Tape Editing Metadata Entry Using the File Inspector Using the Source Tape Limiting the Source Tape Scope by Folder Structure Sync Bin Multicam Editing Preparing Footage for Sync Bin Editing Sync Clips Window Sync Bin Editing Trimming in the Cut Page Tools That Help You Work in the Timeline Snapping Locking, Muting and Disabling Tracks Audio Trim View Timeline Markers Add Track Making Selections Moving Clips in the Timeline Ripple Overwriting An Entire Clip in Track 1 Overwriting the Middle of Other Clips Overwriting The Edges of Other Clips Swapping Clips Copy, Cut, and Paste Splitting Clips Disabling and Deleting Clips Disabling and Muting Clips Deleting Clips Deleting Parts of Clips Trimming Clips Resize Clips While Rippling the Timeline Rolling an Edit Slipping Clip Content Trimming Edits in the Viewer Trimming Transitions in the Viewer Using the Inspector in the Cut Page Using the Inspector Video Audio Effects Transition Image File Video and Audio Effects in the Cut Page Adding Transitions Adding Dissolves Adding Dissolve Using Keyboard Shortcuts Changing a Transition to a Cut Adding Smooth Cuts Adding Other Kinds of Transitions Editing and Removing Transitions Titles Adding Titles Editing Titles Adding Resolve FX and Other Plug-ins Video Effects Audio Effects Generators Clip Tools Shared Controls Transform Crop Dynamic Zoom Composite Speed Stabilization Lens Correction Color Audio Quick Export Quick Export Customizing Quick Export PART 5 – Edit Using the Edit Page The Edit Page User Interface Navigating the Edit Page Showing Which Panel Has Focus The Media Pool Importing Media Into the Media Pool on the Edit Page Bins, Power Bins, and Smart Bins Showing Bins in Separate Windows Filtering Bins Using Color Tags Sorting the Bin List More About Timelines and Grading Timelines, Grades, and Versions Enabling the Use of a Master Timeline Using the Effects Library The Toolbox OpenFX Audio FX Effects Library Favorites Edit Index Navigating the Timeline Using the Edit Index Edit Index Columns Filtering the Edit Index Exporting the Edit Index Source and Timeline Viewers How Each Clip’s Grade Looks in Each Viewer Source and Timeline Viewers vs. Single Viewer Mode Viewer Controls Simultaneous Audio Waveform Display in the Source Viewer Cinema Viewer Mode Viewer Indicators Other Viewer Options Fast Review in the Timeline Viewer Opening Clips in the Source Viewer Timeline Viewer Edit Overlays Copy and Paste Timecode in Viewer Timecode Fields Metadata Editor Inspector Timeline Timeline Options Switching Among Multiple Timelines Toolbar Toolbar Audio Monitoring Controls The Mixer and Meters Displaying Audio Meters Using Video Scopes Floating Timecode Window Dual Monitor Layout Customizing the Edit Page Undo and Redo in DaVinci Resolve Creating and Working with Timelines Keyboard Shortcuts in This Chapter Creating and Duplicating Timelines Individual Timeline Settings for Format, Monitoring, and Output Creating Blank and Stringout Timelines Creating Timelines by Drag and Drop Creating Timelines From Bins and Selections Creating Timelines Using an IMF or DCP Composition Playlist (CPL) Duplicating Timelines Disabling Timelines Timeline View Options Modifying Timeline Tracks Naming Timeline Tracks Using Timeline Snapping and Zooming Zoom Around Mouse Pointer Scrolling Through the Timeline Scroll Wheel Controls on Timeline Resizing the Timeline’s Video and Audio Track Regions Tabbed and Stacked Timelines Tabbed Timelines Stacked Timelines Duplicate Frame Detection Comparing Timelines The Timeline Comparison Window Preparing Clips for Editing and Viewer Playback Keyboard Shortcuts in This Chapter Browsing Clips in the Media Pool Selecting Clips in the Media Pool to Edit Duplicating Clips in the Media Pool Viewer Playback and Navigation Source and Timeline Viewers vs. Single Viewer Mode Opening Clips Into the Source Viewer to Prepare for Editing Viewer Transport Controls Simple Keyboard Shortcuts for Playback and Navigation Using JKL to Control Playback Special-Purpose Playback Commands Option to “Stop and Go to Last Position” Enabling and Disabling Audio Scrubbing Playback Post-Roll Moving the Playhead Using Timecode How to Enter Timecode Values Absolute Timecode Entry Relative Timecode Entry Copy and Paste Timecode in Viewer Timecode Fields Gang Viewers (Playhead Ganging) Adding Markers Adding Markers to Clips Setting In and Out Points Setting Clip In and Out Points in the Media Pool Setting Clip In and Out Points in the Source Viewer Clearing and Navigating In and Out Points Clip Edit Points Are Saved Turning In and Out Points into Markers With Duration and Back Again Organizing Media by Creating Subclips Removing or Changing Subclip Limits Editing Basics Keyboard Shortcuts in This Chapter Drag and Drop Editing Drag and Drop Editing of Individual Clips Into the Timeline Drag and Drop Editing of Several Clips Into the Timeline At Once Drag and Drop Editing of Video-Only or Audio-Only Edits Drag and Drop Insert Editing Dragging Clips From the File System Into the Timeline Inserting Multiple Clips into the Timeline From the Media Pool Insert Selected Clips to Timeline Using Timecode Insert Selected Clips to Timeline With Handles Audio Track Creation While Editing Using Keyboard Shortcuts and Three-Point Editing to Assemble a Program Example: Assembling Clips Into the Timeline From the Source Viewer Example: Assembling Clips Into the Timeline From the Media Pool Making Selections in the Timeline Manually Selecting Clips in the Timeline Selecting Clips Based on Markers, Flags, and Clip Color Selecting Edits in the Timeline A Practical Example of Keyboard-Driven Selections Using Auto Select Controls to Define Selections Defining Selections With the Help of Auto Select Controls Overriding Automatic Selections by Making Manual Selections Using Auto Select Controls to Control Other Operations Locking Tracks You Don’t Want to Change Position Lock for Finishing Position Locking All Tracks Position Locking Individual Tracks Disabling and Re-Enabling Clips in the Timeline Deleting Clips and Gaps From the Timeline Finding, Selecting, and Deleting Gaps in the Timeline Deleting Multiple Timeline Gaps at Once Audio/Video Linking Controlling Linked Selection Linked Move Across Tracks Dealing with Audio Video Sync Offsets Manually Unlinking and Relinking Audio and Video Linking Multiple Clips in the Timeline Commands for Slipping Audio/Video Sync Using the Inspector in the Edit Page Using the Inspector Video Audio Effects Transition Image File Modifying Clips in the Timeline Keyboard Shortcuts in This Chapter Moving, Resizing, and Rolling Clips in Selection Mode Trimming Gaps Modifying Clip Duration Via Timecode Resizing or Trimming Clips in the Source Viewer Using the Selection Tool Using the Trim Tool Doing a Slip Edit in the Viewer Shuffle/Swap Insert Edits Splitting and Joining Clips Through Edits Enabling and Disabling Clips and Tracks Copying and Pasting Clips in the Timeline Paste Insert Cut/Copy/Paste of Partial Clip Segments Using In and Out Points Copying and Pasting Clips to a Different Track Audio Channels When Copying and Pasting Audio Clips Auto Align Clips Duplicating Clips and Transitions in the Timeline Smart Reframe (Studio Version Only) Scene Cut Detection on the Timeline Clean Up Video Tracks Three- and Four‐Point Editing Keyboard Shortcuts in This Chapter Introduction to Three-Point Editing Choosing a Track to Edit to Using Destination Controls Setting In and Out Points in the Timeline Mark Clip and Mark Current Selection Preview Marks During Three‐Point Editing Dragging Preview Marks to Change an Edit The Rules of Three-Point Editing Editing Rules for Split In and Out Points Editing a Specific Range of the Source Clip Into the Timeline Editing Part of a Source Clip to Fit Into a Specific Range of the Timeline Backtiming a Source Clip When Editing Into the Timeline Switch Focus to Timeline After Edit Different Types of Three‐ and Four‐Point Edits Overwrite Edits Insert Edits Replace Edits Fit to Fill Place on Top Ripple Overwrite Append at End Insert Selected Clips to Timeline Using Timecode Insert Selected Clips to Timeline With Handles Three-Point Editing From the Media Pool Example: Assembling Clips Into the Timeline From the Media Pool Marking and Finding Clips in the Timeline Using Flags Using Markers Adding Markers to Clips Adding Markers to Timelines Saving In and Out Point Ranges As Markers with Duration Editing Marker Information and Keywords Changing Marker Timing Drawn Annotations on the Viewer Frame.io Timeline Markers Working With Frame.io Markers Dropbox Replay Timeline Markers Working With Dropbox Markers Reading Marker Information Using Markers for Navigation Using Timeline Markers for Chapters Exposing Markers in Lists Using Markers in the Media Pool Hiding Markers By Color Deleting Markers By Color Renaming Clips in the Timeline Color Labeling Clips in the Timeline Custom Clip Colors Clip Color Appearance Assigning Clip Colors Track Colors Finding Clips, Media, Markers, Gaps, and Timelines Finding Clips in the Timeline Finding Offline Clips in the Timeline Finding Edit Index Events Using Clips in the Timeline Finding Clips Finding Clips Using Markers or Flags Finding Gaps Finding the Currently Open Timeline in the Media Pool Finding Media Using Match Frame Operations Matching From the Timeline Matching From a Source Clip Finding a Clip in the Media Pool Using a Timeline Clip Using a Clip in the Source Viewer to Find a Media Pool Clip Using a Clip in the Timeline to Find a Media Pool Clip Tracking Media Usage Thumbnail Clip Usage Indicators List View Clip Usage Column Multicam Editing Introduction to Multicam Editing Creating and Modifying Multicam Clips Converting Compound Clips or Timelines to Multicam Clips Logging and Editing Multicam Clips Setting up a Timeline for Multicam Editing Opening and Altering Multicam Clips Performing a Multicam Edit Multicam Controls in the Source Viewer Multicam Keyboard Controls Editing Multicam Clips in the Timeline Grading Multicam Clips Take Selectors, Compound Clips, and Nested Timelines Take Selectors Compositing and Grading Take Selectors Compound Clips Compositing With and Grading Compound Clips Nested Timelines Re-Editing a Nested Timeline Swapping the Contents of the Source Viewer and Timeline Editing Source Media From a Timeline or Compound Clip Marking Clips in Timelines Loaded into the Source Viewer Decomposing Nested Timelines Compositing and Grading Nested Timelines Audio Buses in Nested Timelines Converting Compound Clips or Timelines to Multicam Clips Trimming Keyboard Shortcuts in This Chapter Summarizing Trim Operations Selection-Based Trimming Using the Trim Tool How the Trim Tool Differs From the Selection Tool Using the Trim Tool With the Mouse Turning Off the Heads Up Display While You Trim Trim Tool Operations With the Keyboard Important Trimming Keyboard Shortcuts Trimming Using Timecode Entry How to Enter Timecode Values Commands to Make Selections and Trim Trimming Clips in the Source Viewer Ripple Edit